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Notes: Inspired by classic 70s analogue drum synths like the Syncussion and Syndrum, the Eurorack version of the Seven Sisters offers seven different sound modes, each with four CV-controllable parameters.

Supplier's notes:
Seven Sisters is a percussion synthesizer featuring seven voices that aims to capture the essence of late '70s instruments such as the Syncussion and Syndrum.

This module contains 7 presets, with one voice playable at a time. Each voice has four editable controls, including volume, and parameters such as decay, pitch, and filter, all of which can be controlled via CV. Each voice also includes multiple oscillators, noise generators, and filters, providing rich, complex tones beyond the capabilities of the original devices. This enables you to recreate classic sounds or craft more realistic snare, hi-hat, and cymbal effects. The result is a powerful percussion synthesizer that combines the essence of early drum synthesis with modern flexibility.

Notes: Capture the iconic sound of tape sliding to a halt with Tape Stop, a clock syncable tape stop module that puts this classic effect at your fingertips. Originally an accidental artifact of analog tape, this effect has become a beloved tool in music genres from hip-hop to IDM. Now, it's fully controllable in your modular system.

Adjust the Lag to set the stop length, then tap Trig to activate. Hit it again to resume your audio seamlessly. With clock sync, your stops and starts stay perfectly in time, and a toggle lets you switch between momentary and latching Trig modes. Add a touch of tape magic to your modular system with Tape Stop!

Notes: Easily connect your modular system to the rest of your setup with Out, a compact 2HP stereo line output and headphone module. Despite its small size, it includes everything you need for clear, convenient listening.

The top section features stereo modular-level inputs with LED indicators for quick level monitoring. From there, the signal is routed to both a stereo line output and a dedicated headphone jack, each with independent volume control. Whether you're sending your modular through external effects, recording into an interface, or just monitoring with headphones, Out keeps things simple and efficient.

Notes: Capture the iconic sound of tape sliding to a halt with Tape Stop, a clock syncable tape stop module that puts this classic effect at your fingertips. Originally an accidental artifact of analog tape, this effect has become a beloved tool in music genres from hip-hop to IDM. Now, it's fully controllable in your modular system.

Adjust the Lag to set the stop length, then tap Trig to activate. Hit it again to resume your audio seamlessly. With clock sync, your stops and starts stay perfectly in time, and a toggle lets you switch between momentary and latching Trig modes. Add a touch of tape magic to your modular system with Tape Stop!

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: 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: Rack power bringing 1.25A (1250mA) on both the +12V and -12V rails. There is a 5V rail, but it pulls from the +12V rail, up to 750mA. So only use the +5V rail if you have to.

Comes with 12-position flying bus cable and wall power supply. The wall power supply is the same unit as After Later Audio use on their cases, so there's plenty of headroom and you don't have to worry about memorizing which amperage is for which.

This should be roughly enough for 1 rows of modules in a 104hp case. If you need power for 2 rows, check out The Force module.

Notes: Rack power bringing 2.5A (2500mA) on both the +12V and -12V rails. There is a 5V rail, but it pulls from the +12V rail, up to 750mA. So only use the +5V rail if you have to.

Comes with 12-position flying bus cable and wall power supply. The wall power supply is the same unit as After Later Audio use on their cases, so there's plenty of headroom and you don't have to worry about memorizing which amperage is for which.

This should be roughly enough for 2 rows of modules in a 104hp case. If you just need power for 1 row, check out our Warp Drive module.

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


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

Technical Specifications:

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

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

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

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

Notes: 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: SWEnigiser Proto VCF/A

Enigiser multimode filter and VCA in 12hp. Circuit based on originalEnigiser prototype kindly loaned by Anthony Linell of Northern Electronics.

VCF
Unique configuration with 3 x 4 filter modes
2x audio input with drive
2x cutoff CV attenuverter inputs
1x cutoff CV input, tunable to 1v/oct

VCF output normalized to VCA input.

VCA
1x audio input with gritty drive, normalized from VCF output
2x CV input. CV1 knob adds offset for drone etc.
CLIP switch for old/new revision Enigiser diode setting adjusting drive character.
+12V 22mA
-12V 22mA
Skiff friendly
Includes power cable, 4 screws+ plastic washers

Available in sand blasted silver and black panel versions.

Notes: SWEnigiser Proto VCF/A

Enigiser multimode filter and VCA in 12hp. Circuit based on originalEnigiser prototype kindly loaned by Anthony Linell of Northern Electronics.

VCF
Unique configuration with 3 x 4 filter modes
2x audio input with drive
2x cutoff CV attenuverter inputs
1x cutoff CV input, tunable to 1v/oct

VCF output normalized to VCA input.

VCA
1x audio input with gritty drive, normalized from VCF output
2x CV input. CV1 knob adds offset for drone etc.
CLIP switch for old/new revision Enigiser diode setting adjusting drive character.
+12V 22mA
-12V 22mA
Skiff friendly
Includes power cable, 4 screws+ plastic washers

Available in sand blasted silver and black panel versions.

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


Dimensions is a true stereo chorus effect for the Eurorack modular system featuring two algorithms. The first is a direct port of our Fluid chorus plug-in, and the second is taken from the unit's namesake. With automatic routing based upon what you plug in the I/O, Dimensions can do mono->mono, mono->stereo, and true stereo chorus duties.

Dimensions' Mode A operation is a ludicrously thick chorus. Most chorus effects have either a single delay line or a pair. Dimensions has six of them, each with its own modulation scheme. The Mode B operation changes the routing to match the vintage rack unit, but keeps the controls available. This results in a subtly different, but equally thick and appealing, effect.

Notes: Clock Multiple, Conditioner, and Divider in a compact 2HP format

Distribute your clocks throughout your system using minimal rack space.

The first three outputs maintain the same frequency as the input, while outputs 4 to 7 provide time divisions of 1/2, 1/4, 1/8, and 1/16.

The active topology allows you to patch clocks on the fly, avoiding the tempo interruptions that can occur with passive multiples.

To reduce the footprint, the input is a TRS jack, with the clock signal on the tip and the reset on the ring. For standard clock only operation, use a regular mono cable, or use the provided splitter to access the reset function.

Notes: Voltage-controlled lag processor and slope detector

Transforms stepped notes into smooth acid slides with independent speeds for both upper and lower notes.

The onboard slope detector generates gates while the output is rising or falling, allowing events to be activated when moving to upper or lower voltages.

Additionally, it can convert a gate signal into an Attack-Sustain-Release (ASR) envelope.

The shape control feature helps balance speed versus input range, enabling quicker speed while sliding to further notes allowing for time compensated portamento.

Features

Perfect pitch tracking (error < 1 mV)
Independent rise and fall controls
Assignable CV input for rise and fall times
Three selectable speed ranges
Fader-based interface allows for one-handed adjustment of rise and fall times

Specs

Current needs: +12V: 20mA, -12: 15mA, 5v:0 on additional rails
Width: 4 HP
Depth: 25 mm (including power connector)
Designed, kits prepared and modules assembled in Barcelona

Notes: At its heart, Alpha Pro is four identical VCAs, each with overdrive and stereo outputs. However, it's also possible to link any of the VCAs together to form a voltage controlled mixer. This flexibility allows Alpha Pro to replace a bank of VCAs, sub-mixers and even your output mixer.

Each VCA has two Signal inputs and a summing mixer with individual attenuators.

There are two mix buses, allowing each VCA to act stand-alone or as part of the mix. So you can configure two separate sub-mixes, with any of the VCAs contributing to the mix, or use all channels to make an 8 input, stereo output main mix.

The VCA gain is controlled by the Initial Gain knob, and two Gain CVs - again mixed together, each with an attenuator. Having two Gain CV inputs allows for more complex modulation possibilities without needing another CV sub-mixer.

Gain response can be set to exponential or linear.

The XING switch enables zero crossing detection to prevent clicks on very fast CV inputs.

Two drive modes are available, a soft clip and a harder fuzz, with the DRIVE control increasing the gain into the overdrive circuit to increase the effect.

The VCA output is stereo, with manual and CV control of pan - again, with an attenuator.

Alpha Pro is available now as a 'founders edition' which includes the Alpha Switch as standard.

Specifications:
Width: 38HP
Depth: 22mm excl. power cable. Approx 32mm inc. shrouded power cable

Power Requirements:
+12v: 250mA
-12v: 100mA
+5v: 0mA

Inputs:
Signal (Zero attenuation): +/-5v nominal, +/-12v max
Gain CV (Zero attenuation): 0-5v nominal
Pan CV (Zero attenuation): +/-5v nominal

Outputs:
Stereo: +/-5v nominal, +/-10v max
With Drive Modes 1&2 outputs are normalised to around +/-5v max

Notes: Foxtrot is a quad, multimode virtual analogue filter with three different classic filter types.

Each of the four filter channels can be:

1) A ladder filter, based on the classic MOOG designs from the '60 and '70s
2) A Sallen-and-Key filter based on the Korg 35 module used in the MS-20
3) A State Variable filter as used in the Oberheim SEM

Each filter type produces Low Pass, Band Pass and High Pass responses which can be morphed between using the front panel control or CV.

In addition, any or all of the filter channels can be linked together internally producing a parallel filter bank controlled by a single cut-off control or CV. Check out some of the examples for how amazing this sounds.

The AUX CV input can be switched to allow CV control of the filter response, resonance or pan of each filter channel's dual outputs.

Finally, each filter can be overdriven to accentuate the unique sound of each filter type.

Specifications:
Width: 38HP
Depth: 22mm excl. power cable. Approx 32mm inc. shrouded power cable
Power Requirements:
+12v: 250mA
-12v: 100mA
+5v: 0mA

Inputs:
Signal (Zero attenuation): +/-5v nominal, +/-12v max
Cut-off CV (Zero attenuation): 0-5v nominal
AUX CV (Zero attenuation): +/-5v nominal

Outputs:
Dual Outputs: +/-5v nominal, +/-10v max

Notes: Oscar DSF is a complex, stereo Voltage Controlled Oscillator, based on the mathematics of Discrete Summation Formulae.

The Discrete Summation Formula used in Oscar DSF produces sounds rich in harmonics (or 'partials') in a similar way to FM.

The mathematics of DSFs is more complex than FM, but the way that you, the user, get the sounds you want is usually simpler. The basic sound is controlled by just two, intuitive knobs (with CVs, of course).

Oscar DSF can sound like a traditional oscillator, and it can make the usual clangs and tings associated with FM oscillators. It can handle fat bass sounds, or evolving ambient drones.

Oscar DSF has two complete DSF based, complex oscillators, controlled by the same basic pitch CV, but with a pitch offset control which can detune one oscillator up to i1 octave.

The output of the each oscillator passes through another complex FM stage, which acts like a wave folder. Technically, it's actually an FM operator with the carrier frequency set to zero. It sounds great, whatever you call it.

The final piece of the signal chain is a simple VCA, allowing Oscar DSF to be used as a stand alone synth voice with the addition of an envelope generator, or some other source of modulation.

Specifications:

Width: 10HP
Depth: 22mm excl. power cable. Approx 32mm inc. shrouded power cable
Power Requirements:
+12v: 200mA
-12v: 50mA
+5v: 0mA

Inputs:

VPO (Zero attenuation): 1 volt per octave
PAR CV[Zero attenuation]: +/-5v nominal
FOLD CV [Zero attenuation]: +/-5v nominal
PAN CV [Zero attenuation]: +/-5v nominal

Outputs:
Dual/Stereo: +/-5v nominal, +/-11v max

Notes: Alpha Duo is a stereo precision VCA with ring modulation, overdrive and distortion.

Alpha Duo's VCAs have three modes:

1) Two quadrant, for classic VCA behaviour
2) Four quadrant, where the VCA responds to both positive and negative Gain CVs. This creates a classic ring modulator.
3) In four quadrant separate (4S) mode, each of the two VCA channels is controlled by separate gain CVs, turning Alpha Duo into two independent VCA/ring modulators.

Alpha Duo also features three drive modes.

1) In Drive Mode zero the overdrive circuit is not active, giving a clean signal.
2) Drive Mode One is a tube style soft overdrive. Like a tube, the positive and negative parts of the waveform are distorted differently, producing a pleasing, warm fuzz.
3) Drive Mode Two is a harder clip - more like a transistor amplifier - for a harder edged distortion.

Alpha Duo's signal path is DC coupled, so it's great for processing CVs as well as audio.

Specifications:
Width: 10HP
Depth: 22mm excl. power cable. Approx 32mm inc. shrouded power cable
Power Requirements:
+12v: 200mA
-12v: 50mA
+5v: 0mA

Inputs:
Signal (Zero attenuation): +/-5v nominal, +/-12v max
GainCV [Zero attenuation]: +/-5v nominal
Pan CV [Zero attenuation]: +/-5v nominal

Outputs:
Dual/Stereo: +/-5v nominal, +/-11v max

Notes: What does this do?

This is an analogue filter with a separate 3 channel mono mixer, and VCA combo. There is also an internal envelope generator with Decay. All this product needs is a VCO and a trigger signal to complete a mini voice.

The outputs on the filter are meant to be manually patched into one of the VCA audio inputs on the module to complete the mini voice. You can mix and match to create custom filter types.

The Feedback on the product 'Rez', is what makes this sound like an MS20 filter. There are diodes, used as a limiter, and also to wave shape when in self oscillation mode.

Features:

-2 audio inputs with 2 level control knobs.

-Bi-polar FM for the filter.

-Mod input with level knob for the filter.

-FCV Filter CV direct input for the filter.

All CV inputs for the Filter are 1V per octave, Exponential.

-REZ CV

-VOLT CUT output. +5v/5v output. Used to remote control another filter, with the master 'Cut' knob.

-Internal Envelope Generator, with Level Sends to VCA and Filter.

-Separate VCA circuit, with 3 channel mono mixer input.

-1 CV input for the VCA. 'VCV'.

-1 VCA output.

The filter will self oscillate into a sine wave and does track 1v per octave.

Width: 16HP

Current: +65mA,-65mA

PCB Stack: 1 Level, Skiff compatible.

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


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: 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: 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: Discover the flexibility in your sound design with our ultra-compact 2HP wide Sync LFO (Low-Frequency Oscillator) in Eurorack format. Designed for musicians looking for versatile modulation in their Eurorack system, this LFO delivers a wide range of possibilities to make your soundscapes dynamic. Despite its small size, this Sync LFO offers a wide range of features to help you reach your creative potential.

Compact design With a width of only 2HP, the Sync LFO can be seamlessly integrated into your Eurorack and saves valuable space for additional modules.

Unleash your creative freedom with manual control over the rate and waveform of the LFO. Whether it's slow, gentle modulations or fast, rhythmic oscillations, you're always in control of the character of your sound.

Synchronizable

Expand your sound spectrum with the LFO's synchronization function. Sync it with external beats to keep modulations perfectly in time and add precise rhythmic structure to your sound design.

With three different output waveforms - triangle, square and sine - the Sync LFO opens up a wide range of modulation possibilities. Choose the right shape to give your sounds the texture and movement you want.

Intuitive Performance

Easy-to-use controls make it easy to perform live or explore new sonic ideas. Create modular soundscapes with the Slimline Sync LFO and breathe life into your sounds.

Content:
Module
Bus cable 16-pin > 10-pin, 30cm
2x Screw M2.5x9 Phillips
2x Screw M3x9 Phillips

Notes: In only 12hp, Axis condenses all the classical blocks for the audio amplitude management, redefining the classical envelope -> vca -> mixer path. The idea is to manipulate a sound over three axes: its length, its volume, and its place inside the stereo field.

Axis is a dual envelope generator that features an integrated VCA, a crossfader, and a voltage-controllable mixer section. The initial concept was to combine digital control over an analog VCA to closely emulate the classic Vactrol sound. After more than a year of refinement, Axis has evolved into more than just that. It offers exceptional versatility, providing a wide range of waveforms and the unique capability to simulate the natural percussive qualities of different materials. All this is in a complete analog path.

For the function generator section, we choose a faster method over the classic AD/ ADSR style: a selection of waveforms studied to give back a precise musical effect can be selected with the shape knob. The function length is independent from the actual wave shape and can be settled with the fader timeX from 30hz to 15 seconds. Also, setting the timeX fader at its maximum level will leave the VCA open.

A more typical collection of envelopes can be found in the first half of the dial. All kinds of sounds, from plucked notes to long volume swells passing through lead-friendly lines, can be obtained here.

More unusual, the last section of the knob is thought to simulate the acoustic vibration of a percussed object. Starting with a triangular envelope, from this point on, the more you turn the knob, the more rebounds will be added, simulating the natural ring of a material. Using this section at low rates can generate complex envelopes that could also be suitable for the vibrato-style AM effect. The envelope generator section includes a mode switch (cycle,trigger,hold), a trigger/gate input, an EOC trigger out, a function output, a CV for the envelope shape selection, and one CV for time.

As a cherry on the cake, a crossfader is placed at the end of the chain, blending both Axis halves. With a dedicated fader and CV control, raising it will invert the L/R output, creating nice stereo effects or moving the voices around the stereo field.

The VCA section is more straightforward: it has an audio input/output[1] and a VCA CV input[3].

You can plug the audio I/O to use Axis in its completeness and eliminate a lot of cables and mess!

Soundwise, here at Clank, we are all about vactrols LPGs, but since we knew it's not the most versatile option on the market, we came up with a different design. Blending together a VCA with a not-so-step filter, we obtained a VCA with a nice mild LPG flavor: enough to sound not so "clicky" but not too slow to inficiate really fast sounds.

By default, the envelope created by the function generator is normalized to the CV in of the VCA. Plugging a cable into the VCA in breaks the normalization, in this way you can use a different source to control the VCA and free the function generator for LFOs or modulation duties.

The range Y fader sets the strength of the envelope, but you can also see this control as a volume fader, which is nice since you won't necessarily need an additional volume for your voice after the Axis. Take into consideration that since the Axis VCA is actually a low-pass gate, lowering the rangeY fader also affects the cutoff frequency. The range fader also has its CV control to program dynamic changes to the sound. Basically, it's a VCA over a VCA that permits every note to be at different intensities. Last but not least, Range CV can also be fed by a unipolar modulation CV to obtain vibrato effects or audio rate AM modulations

Notes: Thererec is a 6hp smart dual-function generator based on a different approach! Two modern proximity sensors have replaced all the Attack/Decay thing, and this not only saved a lot of space but also turned Thererec into a whole new thing: a fusion between THEREmin gestural expressiveness and a tape RECorder,

Thererec, indeed, can quickly capture your hand movements and translate them into complex Envelopes and LFOs, adding a lot of expressiveness to your set. Once recorded, your movements can be mangled in both time and amplitude; they can be cycled or triggered in one-shot mode, letting you create complex but synchronized control voltage streams.

A straightforward movement with immediate feedback: move your fingers, listen, and connect yourself to the environment. Your body will do the rest.

Thererec sensors will track your movements to generate a voltage flow, and the LEDs and the CV outputs will reflect those movements.

Notes: Chaos is excellent for modulation purposes or as a clock multiplier/ divider, but that's only scratching the surface... It takes a different approach to writing sequences than traditional sequencers, as it is built on six touring machines combined with an effective pattern and clock generator. One of the biggest challenges in electronic music production, especially when it comes to sequencing, is finding that sweet spot between hands-on control and possibilities.

It can be frustrating because many sequencers with lots of fun and playable controls don't always pack the punch you need. On the flip side, you have those bigger menu-based sequencers with tons of options but can feel overwhelming with all the programming they require. It's designed to help you overcome these challenges and make your music-making experience smoother and more enjoyable, whether you're jamming or writing a song you want to execute live.

Typically, a sequencer starts with a blank canvas. However, with Chaos, you begin with all possibilities at your disposal and can easily narrow them down to fit your vision with just a few adjustments. This makes creating a sequence that conveys a specific mood quick and straightforward. Once you have established this initial mood, you can loop it from the last step to step 32 whenever you hear something you like. At this point, you can choose to modify the entire loop or adjust the parameters of any individual step. There is no need for extensive menu navigation; simply pressing a button and turning the encoder gives you control over parameters such as gate time, gate probability, gate width, gate ratcheting, gate swing, notes, scale, slew, and slew amount.

The LED bar continuously displays the voltage output of the selected channel, as well as the gate and each parameter's value, eliminating the need for a screen. You can save and recall the entire sequence of its six channels at any time. Additionally, there is an internal function that allows you to randomize all parameters or just a select few within a specified range, helping you discover new melodies to work with.

Chaos is an endless reservoir of tunes and is incredibly quick and powerful for composing sequences, gate patterns, or modulation. In a short time, it will become the brain of your system.

Six CV outputs can be used for a wide range of applications; everything from chaotic modulations to fine-tuned sequences can be obtained. Thanks to its interface you can quickly adjust the voltages from where the random engine picks new values and then edit them in every aspect.In addition, Slew amount, Quantization, and external sampling are available on every channel.

Thanks to its 6 gate outputs, Chaos can be used as your system's quick and effective clock manager and gate pattern generator. Chaos also provides a stable master clock (10mS to 10Sec) from a separate output and can be clocked from external devices. On every channel, you can set Probability, Width, Swing, Ratcheting, and Time as a multiplier/divider of the master clock or unquantized in mS.

You can freeze the last 1 to 32 steps of randomly generated CVs and Gates in a locked loop when you hear something you like. Loops are not static; every parameter of Chaos can be used again to change the loop behavior in a non-destructive way.

Entering sequencer mode means taking control of every aspect of the looped sequence generated by the random engine. You can change time, width, probability, ratcheting, slew, slew amount, note, note deviation, etc., for each of the 32 steps of all six channels.

Thanks to the external input, you can substitute the random generator with external voltages, transpose a sequence on the fly, and a lot more.

If you're more into generative stuff or want to add a bit of craziness to the patch, you can use the Chaos function to randomize all the parameters on a channel. A sophisticated control named entropy is available on every parameter to set the distance of the new value from the last one.

Chaos can save and recall 10 slots where you can save entire sets or preferred channel behavior. Recall can also be done with an external voltage.

Notes: The name, indeed, comes from ancient Greek mythology since Proteo was a shapeshifter who could assume whatever shapes he preferred. In this way, our Proteo, has not a precise sound on its own but a clever mechanism that permits to acquire and transform every signal into waveforms. What if you can use your envelopes, LFOs or any other signal as a sound source?

What sets it apart from other oscillators? What's very different in Proteo is its internal pseudo-tape recorder, which is capable of continuously acquiring and transforming any external signal into waveforms and morphing them from a basic sine.

In Proteo, waveforms are not a static digital representation of a sound; they can continuously evolve in a very organic way, and tape loop time is a fundamental factor: changing it will drastically affect the resulting output even with the same sources at the inputs. Slowing down the time will capture a bigger portion of the incoming source with more harmonics. As a result, increasing it allows to capture up to low audio rate signals or really small fragments of the signal.

Exploring the interaction between Proteo, the sources and the time will force you to change your mind about how sounds and harmonics can be generated: visualizing how different shapes can sound and looking for new sources to generate YOUR waveform is the fundamental idea behind Proteo.

Proteo is also stereo, thanks to the Span knob you can easily detune one oscillator from the other to create nice stereo effects. Beside the common pitch the two oscillators have independent acquisition paths and morph controls, each one can emit different waveform.

Notes: Toolbox is the newest essential utility module for your modular system. It's designed to summarize and replace all those necessary small one-function modules, often overlooked due to their space and cost requirements. With a compact 12hp design, it offers a comprehensive selection of carefully curated blocks to expand and enhance the potential of every patch. The module is also specifically designed for internal interaction, allowing the combination of various basic blocks to achieve compelling outcomes, from complex rhythm creation to unusual sound shaper. Every system needs a Toolbox!

Since VCAs are always not enough, the first two blocks on the top row consist of two linear and very fast VCAs, which are also great for AM modulation. They are arranged from left to right: input (DC coupled), control voltage input (ranging from 0 to 8V), and output. The two inputs and control voltages are normalized from left to right, facilitating easy stereo operation. These VCAs, designed primarily for voltage attenuation, are versatile tools that excel in scenarios requiring linear response. With audio, their true strengths shine when applied to amplitude modulation (AM) scenarios, where the benefits of linear control become quite significant. Although they are optimized for AM and voltage control, using exponential envelopes with these VCAs can transform them into two highly effective and fast VCAs for audio applications.

The threshold CV (0-8V) is crucial for the functionality of the blocks labeled with an asterisk (*): AND/OR gates, sequential switches, and flip-flops. By default, the threshold for each block (the voltage that must be reached at every input for the circuit to operate) is set very low, allowing almost any positive signal to be used. By increasing the threshold with an external voltage, you will change the point at which the circuits marked with the * begin to operate. This may seem a little tricky at first, but once you master all the functionality of the Toolbox, the Threshold CV rarely found in other Eurorack modules will open up many more possibilities!

Still composed of two identical parts, the second and third rows contain two blocks of two-channel summing (A & B). This region offers many ways to combine two signals. From left to right, input A, B, SUM out inverted SUM out, and two Boolean operators: AND/OR While any input signal can be used here, the first two outputs are primarily intended for audio sources. In contrast, the Boolean outputs are more suitable for summing gates and logic signals. This setup also allows for the use of both logic and analog signals together; don't hesitate to experiment with Boolean operators using analog or audio signals.For example, connecting two different LFOs to the input of the summing section can create many gate rhythms from the two Boolean outputs by varying the threshold with external voltages.

Summing mixers/Mult Out: This section consists of two 3-input summing mixers connected in series: the output of the upper mixer is routed to the first input of the lower mixer, allowing you to combine a total of five signals with two outputs available. To break this connection, insert a patch cable into the first input of the lower mixer. This action separates the two sections, enabling you to sum two sets of three signals each. Additionally, the lower section includes a multed output by default.

A bidirectional sequential switch is located at the center of the module and labeled with three "I/O" tags. This often overlooked component allows for a wide range of functions, from the most practical to the most creative. When a voltage exceeding the threshold level is applied to the * input, the switch connects the upper left jack to the lower right one. If the voltage is below the threshold, the lower left jack is connected instead. Being bidirectional, each I/O can function as both an input and an output, enabling a 2:1 or 1:2 configuration. Try using the switch at audio rate; this can function as a versatile oscillator waveform shaper. Think of something other than this block as a simple channel switcher!

On the right side of the sequential switch, we have a more classic block: the flip-flop. This block outputs a square wave at half the frequency of any signal applied to the input, whether audio or gate. Two flip-flops are available, which can be used individually or normalized in series. This block is handy for creating sub-octaves of square format from any sound or as a clock divider.

Offset / Attenuverters: Located at the bottom are two offset and attenuverting channels.This section comprises two identical blocks that can easily attenuate, invert, and offset any input signal. Each block features an input jack, one output, and two small knobs. The first knob functions as an attenuverter, allowing you to invert and scale the signal at the same moment. The second knob, the offset, adds a static voltage of +/-0-8V to the resulting output. This functionality is crucial when seeking a more refined control over voltage or a signal. Without any signal at the input, you can use the offset knob as a manual control generator for any control voltage (CV) in your system. For example, try to change the threshold with it.

Notes: The P8S8 controller is for those who love those little sliders. The sliders behave like regular pots, so we named the module P8S8 (the "S" stands for the switches).

The P8S8 has eight Alpha sliders with a range of 20 mm. As a speciality the sliders contain LEDs. Their brightness can be controlled and used for any purpose. As long as you don't use the LED registers, the brightness of the LEDs reflect the current slider positions.

At the bottom the P8S8 has eight 3-way toggle switches.

As always in the DROID universe, it can be patched as whatever comes to mind, but looking at this module, it's almost imposing to be used as modulation sequencer or ADSR controller.

Shipping includes a short ribbon cable for connecting the controller to the master or to the previous controller. If you want to place the controller further away from the master, you can purchaser longer ribbon cables here in the shop.

Current Draw: 20 mA +12V, 0 mA -12V, 0 mA 5V
Width: 8 HP
Depth: 25 mm

Notes: Mutes goes above and beyond basic muting by allowing you to split groups of signals to multiple destinations, making it great for FX dub performing and varied signal routing.

Vactrols on the circuit gives to the switching a pleasing decay for both audio and modulation as well a totally click free muting.

Three-position switch: MOMENTARY signal pass-through (it springs back to the center when released); OFF (or muted) in the center; and ON to the right.

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: Add-on for the Krait module.

Ewa was created as a lovely partner for the Krait module, a syncable 3-channel modulation source. Paired with Ewa, Krait will get new useful abilities, such as 3 freely routable cv inputs, endless encoder for smooth editing without value jumps, dedicated clock menu button and clock and reset outputs.

Each CV input can be used to record external cv source in Record mode. Beside that you can route any input to any parameter of the LFO and Random too. With Ewa now it is easy to modulate LFO rate or Random slew for example. CV inputs are bipolar and react to the signals between -5 +5 voltages.

Additionally a dedicated clock menu button and clock output can make Krait as a clock source for other modules in your system that need sync.

Technical details

4 hp

20 mA +12V

12mA -12V

0 mA 5V

42 mm deep

CV input voltage ranges: +5-5v, 0v+5v

To use Ewa, you need to install firmware 2.0 on Krait.

Notes: Module A-145 is a low frequency oscillator, which produces cyclical control voltages in a very wide range of frequencies.

Five waveforms are available: sawtooth, inverted sawtooth, triangle, sine and square wave. The LFO can be used as a modulation source for any number of modules - for instance modulating the pulse width or frequency of a VCO, modulation of the cut-off frequency of a VCF, or amplitude modulation with a VCA.

A three-way switch lets you select three frequency ranges, spanning from one cycle every several minutes at the lowest, to moderate audio frequency at the highest (about 4-5 kHz).

The LFO signal can also be synchronised, via the reset input.

Identical to the A-145-1, but only 4 HP wide and with additional LEDs for the square wave and the sawtooth signal.

Power consumption: 30mA at +12V and 20mA at -12V
Depth: 45mm
4 HP

Notes: Module A-119-2 is a Dual external input amplifiers with only 4HP module width. The module contains two amplifiers with separately adjustable amplification levels. Each channel is equipped with an overload display. The module can also be used for stereo signals, e.g. the stereo output of a smartphone.

Controls and displays:

Level 1/2: manual control of the amplification in the range 0 - about 45.
Overload 1/2: overload LED, begins to light up for output levels beyond about 10Vpp (+/-5V)
In 1: audio input 1 (monophonic or stereophonic, see technical details)
In 2: audio input 2 (monophonic)
Out 1/2: audio output (monophonic)

Technical Details:

For higher amplifications the two amplifiers can be daisy-chained
Different normallling options are available via the rear of the modules with jumpers.
All inputs and outputs are DC coupled. Thus the module can be used also for the amplifications of control voltages.

Power consumption: 20mA at +12V and 20mA at -12V
Depth: 30mm
4 HP

Notes: ***B-STOCK: Slight surface marks ***


Module A-192-2 contains two independent CV/Gate-to-Midi/USB interfaces. For each of the two sub-units these inputs are available:

- Gate Input (min. +5V)
- CVN Input (defines the Midi note number), 1V/octave standard, range 0...+10V (i.e. 10 octaves)
- CVV Input (defines the velocity value assigned to the Midi note message), can be used alternatively for Midi volume (CC#7), range 0...+5V
- CVC Input (free assignable to any Midi control change number), range 0...+5V

For both sub-units a common CV Transpose input is available (1V/octave, range 0...+10V). The voltage applied to this input is added internally to CVN before the Midi note number is generated. It can be used e.g. to transpose two sequences simultaneously by one voltage.

How it works:

Whenever the rising edge of the Gate input is recognized a Midi note on message is generated. The note number corresponds to the sum of the voltages applied to the CVN input and the common CV Transpose Input that is present at the rising edge of the gate signal.

Notes: Module A-188-9 is a so-called high speed VCO that tracks perfectly to the 1V/oct scale in the frequency range of about 15kHz ... 500 kHz. The main application is the exact drive of BBD modules (A-188-1/2) to generate sounds realized by means of the so-called Karplus-Strong synthesis. But even in cooperation with other modules featuring high speed inputs (e.g. digital noise, delay, frequency divider) the A-188-9 makes sense. In principle the module is made of a precision audio VCO followed by a PLL (phase locked loop) unit that multiplies the frequency of the audio VCO by 32. Thus the module can be used also as an audio VCO as it features the standard waveforms sawtooth, triangle and rectangle with adjustable pulse width.

Controls:
Frq: frequency control (coarse)
CV: attenuator for the frequency control input CV
Fine: frequency control (fine), small control without knob
PW: pulsewidth control for the rectangle output of the audio VCO, in HSVCO mode this control has to be in the range marked "HSVO", small control without knob

Sockets:
1V: frequency control input 1V/oct scale
CV: frequency control input with attenuator CV
socket with rectangle symbol: rectangle output of the audio VCO, the pulse width of this output is adjusted by means of the control PW, output level ~ 7Vpp (~ -3.5V/+3.5V)
socket with sawtooth symbol: sawtooth output of the audio VCO, output level ~ 7Vpp (~ -3.5V ... +3.5V)
socket with triangle symbol: triangle output of the audio VCO, output level ~ 7Vpp (~ -3.5V ... +3.5V)
socket with inverted comb symbol: high speed VCO output, waveform rectangle, output level ~ 5Vpp (~ -2.5V/+2.5V)

Switches:
Range
upper position: audio VCO mode (frequency range of the audio VCO about 15 Hz to 6 kHz, the high speed output is not usable in this mode! )
lower position: High Speed VCO mode (frequency range of the high-speed output about 15 kHz ... 500 kHz, frequency range of the audio VCO about 500 Hz ... 15 kHz), in this mode the audio VCO and the high speed VCO can be used simultaneously

Slew
upper position: medium slew time
centre position: short slew time
lower position: long slew time
Technical Note regarding the Slew parameter:

Besides the audio VCO the module contains a so-called PLL circuit (Phase Locked Loop) and a 1:32 frequency divider. A slew limiter is part of the PLL. It defines how fast the frequency of the PLL follows the frequency of the VCO. The PLL cannot follow the VCO without any delay. Rather one has to find a compromise between the residual ripple of the PLL frequency and the frequency follow rate. That is the job of the slew limiter (works in principle like a glide or portamento unit). For this the module is equipped with a 3-position switch that is used to switch the slew time in 3 ranges. When mostly higher frequencies are used ((~ 100kHz ... 500 kHz) a short slew time can be chosen. When also lower frequencies are required (< 100kHz) a longer slew time may be used to reduce the residual frequency ripple. More details about the working principle of a PLL can be found in the information about module A-196. Module A-188-9 is in principle an A-196 combined with an audio VCO and a 1:32 frequency divider.

Width: 4HP / 20.0 mm
Depth: 45 mm (measured from the rear side of the front panel)
Current: +30 mA (+12V) / -15 mA (-12V)

Notes: This module is divided between 3 functions, a 3 channel mixer, with 3 knobs the the singal together, this then passes in a dual analogue filter, a resonant 24db LPF and a non resonant 18db HPF, passing from there into a built in VCA.

Notes: Euphoria is a full analogue 8-stage phaser, delivering rich, vintage phase shifting with deep modulation capabilities.

A versatile phaser perfect for lush movement and evolving soundscapes in Eurorack setups.

Specifications & connections

8-Stage Phase Shifter
OTA-Based
1 Input for eurorack level (10pp IN)
1 Input for instrument level (500mVpp)
Built-in LFO
Current Draw: 58mA (+12V), 52mA (-12V)

Included in the box:

Euphoria Eurorack module
1x Ribbon cable
4x 3mm Screws

Requirements:

Eurorack case and power supply
Monitor or Amp.

Notes: Analogue VCO with range from 16Hz up to 32.000Hz.

Variable Voltage Controlled Wave Shaper.

Advanced pitch control with Voltage Controlled Quantizer, so it is always in tune.

Hard Sync Input.

Separate Pulse Output, for use as a clock or to sync other oscillators
.
Power Consumption: 114mA @ +12V , 46mA @ -12V.

35mm depth.

Notes: Polyphonic sequencing from Elektrofon, the Klang allows you to program and perform chords and multi-layered harmonies. Circular clock-style display gives visual feedback and real-time indication of chord progressions.

Supplier's Notes:
«Klang» is a 4 voice polyphonic controller. It stores, traverses and manipulates chord progressions.

Overview

«Klang» is a unique take on polyphonic control within Eurorack.

Displaying chords in a circular clock-like display, and giving the user immediate control over every aspect without "menu diving" makes for an easy to use and inspiring module.

The module can store up to 99 chords, where each chord is made up of 4 voices.

Each voice is represented by a colored indicator on the clock-face which in turn is controlled by an encoder.

The indicators points to notes on the chromatic scale drawn in 360- around the clock-face.

Interface

The big grey encoder in the middle of the module lets you browse the chords - the active chord and total chord count is shown just above the encoder on the display.

The + button lets you ad a new chord. The new chord is added after the currently active chord, and the new chord is then set as the active chord.

The - button removes the current chord.

Inputs

The module has 3 inputs - 1 trigger input and 2 bipolar CV inputs.

Trigger input

The trigger input triggers a chord change.

If the direction input is unconnected, a single trigger results in a single step in the forwards direction.

Direction input (+-5V)

The direction input normalizes to a single step in the forwards direction.

You can feed this input a bipolar CV (+-5V).

Direction maps the total chord count to 5V. This means that +5V results in a single trigger progressing +n steps, where n is the total chord count.

A negative voltage will do exactly the same but resulting in backwards stepping.

0V equals no movement.

Transpose input (+-5V)

This bipolar CV lets you transpose the current chord up or down within 1 octave.

It is therefore a 5V/oct input.

The reason for this is that it is intended to be used with an analoge voltage source like the Pressure Points from Make Noise, or any other analoge sequencer.

It is much easier to fine tune a 5V/oct signal with a regular potentiometer than a 1V/oct signal.

Outputs

Each voice has a separate color coded 1V/oct CV output.

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


Endlessly customisable digital 'modular system within a modular system'. Includes more than 80 modules, allowing you to create effects, synths, control devices, oscillators, filters and much more.

Supplier's Notes:
What's a Euroboro?

The ZOIA Euroburo is a digital modular system that can be placed in your modular system, a real Russian nesting doll situation. We added a headphone output and a super-slim optional case so the Euroburo can live happily on your desktop or be easily mounted in a Eurorack case. Hence the euro + buro, pronounced "bureau"...get it!?

Create unique signature effects, synthesizers, sequencers and more while using 4 freely assignable CV ins and 4 outs to interface with other CV enabled devices. The additional headphone output and powered 9v case makes the module even more desktop friendly. With over 90 modules from CV utilities to audio effects, oscillators and envelopes to MIDI, the Euroburo can do almost anything to fill the gaps in your setup.

There's no need to worry about getting bogged down with endless menus or a cluttered interface. Creating patches and performing with the ZOIA is a tactile experience. Patching, deleting or moving modules and editing values can all be done quickly using the push-button grid and a flick of the encoder. With the addition of dedicated push buttons for the CV and Audio I/O, patching on the ZOIA has never been faster.

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: ***B-STOCK: Without original box, item shows small amount of damage but in perfect working order***


FLAME "TAKT" rhythm sequencer.

"TAKT" is a compact 30HP Eurorack sequencer module for playing or programming trig- ger/gate/velocity rhythm sequences.

The sequencer has 8 tracks with trigger/gate outputs, 8 velocity/modulation CV outputs and full MIDI functionality. The CV track can also be used independently as a modulation track. Live sequencing in looper mode is possible in two ways: SHOTS for playing "note repeats" or quantized triggering via keys or sensors.

Four tracks can be triggered simultaneously with four external distance sensors. These sensors are just 2HP slim modules that can be rack mounted at desired locations. These are connected directly to the module with narrow and sufficiently long ribbon cables, which also supplies the sensors with the necessary operating voltage. The 4 sensors and the connection cables are included in the scope of delivery. The sensors generate trig- gers/gates and can be switched live as a set between tracks 1-4 and 5-8 (e.g. via foots- witch).

Four syncable LFOs with VCOs for amplitude adjustment are also provided. The LFOs are equipped with many interesting functions. This includes 26 different waveforms, phase, amplitude, speed and output voltage. This can be unipolar or bipolar (0..+5v or +/- 5v) and additionally attenuated by AMP (amplitude) with built-in VCA. This means that the LFO outputs can also be adapted to modules that do not have an input attenuator.

Patterns can be switched live and are each up to 4 bars long. 4 patterns plus a fill pat- tern are saved as a scene. 50 scenes can be permanently stored in the module. This means that 250 patterns are available in total.

Additional inputs and outputs for controls are available. There are 4 CV inputs to be defi- ned by the user, as well as 2 programmable analog clock outputs. On the front there are MIDI input and output as 3.5mm TRS sockets. Firmware updates can be done via MIDI- SYSEX.

HP : 30

Notes: The QSlider black is an analogue CV source with four 60 mm faders.

The control range of the four sliders can be defined with two min/max controls.

The Min controller determines the output voltage at zero position of the slider and the Max controller determines the output voltage at the end position of the slider.

The slider now regulates between these two voltages. This allows you to restrict the control range and still have the entire control path of the slider available.

The reverse voltage is available at a second output socket (min and max are reversed). This means that the slider can also be used as a crossmix fader.

Two common channels can be operated unipolar or bipolar. The voltage ranges are 0..+10V or +/- 5V.

The output sockets are located on an extra 4HP panel for mounting at any point (with approx. 40cm long connection cable). This means that several modules can also be mounted seamlessly next to each other.

Power consumption: 30mA at +12V and 20mA at -12V and 12mA at +5V

Depth: 28mm

18 HP

Notes: Pretzel Logic is a 4 bit to 16 step addressable analogue sequencer which outputs gates. Each of it's 16 steps can be addressed in any order for ultimate creative flexibility. It pairs nicely with Polygraf, High Towers and Akropoli; together they make a powerful combination.

It features 4 address inputs, 1, 2, 4 and 8, each of which has an associated input socket as well as a 3 position state switch which allows each address input to be held high, respond to input signals, or held low. Each input has two status LEDs. The red LED displays the signal present at the input socket, while the green LED displays the status of the address input. The combination of signals present at the input sockets, together with the positions of the state switches allows Pretzel Logic to have 16 different output states, numbered from 0 through to 15. The output state of Pretzel Logic can be ascertained by observing which of the 4 address inputs are high. So, for example:

- If no green status LEDs are on, Pretzel Logic is in output state 0

- If green status LED 4 is on, Pretzel Logic is in output state 4

- If green status LEDs 1, 2 and 4 are on, Pretzel Logic is in output state 7

- If green status LEDs 2 and 8 are on, Pretzel Logic is in output state 10

The input sockets may be addressed by various external modules, for example:

- FC Pocket Calculator, FC High Towers, or similar clock dividers with multiple outputs from other manufacturers.

- FC Polygraf or similar grid editors from other manufacturers.

- FC Little Melody, Akropoli or similar.

As Polygraf is capable of storing many user patterns which themselves are selectable by CV, multiple chained patterns are possible. Furthermore, we accept that users will discover their own unique combinations of FC and third party modules to address Pretzel Logic, always bearing in mind that at any time the status of any of the 4 input sockets may be overridden by the 4 state switches. Pretzel Logic may be latched manually via the Latch toggle switch, or externally via the Latch input. When Pretzel Logic is latched, the last output state to go high is held until Pretzel Logic is unlatched.

Notes: ADSR (Attack-Decay-Sustain-Release) is a module designed to generate a voltage, which acts as the envelope with the adjustable stages. This envelope, generated in response to the incoming gate signal or manually pushed button, can then be used to shape the sound amplitude via VCA, modulate filter's cutoff frequency or any other parameters expecting CV control.
It features exponential Attack, Decay and Release stages, switch to select fast/slow operation mode, push button with led indicator to manually activate the envelope.