ダンスミュージック検索結果

Notes: Saturation is a sound designer's best friend. As applying saturation to a sound can make it sound warm, rich and defined. But without any other processing the opposite can happen; making the sound harsh, destroyed and undefined. An often used technique in music production is to saturate specific parts of the spectrum, adding harmonics to enrich the sound but not lose its original quality.

Wyvern takes this technique and makes it a creative sound design tool. When deconstructed Wyvern is built out of a specific chain: Filter EQ, Saturation, VCA, Dual Filter, Dry/Wet Balance. Different combinations of these stages can be used for a variety of sound design and patch situations. And it is all in stereo, so you can apply it to your final mix and stereo signals with ease too!

The Filter EQ stage has a high-shelf, low-shelf and bell curve to boost or diminish parts of the spectrum. When the gain is set to a minimum the EQ curves turn into low-pass, high-pass and notch respectively. A Resonance control puts emphasis on a certain frequency, or it can be used to make Wyvern scream. This is then sent to a Saturation stage. The Drive control sets the amount of Saturation of one of the three

Saturation types

Soft clipping puts more emphasis on the third harmonic and compresses the sound.

Hard clipping puts emphasis on odd harmonics. Finally an Allpass distortion adds phase shifts and distortion. The Saturation stage also has a level control which can be used to decrease the gain after saturation is applied and can function as a unipolar VCA. The Saturation stage is also accompanied with a clip indicator led and a boost switch to scale input signal correctly or simply add more or less harmonics.

The Post-Saturation stage is a high-pass and low-pass combo. Allowing you to select a frequency band from the previous stages. Along with a balance control to adjust the balance between the dry and wet signal.

Whether you are looking to destroy your sound or go for subtle analogue warmth; Wyvern has got you covered. Even when not used for saturation alone. It can be a Stereo Tone Controller, EQ, Filter, VCA and Phaser, all and anything in between. Making it a very fun and powerful sound design tool!

Features

- Filter EQ with Low-shelf, High-shelf, Bell, Low-pass, High-pass and Notch curves.
- Resonance to add emphasis on a frequency or to make it scream.
- Soft clipping, Hard clipping and Allpass distortion for a variety of flavors.
- Boost switch and clip indicator led to set Saturation scale.
- Level and VCA to adjust level while Saturation amount remains the same.
- High-pass and Low-pass combo to select a part of the spectrum.
- Dry/wet control to dial in the right amount of processed signal.
- Gain with increased and adjustable center detent position.
- V/oct tracking with temperature compensation.

165mA @ +12V // 150mA @ -12V

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

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

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

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

Notes: Loop is a high fidelity looper with four unique recording modes and an intuitive user interface. It can capture up to five minutes of audio with reverse, and half-speed playback accessible. Each recording can use one of four modes: Sound on Sound, Dub, Replace, and Infinite (i.e. Frippertronics). Whether you're looking for minimal part layering, or full blown ambient soundscapes, Loop will take your patch for a ride.

High fidelity audio - 24-bit, 48kHz with five minutes of recording time
Four recording modes: Sound on sound, Dub, Replace, and Frippertronics
Intuitive interface
Half speed and reverse playback

Tech Specs:
Width: 2HP
Depth: 42mm

Notes: A compact attenuverting (attenuator-inverter) joystick controller and Gate Generator. With it, you can generate and process two control voltages using only one hand. Provided controls for CV ranges and offset adjust the boundaries of your control, this way it never gets out of the desired range, ensuring sensibility and playability even with wild performance gestures.

Specifications

Current needs: +12V: 25mA, -12V: 10mA
Width: 12 HP
Depth: 35mm (including power connector)
Aluminium, heat-treated front panel.
Designed, kits prepared and completed modules assembled in Barcelona.

Notes: mBrane is a 4 channel midi to CV interface based on opensource Yarns. The device includes a 1.5m 3.5mm TRS to Midi male cable (Type B). This is the brand new Rev1.1 of the device which now features PSImidi which allows ANY type of TRS midi cable to be used on the input. Type A or B, male or female, all will work.

Running firmware 1.5
Multichannel MIDI to CV/Gate conversion

Yarns is a MIDI interface providing up to 4 channels of very accurate CV/Gate conversion, which can be assigned to up to 4 voices.

In single voice mode, note, velocity, modulation and aftertouch (or other CC) CV are produced, along with a gate, a trigger, and a clock/reset output.

In two voices mode, two channels of note, modulation or aftertouch CV are produced, along with two gates, and clock/reset outputs.

Finally, in four voices mode, four pairs of CV/Gate outputs are provided.

Each voice has a built-in digital LFO to interpret modulation wheel messages as a vibrato; can respond to pitch-bend messages; or can be smoothed with a glide/portamento control - no need for a dedicated module and patches to get the right response from a MIDI keyboard!

Monophonic and polyphonic

The 2 and 4-voice modes are available both in a "polyphonic" and "multitimbral" flavour. The former receives chords from one single MIDI channel and dispatches them to the voices; while the later provides independent monophonic parts - which can be addressed to different MIDI channels, keyboard ranges, or even velocity levels.

Various note priority modes (low, high, last) and polyphonic allocation schemes (voice-stealing, random, cyclic) allows you to fine-tune the CV/Gate conversion to your playing style.

With sequencing and note transformation...

Each part can generate sequences either through an arpeggiator/euclidean sequencer combo; or with a SH-101 style sequencer with step-by-step recording, storing up to 64 notes. The module can sync to an external MIDI clock, and generate a clock/reset output at any subdivisions of the MIDI clock.

...and even more advanced features.

Other unique features include support for microtunings (either through standard MIDI messages or from a selection of historical tunings or indian ragas), just intonation, and an audio output mode which can transform one, two, or four of the CV outputs into simple digital oscillators.

Notes: 16 trigger ins to play up to 4096 wav files from a micoSD card

Nutella is a eurorack conversion module for the Sparkfun Tsunami Super Wav Trigger.
Features:
-16 trigger in & buttons to play audio files.
-MicroSD card to store up to 4096 wav files in 44.1kHz 16bit.
-32 voices polyphony in mono and 18 in stereo.
-Low latency (8ms typically)
-8 audio outs (modular level)
-Midi in (velocity sensitive, supports MIDI Note-On, Note-Of, Pitch Bend and Program Changes messages, as well as Controller messages for real-time control of sustain, attack and release times and volume.
-Ability to play multiple audio stems in sample-locked sync.
-Can be used as a Wav player and Midi-to-Trigger converter at the same time.
-Trigger ins (and so buttons) can be assigned to various functions (normal, next, previous, random, pause, resume, stop, volume up, volume down, trigger bank up, trigger bank down, synced set, midi bank up, midi bank down)
-Easy configurable by an optional ".ini" file stored in the microSD card, a Tsunami Configurator utility (Windows, Mac and Linux versions available), makes it easy to set options and generate this file.
-Super easy firmware update system via microSD card, no external programmer needed.

30 mA +12V
15 mA -12V
200 mA 5V

Notes: Dual 4-way passive mult (one audio or cv signal in with multiple unbuffered outputs)

On the back of the pcb is a pair of solder points marked as "link". You can connect these (with a solder blob or small jumper wire) to turn the mult into a single 8 channel Mult instead of 2 x 4 channel.

Notes: In recent years, stereo signal paths have increasingly found their way into the wonderful world of Eurorack synthesis - so naturally, utilities should follow suit. Introducing psATT, a simple solution to a problem you might not even realise you had. Far from just useful as an attenuator for audio sources in mixdowns, the psATT can also be used to bring stereo audio signals down to more manageable levels (such as line level), attenuate multiple signals simultaneously (like increasing the modulation depth of two LFO's at the same time! It's like having two hands, but with one hand!) and is even normalled, so if you only have a mono signal, the attenuated signal will be present at both outputs. That's what utility is all about!

There's not much else to say, except that it's passive, and draws no power - and it looks very classy in black and gold; and it's also only 2hp.

Notes: Hexmix VCA is a compact six channel VCA with an unique response curve range from logarithmic to linear and to exponential using a pot.

All outputs are routed to output six to act as a mixer, with a normalization of each one to remove each channel from the Mix.

The module can act as six independent VCAs as well as a Mixer for all the inputs (Selectable via a switch).

Every VCA has a response pot for the incoming CV, being full logarithmic at maximum setup and full exponential at minimum setup, having the linear response in the center position.

Level pot of each channel is an attenuator of the signal coming out of each VCA.

Jacks are normalled to 10 volts, so when we have no CV present VCA would be fully open and our Level pot will act as a volume.

Specs:
Current needs: +12V: 50mA, -12V: 50mA
Width: 14 HP
Depth: 35mm (including power connector)
Aluminiun, heat-treated front panel.

Notes: Erica Synths Pico VCO 2 - powerful, full analogue VCO with great tracking over 8 octaves just in 3HP! Combine two of those, add some PWM and have a sound of real analogue beast!

Features:

Manual TUNE and PWM controls
+-1 octave switch
1V/oct input with good tracking across 8 octaves
PWM CV input
Pulse and triangle waveform outputs
Input protection against overvoltage
Protection against reverse PSU connection

Technical specification:

Output signal amplitude: -5V - +5
PWM CV input (full span): -5V - +5V
Power consumption: +21mA, -19mA
Module width: 3HP
Module depth: 35mm

Notes: The 4 Channel Mixer is a basic DC coupled mixer with 4 inputs and 4 attenuators. DC coupled means that it will accept both DC and AC (Audio) signals. As with all Hungry Robot "Modular Boxes" the 4 Channel Mixer can be powered with a simple 9V DC, Negative Center power supply.

PATCH POINTS
-IN (x4): Patch in any audio or CV signal to any of the 4 inputs. (NOTE: Avoid mixing CV and Audio)
-OUT: This output is the sum of the four channels

KNOBS
-LEVEL (x4): Each input has its own attenuator that allow you to bring down the level of the inputs

Dimensions: 4.7" x 2.6" x 1.5"
Power: 9V DC - Negative Center - 2.1mm Barrel

Notes: The CP3PLUS is an accurate recreation in Eurorack format of one of the most appreciated vintage modular audio mixers. The specific distortion makes it not only a great summing unit but also a great sound design tool. The included MULTI is a welcome bonus.

Tech specs:

-width 10HP
-22mm depth behind the panel, including the power connector
-4 mono analog input
-4 input level pots
-1 dual level pot
-one inverting and one non-inverting output jacks
-one 4 jack passive multiple
-standard 10 pin euro power (+12V / -12V)
-power consumption +12V 23mA -12V 25mA

Notes: Neat little interface module to help pad controllers play nicely with Eurorack. Hook up a device like a Launchpad or APC and jam out rhythms with retriggering options, dynamic control and MIDI sync.

Supplier's Notes:
Triggerpad is a dynamic trigger/gate sequencer in eurorack format on only 6hp. A USB MIDI controller with an 8×8 grid like Launchpad or APC is used to display and edit the patterns (see the list of compatible controllers). The user experience is tailored to live performance and detailed composition: dial in simple rhythms or complex polyrhythms, retrigger at audio rate, create dynamic percussions with velocity triggers or use longer pulses to create steppy modulations.

By using USB MIDI controllers that you might already have and maybe not use anymore, we avoid producing more plastic. Give your old gear a second life!

Dimensions & consumption

Width: 6hp
Depth: 39mm
+12V: 120mA (without USB MIDI controller connected)
-12V: 20mA
5V: 0mA
USB MIDI controllers consume up to 150mA on +12V

Connectivity

8 dynamic trigger/gate outputs (0-10V)
USB MIDI Host
Clock in
Clock out
Reset in
Reset out

Compatibility

Launchpad Pro Mk3
Launchpad X
Launchpad Mini Mk3
Launchpad Mini Mk2
Launchpad Pro
Launchpad Mk2
Launchpad S
APC Mini Mk1
APC Mini Mk2

Notes: The Sampling Modulator is a multi-function module that lies somewhere between a VCO, a Sample & Hold, and an 8 step trigger sequencer.

Sequencer Clocked Sample & Hold

In this mode it acts like a regular Sample and Hold (S&H) but since it is "sequencer clocked", it is capable of much more interesting patterns than the usual S&H melodies.

The CLOCK input can work in two ways: 1. As a typical clock 2. In "positive going hard sync" mode allowing you to create shuffling and polyrythmic effects.

The HOLD input can be used to keep certain notes playing.

Analog Down-Sampling Effect

In this mode (with the clock running at audio rates) you can go from nasty and harsh sampling rate reduction to an almost clean signal. (The clock run up to 25Khz without external CV and up to 200Khz with CV on the input).

Sampling Modulator/Shaper

Thanks to the V/Oct clock, by feeding a simple waveshape such as a sine wave to IN, and pitch CV to the VCO as well as to the Sampling Modulator CV input, their related frequencies and aliasing caused by the sampling rate reduction are capable of creating clangorous metallic sounds, 8 bit textures and much more.

The game becomes much more interesting when you try to destroy the wave by flipping on and off the switches of the sequencer (which at times can make it sound like three VCOs running in unison).

To understand how the Sampling Modulator works, keep in mind that we are working with a temperature compensated ramp core VCO with more than 4 octaves of tracking. This allows the timbre to stay the same while you move through the scale as the internal and external VCOs are synced in a fashion similar to "frequency related sampling rate modulation"

Unusual V/oct VCO You can use the trigger outputs as a pulse VCO. Flipping the switches on and off the switches can offer a lot of interesting timbral changes.

Notes: A premium headphone amp module capable to drive low and high impedance phones to high enough SPL, with good dynamic range and very low distortion.

Tech specs:

- Panel width 6HP
- 35mm depth behind the panel, including the power connector
- 1 control pot : Phones Level
- 1 mode switch : Switch from stereo to mono for both channels
- 2 input jacks
- 1 stereo output jack
- standard 10 pin euro power +12V/-12V
- power consumption +12V 100mA , -12V 50mA

Notes: Brilliantly powerful trigger module, capable of acting as a master clock and a sequencer, generating gate signals and pulses. Good hands-on control options for live performances.

Supplier's Notes:

The Trigger Riot is a multipurpose trigger module that makes ultra complex patterns of gates triggers and clock pulses. The Riot covers a lot of ground in any Eurorack system from the master clocking for your entire system to algorithmic generation of pulses for envelopes, step sequencers, drums and accents that can venture into highly complex territory driven by simple yet powerful logic and algebra with a dash of pseudo randomness for some unpredictable results.

The user interface allows a great deal of control over pulses with each knob acting as a clock divider, clock multiplier, step injector, time shifter, clock shifter, pulse-width modulator, and an arithmetic probability processor. Now take that control and multiply it by 16 and feed it into 8 outputs for maximum Trigger Riot madness!

Furthermore the interface features a master clock knob, push switches to mute unmute and select rows, and multiple switches to configure, adjust, create loops and save your work for later recall from memory banks.

Trigger Riot integrates nicely in the studio with non-volatile memory, generous synchronization options with external gear including sample accurate sync with DAWs, smart synchronization to other Tiptop modules using SyncBus, and DIN Sync for vintage gear. A precise internal tempo clock generator with tap tempo and BeatSync to manage precise changes round out the features.

Notes: Updated version of a truly pioneering Eurorack module that introduced DSP effects to the format. Still sounds great, still versatile, still excellent value.

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

Notes: VCO:

- Tune: manual tune control (with an internal jumper the range can be set to ~ +/-1 half an octave or ~ +/-2.5 octaves)
- Oct: range switch -1 / 0 / +1 octave
- Mod: modulation depth (attenuator wired to the Mod. socket)
- Dest: switch that is used to address the modulation to frequency modulation (position FM) or pulsewidth modulation (positon PM), in centre positon no modulation
- PW: manual pulsewidth control for rectangle waveform, PW can be also modulated by the Mod. input as mentioned above
- Wave: waveform switch (sawtooth / off / triangle), the sum of the waveform chosen by this switch and the rectangle is fed into the VCF (to turn the rectangle off the PW control has to be set fully CCW or fully CW)
- 1V/Oct. (socket): external CV input for VCO frequency (1V/octave)
- Access to internal bus CV (via jumper, optional, please remove the bus jumper if this feature is not used to avoid unwanted frequency modulation as then the unused CV line of the bus works as a kind of antenna)
- Triangle core VCO, frequency range about 32Hz ... 8kHz

Balance unit:

- The balance unit is made of two VCAs which are controlled by the sum of manual Balance control and the balance CV input in the opposite direction.
- The audio input of VCA1 is hard-wired to the VCO output, audio input 2 is connected to the socket Ext.In.
- The output of the balance unit is used as audio input for the VCF
- Bal.: manual balance control, fully CCW the internal VCO is used, fully CW the external signal (Ext.In) is used, at centre position both signals have about the same level
- CV Bal.: CV input for balance (range about 0...+5V)
- Ext. In: external audio input for VCA2, about 5 Vpp level required for similar loudness as the internal VCO
- This socket is normalled to the internal VCO suboctave f/2 signal (rectangle with half the frequency), if no external signal is applied the suboctave signal is used as the second signal for the balance unit

VCF:

- 24 dB low pass
- Frq: manual frequency control
- FM1: frequency modulation depth (attenuator wired to the VCF FM1 socket, the socket is normalled to the internal Envelope signal and then FM1 controls the modulation depth of the internal envelope applied to the filter)
- FM2 (socket) : second CV input for VCF without attenuator (about 1V/octave), can be used e.g. for VCF tracking by connecting the same CV which is used also for the VCO frequency
- Res: manual resonance control (up to self oscillation)
- If the VCO is turned off (waveform switch = centre position, pulsewidth control = fully CCW or CW) and the VCF resonance is set to maximum the module can be used as a sine oscillator, the tracking at socket VCF FM2 is about 1V/octave (not as precise as the VCO but much better than most other filters)
- ~ 11 octaves frequency range (~ 10 Hz ... 20kHz)

VCA:

- Gain: manual amplitude control (initial gain), can be used to open the VCA without envelope signal
- VCA (switch): used to switch between gate and envelope as control signal for the VCA, in centre position the VCA is not controlled by envelope or gate
- Note: when gate is used the VCA is controlled directly by the gate signal (i.e. hard on/off), this may lead to clicking noise under certain conditions (especially with low VCO/VCF frequencies)
- Special control scale: exponential scale in the range from about -20dB to -80/90dB, linear scale from about -20dB to 0dB
- Remark: this special control scale results in a loudness behaviour that is a bit different from pure linear or exponential VCAs
- Out: audio output of the module (= VCA output)

Envelope:

- Gate (socket): Gate input (min. +5V), can be normalled to the bus gate signal by means of a jumper
- Att: manual control for Attack
- D/R: manual control for Decay/Release
- Env. (switch): used to switch between A/D, ADSR and A/R mode of the envelope generator, in centre position (ADSR) the sustain level is fixed to about 50%
- Envelope (socket): envelope output (about +10V)
- CVT (socket): CV input for time control, by means of two internal jumpers one can select which time parameters are controlled by the CVT input (e.g. A only or D/R only or A/D/R) and in which direction (i.e. if an increasing CVT shortens or stretches the time parameter in question)
- Envelope LED display
- Attack time range: ~ 1ms ... 5 sec (can be extended by using the CVT input)
- Decay/Release time range: ~ 1ms ... 15 sec (can be extended by using the CVT input)

Notes: Take a DJ-mixer-style combined high-pass and low-pass filter, cram it into Eurorack and you have the DJ VCF. A simple formula, but one perfected by Erica's attention to detail, with CV control and adjustable resonance.

Supplier's Notes:
As its name suggests, the Erica Synths Black DJ VCF provides sound treatment functionality typically found on DJ decks - it is fully open when the cutoff knob is set to 12:00. When turned counter-clockwise, lowpass filtering is applied and when turned clockwise, highpass filtering is applied. The filter also has a nice-sounding resonance parameter. This module provides hands-on control over the sound during the performance, as well as unconventional timbre modulations that are hard to achieve with conventional state variable filters. The Black DJ VCF is a fully analogue design and consists of two VCFs - highpass and lowpass in series and the filter management is done by complex CV routing.

CUTOFF
This is the main control of the module - manual cutoff frequency adjustment with a twist - it's fully open when the cutoff knob is set to 12:00. When turned counter-clockwise, lowpass filtering is applied and when turned clockwise, highpass filtering is initiated

AUDIO LVL
Adjust the audio signal level

RESONANCE
Adjust the resonance level manually. On settings over 1PM, the filter will start to self-oscillate. The resonance is incoming audio signal-sensitive - a signal of greater amplitude may reduce the impact of resonance on the resulting sound

CV1 LVL
This is the cuto CV attenuverter. Adjust the CV level to your taste! Notice that the cutoff CV works differently compared to conventional state variable filters - it sweeps the filter from closed lowpass through fully open to closed highpass

CV2 LVL
This is another cuto CV attenuator

CV2 IN
This is the cuto CV2 input, which is controlled by the attenuator knob

AUDIO IN
Patch your audio signal here.

OUTPUT
This is the audio output of the module.

CV1 IN
This is the cutoff CV1 input. The CV1 level is adjustable by the CV1 LEVEL attenuverter knob.

Features
Fully analogue DJ-style VCF
Manual resonance control
Cuto ff CV attenuverter and attenuator
Input and output
Protection against undesired overvoltage

Technical specifications:

Audio level: 10Vptp
CV level : -10V - +10V
Filter slope: 24dB/oct
Power consumption: +55mA, -58mA
Module width: 10HP
Module depth: 35mm

Notes: Chimera is a granular synthesis module that specializes in drum sounds. It offers a wide range of detailed sample sources as well as its own synthesis engine. Firmware updates can be performed via USB.

The module features various samples called Surfaces. The samples are mainly metallic sounds:

Tambourine
Bells
Drill
Wrenches
Cartridge cases
Coins
Chains
Metal housings
Broken modular front panels

Chimera uses impulsive sounds with lots of detail and long decay times to create detailed shaker-like sounds. The granular synthesizer was developed around the samples here, this has the advantage that the percussion sounds sound so more natural.

Power consumption: 63mA at +12V and 17mA at -12V

Depth: 38mm

HP : 8

Notes: Module A-171-2 is a voltage controlled slew limiter with a lot of additional features beyond a simple slew limiter. It's mostly a licensed copy of Ken Stones VCS which is in turn based on the Serge VCS.

Typical applications:

- VC Slew Limiter / VC Portamento / VC Low Pass Gate:

Cycle switch = off, no trigger signal applied to Trig socket: Voltage controlled Slew limiter or portamento generator: the signal applied to the signal input is "slewed". The slew up and down times are controlled manually by means of the Up and Down controls, the effect of the CV Up and CV Down control voltages are controlled by the CV Up and CV Down controls, in exponential mode these controls also affect the slew shape (see symbols at the CCW and CW positions of the controls).

If an audio signal is applied an short slew rates are chosen the module works as a simple VCF/VCA combo.

- A/D Envelope Generator / Pulse Delay / Subharmonic Generator:

Cycle switch = off, trigger signal applied to Trig socket, no input signal: Simple Attack/Decay envelope Generator, the rise and fall times are controlled like the slew up/down times above, including the shape of the falling/rising slope of the envelope, the exp. CV input can be used to change both attack and decay simultaneously.

At the End output a pulse appears as the end of the envelope is reached (less than about 20mV), this can be used as a pulse delay.

If a series of triggers are applied to the VCS faster than the total rise and fall times, the module will divide the incoming signal by a whole number. In the audio range the output will be the sub-harmonic series.

- VCLFO / VCO:

Cycle switch = on, no trigger signal applied to Trig socket, no input signal: Voltage controlled LFO/VCO, the rise and fall times of the waveform are controlled like the slew up/down times above, including the shape of the falling/rising slope
the exp. CV input can be used like the CV input of a VCO or VCLFO, the response is exponential but not exactly 1V/oct.

Notes: Module A-118-2 is the slim version of module A-118-1 and offers essentially the same features as the A-118-1. But the distances between the controls are smaller and rubberized small-sized knobs are used. In return the front panel has 4 HP only which is half the width of the A-118-1. The module is primarily planned for applications where only limited space is available. The functional difference between A-118-1 and A-118-2 is the additional T&H/S&H unit which is not included in the A-118-1.

The module generates the signals white noise, colored noise, continuous random voltage and stepped random voltage (derived from the continuous random voltage by means of a S&H/T&H unit).

The noise signal is generated 100% analog by amplification of the noise of a transistor. White and colored noise are usually used as audio sources. The random voltages are normally used as control voltages (e.g. for filter frequency or any other voltage controlled parameter).
The A-118-2 gives you the ability to mix the relative amounts of Red (low frequency component) and Blue noise (high frequency component) in the colored noise output.

For the continuous random voltage the rate of change (Rate) and amplitude (Level) of the random voltage can be adjusted. The continuous random voltage is derived from the colored noise signal by low pass filtering. Consequently the settings of the controls for the colored noise (Blue, Red) affect the behavior of the random voltage! A dual color LED (red = positive / yellow = negative output voltage) indicates the continuous random voltage.

The continuous random voltage is used as source for the S&H/T&H unit. The type of operation can be set to S&H (sample and hold) or T&H (track and hold). When T&H is chosen the output signal follows the input signal (= continuous random voltage) as long as the Clock input is "high". As soon as the clock signal changes to "low" the last voltage is stored. When S&H is chosen the input signal (= continuous random voltage) is sampled at the rising edge of the Clock signal.

For the Clock signal a "digital" signal (e.g. Clock, Gate, rectangle output of an LFO) is required. It does not work with slowly changing continuous CV signals. Another dual color LED (red = positive / yellow = negative output voltage) indicates the stepped random voltage.

Controls:

Blue: share of the high frequencies in the the colored noise output
Red: share of the low frequencies in the the colored noise output
Rate: rate of change of the continuous random voltage
Level: amplitude of the continuous random voltage
TH/SH: switches between T&H and S&H

Inputs and outputs:

RND: continuous random voltage output (with LED display)
TH/SH: stepped random voltage output (with LED display)
Clk: Clock input of the S&H/T&H unit
C Noise: colored noise output
W Noise: white noise output

Important notes:

After power on it takes a few minutes until the two noise signals and the random signals are generated. The module is not faulty when after power on the signals do not appear immediately!

The S&H/T&H function is realized by pure analog circuitry (electronic switch followed by a holding capacitor and buffer). Consequently the output voltage drifts a bit in the holding state because the capacitor is discharged by parasitic resistors. The drift depends also upon environmental conditions like humidity or temperature.

Dimensions
4 HP
40 mm deep

Current Draw
20 mA +12V
20 mA -12V

Notes: A typically comprehensive approach to noise sources from Befaco, featuring five different circuits plus two analogue multimode filters and plenty of CV controls for sculpting the output.

Supplier's Notes:
Noise plethora has three different noise generators:

The first two are identical and are composed of digital algorithms followed by a 12dB analog multimode filter.
Each program has two variables (Named X and Y) addressed by two manual controls and two associated control voltage INs.
Ships with an extensive (and expanding) algorithms library: textures, wave clusters, harsh noises, and glitches.

Generator C has three simultaneous outputs:

White. Flat Response Classic white noise.
Gritty. Granulous texture noise, with voltage-controlled grit quantity.
Filtered. Is the White or Gritty noise followed by a 24dB multimode VCF.

A total of 5 different noise sources in one module!

Dimensions:

14 HP
25 mm deep

Current Draw
110 mA +12V
67 mA -12V
0 mA 5V

Notes: Module A-121s is a dual multimode filter which can be used for stereo applications as well as for parallel or serial organized dual mono filters. The core is a 12dB multimode filter identical to the modules A-121-2 and A-121-3. The selection of the filter type is continuously from lowpass via notch and highpass to bandpass. We attached great importance to the usability of the manual controls and CV inputs for both stereo and dual mono applications. For the filter parameters frequency (F), resonance (Q) and type (T) common controls and CV inputs as well as single controls and CV inputs are available. For the filter frequency in addition a manual control and CV input for the filter spread (frequency difference or delta F) is available.

Controls:
F: master frequency control for both filters (large knob)
Type 1 / Type 2: filter type panning/morphing L-N-H-B
Link to 1: Toggle switch so that Type 1 also controls type of filter 2 (i.e. simultaneous filter type control for both filters)
SFM1 / SFM2: Single Frequency Modulation controls (polarizers), connected to the corresponding sockets SFM1/SFM2 (socket SFM1 is normalled to a fixed positive voltage, SFM2 is normalled to SFM1, that way the controls SFM1/SFM2 work as frequency controls for each filter provided that no modulation signals are patched to the SFM1/SFM2 sockets)
CFM: common frequency control, controls two VC-polarizers which process the signals connected to the two sockets CFM1/CFM2, CFM2 is normalled to CFM1, that way also the same modulation signal (e.g. an envelope generator) can be used for both filters and the level controlled simultaneously by the CFM control
Delta F: controls the difference between the frequencies of the two filters manually (frequency "spread"), at centre position the frequencies are the same
Delta FM: controls the level of the Delta FM signal (socket), which allows to control the spread between the frequencies also by an external control voltage (e.g. by an LFO or ADSR)
Q: controls the resonance of both filters simultaneously
Level 1 / Level 2: attenuators for the two audio inputs
QM/TM1, QM/TM2: attenuators for the modulation inputs QM/TM1 and QM/TM2

Sockets:
In1 / In2: audio inputs (In2 is normalled to In1)
Out1 / Out2: audio outputs
F: common frequency control input for both filters (~ 1V/oct)
Delta FM: Control voltage for frequency spread, processed by the polarizer Delta FM
SFM1 / SFM2: single frequency modulation inputs, processed by the polarizers SFM1 and SFM2, SFM1 is normalled to a fixed positive voltage, SFM2 is normalled to SFM1#
CFM1 / CFM2: common frequency modulation inputs, processed by the two voltage controlled polarizers controlled by CFM knob, CFM2 is normalled to CFM1
QM/TM1, QM/TM2: the addressing of these sockets/attenuators is defined by internal jumpers. QM means Q modulation (i.e. resonance modulation), TM means filter type modulation (QM1 = resonance modulation filter 1, QM2 = resonance modulation filter 2, TM1 = filter type modulation filter 1, TM2 = filter type modulation filter 2), socket QM/TM1 is normalled to a fixed positive voltage, QM/TM2 is normalled to QM/TM1
A 45 degrees triangle next to a socket means that the switching contact of the socket is normalled to a fixed positive voltage (SFM1, QM/TM1).
A vertical triangle indicates the normalling of two sockets (In1>In2, SFM1>SFM2, CFM1>CFM2, QM/TM1>QM/TM2).

If the filters do not behave as expected please pay attention to these peculiarities:

For the controls SFM1, SFM2, CFM, Delta F and Delta FM the centre position is the neutral position as these are polarizers. If the filter behaves unexpected these controls should be set to centre positions for the time being.

For the controls F, Q, Level 1, Level 2, QM/TM1 und QM/TM2 the fully CCW position is the neutral position as these are standard attenuators. If the filter behaves unexpected at least the controls QM/TM1 and QM/TM2 should be set to fully CCW. Via the normalling of the sockets QM/TM1 and QM/TM2 and the associated controls the filter parameters adjusted by the major controls (e.g. Type 1, Type 2 or Q) may be overwritten.

By means of small circles at the bottom right side of the front panel the user can mark the function of the QM/TM inputs. These assignments are possible:
QM/TM1 controls QM1, QM/TM2 controls QM2, the filter types are not controlled by external CVs
QM/TM1 controls TM1, QM/TM2 controls TM2, the resonances are not controlled by external CVs
QM/TM1 controls QM1 and QM2 simultaneously, QM/TM2 controls TM1 and TM2 simultaneously

Notes: LINK is the module that bridges Eurorack to destop mixers - it has 5 sections that attenuate Eurorack signals to line level signals and sends them to 6.3mm jacks for quality connection to the mixer.

Notes: Module A-121s is a dual multimode filter which can be used for stereo applications as well as for parallel or serial organized dual mono filters. The core is a 12dB multimode filter identical to the modules A-121-2 and A-121-3. The selection of the filter type is continuously from lowpass via notch and highpass to bandpass. We attached great importance to the usability of the manual controls and CV inputs for both stereo and dual mono applications. For the filter parameters frequency (F), resonance (Q) and type (T) common controls and CV inputs as well as single controls and CV inputs are available. For the filter frequency in addition a manual control and CV input for the filter spread (frequency difference or delta F) is available.

Controls:
F: master frequency control for both filters (large knob)
Type 1 / Type 2: filter type panning/morphing L-N-H-B
Link to 1: Toggle switch so that Type 1 also controls type of filter 2 (i.e. simultaneous filter type control for both filters)
SFM1 / SFM2: Single Frequency Modulation controls (polarizers), connected to the corresponding sockets SFM1/SFM2 (socket SFM1 is normalled to a fixed positive voltage, SFM2 is normalled to SFM1, that way the controls SFM1/SFM2 work as frequency controls for each filter provided that no modulation signals are patched to the SFM1/SFM2 sockets)
CFM: common frequency control, controls two VC-polarizers which process the signals connected to the two sockets CFM1/CFM2, CFM2 is normalled to CFM1, that way also the same modulation signal (e.g. an envelope generator) can be used for both filters and the level controlled simultaneously by the CFM control
Delta F: controls the difference between the frequencies of the two filters manually (frequency "spread"), at centre position the frequencies are the same
Delta FM: controls the level of the Delta FM signal (socket), which allows to control the spread between the frequencies also by an external control voltage (e.g. by an LFO or ADSR)
Q: controls the resonance of both filters simultaneously
Level 1 / Level 2: attenuators for the two audio inputs
QM/TM1, QM/TM2: attenuators for the modulation inputs QM/TM1 and QM/TM2

Sockets:
In1 / In2: audio inputs (In2 is normalled to In1)
Out1 / Out2: audio outputs
F: common frequency control input for both filters (~ 1V/oct)
Delta FM: Control voltage for frequency spread, processed by the polarizer Delta FM
SFM1 / SFM2: single frequency modulation inputs, processed by the polarizers SFM1 and SFM2, SFM1 is normalled to a fixed positive voltage, SFM2 is normalled to SFM1#
CFM1 / CFM2: common frequency modulation inputs, processed by the two voltage controlled polarizers controlled by CFM knob, CFM2 is normalled to CFM1
QM/TM1, QM/TM2: the addressing of these sockets/attenuators is defined by internal jumpers. QM means Q modulation (i.e. resonance modulation), TM means filter type modulation (QM1 = resonance modulation filter 1, QM2 = resonance modulation filter 2, TM1 = filter type modulation filter 1, TM2 = filter type modulation filter 2), socket QM/TM1 is normalled to a fixed positive voltage, QM/TM2 is normalled to QM/TM1
A 45 degrees triangle next to a socket means that the switching contact of the socket is normalled to a fixed positive voltage (SFM1, QM/TM1).
A vertical triangle indicates the normalling of two sockets (In1>In2, SFM1>SFM2, CFM1>CFM2, QM/TM1>QM/TM2).

If the filters do not behave as expected please pay attention to these peculiarities:

For the controls SFM1, SFM2, CFM, Delta F and Delta FM the centre position is the neutral position as these are polarizers. If the filter behaves unexpected these controls should be set to centre positions for the time being.

For the controls F, Q, Level 1, Level 2, QM/TM1 und QM/TM2 the fully CCW position is the neutral position as these are standard attenuators. If the filter behaves unexpected at least the controls QM/TM1 and QM/TM2 should be set to fully CCW. Via the normalling of the sockets QM/TM1 and QM/TM2 and the associated controls the filter parameters adjusted by the major controls (e.g. Type 1, Type 2 or Q) may be overwritten.

By means of small circles at the bottom right side of the front panel the user can mark the function of the QM/TM inputs. These assignments are possible:

QM/TM1 controls QM1, QM/TM2 controls QM2, the filter types are not controlled by external CVs
QM/TM1 controls TM1, QM/TM2 controls TM2, the resonances are not controlled by external CVs
QM/TM1 controls QM1 and QM2 simultaneously, QM/TM2 controls TM1 and TM2 simultaneously

Depth: 45mm
HP : 12

Notes: Erica Pico VCF1, is a younger brother of Erica Black Polivoks VCF, designed on the similar topology using rare Russian op amps. As result you get a filter great for acid bass lines, screaming resonance sweeps and deep wobbles.

Features:
- Lowpass and bandpass modes
- Self oscillation
- Rare russian opamps used
- Input protection against overvoltage

Dimensions
3 HP
35 mm deep

Current Draw
12 mA +12V
11 mA -12V

Notes: Erica Pico Voice is amazingly versatile sound source in just 3HP. It features 8 sound generation algorithms: Karplus Strong, Chords, Wavetable, TB303 bassline emulation, PWM, Supersaw, Wavefold and Harmonic saturation, with three adjustable parameters per algorithm and CV control over one user defined parameter. Despite the small size, Pico Voice sounds bigger than it is!

Dimensions
3 HP
35 mm deep

Current Draw
30 mA +12V
20 mA -12V

Notes: Erica Pico LFO/S&H is full analogue modulations source - LFO with simultaneous triangle and pulse wave outpus and Sample and Hold - to provide some controlled randomness to your modular setup. It can also work as clock source.

Features:
Full analogue circuit
LFO with triangle and square wave outputs
Highly stable S&H circuit based on AS1100CK2 IC
Input and output protection against overvoltage
Protection against reverse PSU connection

Dimensions
3 HP
35 mm deep

Current Draw
13 mA +12V
10 mA -12V

Notes: Erica Synths Bassline is fully analogue synth voice module for ultimate basslines and leads.

It features AS3340 VCO with three waveforms, a filter inspired by Erica Synths Acidbox and unique features - transistor based suboscillator and two BBD lines that emulate VCO detune creating a sound of massive polysynth from one oscillator.

Accent provides more expression to the bassline, by adding volume and opening the VCF slightly.

Notes: Immense power in this multi-featured sequencer from one of our favourite brands. Four channels of 64-step sequences with advanced options including probability, quantising and randomisation.

Supplier's Notes:
The Erica Synths Black Sequencer takes classical modular sequencing to the next level by adding tons of features required for contemporary modular synthesizers.

The Black Sequencer features 4 channels with CV, gate and modulation outputs, up to 64 step sequences that can be chained into songs, independent track time divisions, multiplications and lengths. It includes a built-in quantizer, LFOs, envelope generators, parameter randomization, a MIDI in/out and many other features essential for composing and performing electronic and experimental music. Even though it provides many programmable parameters per step, it's intuitive, easy and straightforward to use, and could well become a master controller for many modular setups.

Black Sequencer firmware 1.04 is now available!

It adds output quantiser which can quantise track outputs in real time or rewrite notes in the sequence. Update also adds new track and synced LFO time divisions.

Technical specifications:

Power consumption: +145mA, -25mA
Module width: 42HP
Module depth: 25mm

Notes: Erica Synths Snare Drum is developed in collaboration with the French company e-licktronick and it's our take on analogue snare drum circuits adapted for modular systems. Sharp, punchy sounds, Accent & CV control over key parameters of the module make it distinctively expressive in studio and live performances.

Features
Tune, Snappy, Noise tone and Decay controls
CV control with attenuators over Tune and Decay
Manual trigger
Accent for better expression

Specifications
Decay range: 150ms - 260ms
Audio output level: -5...+5V
CV level (full span): -5 - +5V
Accent CV level: 10V
Trigger level: 5V
Trigger time: 1ms
Power consumption: 37mA@+12V, 35mA@-12V
Module width: 10HP
Module depth: 35mm

On this run of modules the Pitch & Decay CV inputs are inverted: rising CV will decrease pitch, falling - increase.

Notes: Pico BBD is surprisingly great sounding (we were surprised ourselves), full analogue 4092 stage bucket brigade delay module; the smallest BBD in Eurorack. Besides nice and clean flanger and delay effects, at full CW settings of TIME and feedback knobs it can produce extreme sonic artefacts. Tweak knobs and enjoy!

Notes: Tiptop Audio's Z-DSP is a cartridge-based open source digital sound processing and effects generating platform for your modular synthesizer. Lush audio processing, greater stereo depth and a unique set of digital synthesis is what the Z-DSP is all about.

The Z-DSP has a stereo digital sound processor with 24-bit sampling, 15kHz of bandwidth, voltage-controlled parameters of stereo feedback, program switching, DSP parameters, equal power crossfading dry/wet mixing, as well as sequential program control switching and a clear display - all in Eurorack format. A dedicated clocking input for the DSP chip does wonders to passing sound by bending the algorithms in an unexpected way, a hardware technique computer plugins can't do and is unique to the Z-DSP.

In a recent update, the Z-DSP (NS) got an all new design of its analogue circuitry, contributing to a lower noise signal path, clearer sound of the entire frequency range, lower distortion and better immunity to noise emitted by other modules sharing the same power supply. A new analogue dry/wet circuit has been implemented to remove the 3db gain drop when the mix knob passes through the centre of the dial making the use of this function more practical in a live application. A reverse polarity protection has been added as well. The new front-panel matches Tiptop's colourful design, and a single printed circuit board and surface mount technology improve reliability during production and use. The powerful Z-DSP engine remains the same as the original Z-DSP module and all cards are compatible across both versions.

An assortment of interchangeable cards, programmed by Tiptop Audio and specialists like Valhalla DSP, provide a wide range of boutique effects algorithms such as Halls of Valhalla, Time Fabric, Clocked Delays and Grain De Folie. Tiptop Audio also offers blank Z-DSP cartridges and a development tool called NumberZ for developers, students and power users who want to design their own effects and cards with the FV-1 DSP chip programming language. Blank cards can be loaded using programs that are freely available for non-commercial use and can be found in the modular community through online forums. With each card swap, the Z-DSP takes on new effect algorithms, changing like a digital chameleon and bringing colourful digital effects processing to your Eurorack setup.

The Z-DSP comes included with 2 cards: Halls of Valhalla and Dragonfly Delay MKII.

Notes: Module A-105-2 is a voltage controlled low pass filter with 24dB/octave slope.

It is the successor of the A-105 which had to be discontinued because the obsolete SSM2044 filter circuit. The A-105-2 is based on the SSI2144 which is in turn the successor circuit of the SSM2044. The features of both modules are nearly the same. The main difference is the clearly reduced front panel width of the A-105-2 (4HP instead of 8HP) and the associated changes of the controls and sockets positions. In addition the A-105-2 is equipped with 2 audio inputs.

The module has these controls and in/outputs available:

Control Frequ: manual frequency control
Control FCV2: attenuator for the frequency control voltage applied to socket FCV2
Control Q: manual resonance control
Control QCV: attenuator for the resonance control voltage applied to socket QCV
Control Input 1 Level: attenuator for the audio input signal applied to socket Input 1
Socket Input 1: audio input 1 (with attenuator)
Socket Input 2: audio input 2 (without attenuator)
Socket FCV1: frequency control voltage 1 (without attenuator, about 1V/oct scale)
Socket FCV2: frequency control voltage 2 (with attenuator)
Socket QCV: resonance control voltage (with attenuator)
Socket Out: audio output
Technical notes:

Frequency range: about 15Hz ... 15 kHz
Resonance up to self oscillation
Max. input voltage at Input 2 without clipping/distortion: about 15Vpp
Max. output voltage without clipping/distortion: about 15Vpp
The signals of both inputs are mixed before they are processed by the filter. This saves an external mixer for small setups.
Depth: 45 mm

HP : 4

Notes: Tiptop Audio's Z-DSP is a cartridge-based open source digital sound processing and effects generating platform for your modular synthesizer. Lush audio processing, greater stereo depth and a unique set of digital synthesis is what the Z-DSP is all about.

The Z-DSP has a stereo digital sound processor with 24-bit sampling, 15kHz of bandwidth, voltage-controlled parameters of stereo feedback, program switching, DSP parameters, equal power crossfading dry/wet mixing, as well as sequential program control switching and a clear display - all in Eurorack format. A dedicated clocking input for the DSP chip does wonders to passing sound by bending the algorithms in an unexpected way, a hardware technique computer plugins can't do and is unique to the Z-DSP.

In a recent update, the Z-DSP (NS) got an all new design of its analogue circuitry, contributing to a lower noise signal path, clearer sound of the entire frequency range, lower distortion and better immunity to noise emitted by other modules sharing the same power supply. A new analogue dry/wet circuit has been implemented to remove the 3db gain drop when the mix knob passes through the centre of the dial making the use of this function more practical in a live application. A reverse polarity protection has been added as well. The new front-panel matches Tiptop's colourful design, and a single printed circuit board and surface mount technology improve reliability during production and use. The powerful Z-DSP engine remains the same as the original Z-DSP module and all cards are compatible across both versions.

Notes: Lots of functionality in a compact format thanks to Doepfer's typically smart approach. Eight linear VCAs with three mixers built in for good measure. Can be used for both audio and CV signals. Versatile.

Supplier notes:
Module A-130-8 contains eight linear voltage controlled amplifiers (VCAs). Each VCA features a control voltage input (CV), a signal input (In) and a signal output (Out). In addition three mixers are included: the socket labelled "1-4" outputs the sum of the VCAs 1-4, the socket labelled "5-8" outputs the sum of the VCAs 5-8, the socket labelled "1-8" outputs the sum of all eight VCAs.

The signal inputs are able to process levels up to 10Vpp without clipping. Each CV input is equipped with a trimming potentiometer that is used to adjust the sensitivity of the CV input in question. In the factory the module is adjusted for the CV range 1...+5V but can be re-adjusted by the user for other control voltage ranges (e.g. 0...+10V).

The amplification range for each single VCA is 0...1. The signals of the sum outputs have a lower amplification to avoid distortion.

The VCAs and mixers are fully DC coupled, i.e. the module can be used for the processing of both audio and control voltage signals. The control voltage and signal inputs can be normalled by means of small solder pads (e.g. 1 > 2 > 3 > 4 and so on, or 1 > 5, 2 > 6, 3 > 7, 4 > 8 for the stereo application mentioned below).

Typical applications:
any kind of VCA application (e.g. voltage controlled attenuation of audio or control voltage signals)
two voltage controlled mixers with four channels each
voltage controlled stereo mixer with four channels each, for this the control voltage inputs have to be correspondingly patched or internally normalled: CV1=CV5 /CV 2=CV6 / CV3=CV7 / CV4=CV8
voltage controlled mixer with eight channels
add-on for the planned Joystick module A-174-4

HP : 6

Notes: A-133-2 is the slim version of the A-133 but has some additional features and improvements available compared to the A-133.

Module A-133-2 can be used for a lot of applications: as a simple VCA, or a voltage controlled polarizer/attuverter, or a voltage controlled inverter up to a DC coupled ring modulator. In principle the module contains two special voltage controlled amplifiers (VCAs) that allow both positive and negative amplification.

The overall amplification is definded by the sum of the voltage generated by the Man control, the external control voltage CV and the position of the CV control which works as an attenuator for the external control voltage. Without external CV the amplification is +1 when the Man control is fully CW. In the center position the amplification is zero and fully CCW it's -1 (i.e. the incoming signal is inverted). By means of the external control voltage CV the manually adjusted amplification can be modulated. CV can be both positive or negative (i.e. bipolar) to obtain positive or negative amplification values controlled by the external CV.

In addition the CV signal can be modulated via the modulation control input Mod by means of another control voltage. The Mod socket is normalled to +5V, i.e. a constant positive voltage is used as modulation CV provided that no plug is inserted into the Mod socket.

The current amplification is displayed by a dual color LED (note: it's not a signal display but indicates the amplification, probably yellow = positive amplification, red = negative amplification)
Application examples:
voltage controlled amplifier (VCA) with pure positive overall amplification (Man + CV)
voltage controlled inverter with pure negative overall amplification (Man + CV)
voltage controlled polarizer/attuverter overall amplification changing between positive and negative (Man + CV)
DC coupled ring modulator with offset feature, the "classical" ring modulator corresponds to Man=0 and symmetrical audio signals for In and CV
additional effects by means of the modulation feature of the CV signal (using the Mod input)

Notes: Module A-174-4 modules outputs three control voltages generated by a spring-loaded X/Y cross potentiometer (so-called joy stick) and a Gate signal. The control voltages for X and Y are controlled by the X and Y position of the joystick in the usual way. The third control voltage Z is controlled by the rotation of the spring-loaded joystick knob. The Gate signal is generated by a button at the center/top of the joystick knob.

For each control voltage the non-inverted signal (X, Y, Z) as well as the inverted signal with adjustable offset (-X+XO, -Y+YO, -Z+ZO) are available. The generic joystick control voltages are bipolar, i.e. they range from typ. -5V (lowest position) via 0V (center position) to typ. +5V (highest position). The "Overlap" switches can be used to add a fixed offset voltage of typ. +5V to the non-inverting output in question so that the output voltage range changes to typ. 0...+10V (rather than -5...+5V). That's necessary if e.g. a VCA has to be controlled, which requires a pure positive control voltage range. The switches are named "overlap" because they allow the overlapping of the non-inverting CV output (X, Y, Z) with the inverting output (-X+XO, -Y+YO, -Z+ZO) for crossfading applications. With the overlap switch "on" and appropriate setting of the offset control it's possible to obtain a control voltage range of 0...+10V for the non-inverting output and +10V...0V (i.e. same range but opposite direction) for the inverting output.

The offset voltages which are added to the inverting outputs can be adjusted by means of three small potentiometers. That way different kinds of control voltage ranges are possible, e.g.
-5V ... +5V for the non-inverting output and +5V ... -5V for the inverting output ( Overlap = off, Offset = 0)
0 ... +10V for the non-inverting output and +10V ... 0V for the inverting output ( Overlap = on, Offset = max)
-5V ... +5V for the non-inverting output and +10V ... 0V for the inverting output ( Overlap = off, Offset = max)
0 ... +10V for the non-inverting output and +5V ... -5V for the inverting output ( Overlap = on, Offset = 0)
On top of this the four quadrant voltages Q1, Q2, Q3 and Q4 are available. A quadrant voltage becomes positive when the joystick is positioned in the quadrant in question.
Each CV output is equipped with an LED that displays the present voltage.

Because of the construction height of the joystick (about 7 cm) the module cannot be installed into the cases A-100P6, A-100P9, A-100PMS6, A-100PMS9 and A-100PMS12 during transportation as the depth of the case cover is not sufficient. Into the base cases A-100PB and A-100PMB as well as in all other cases without cover the module can be installed without problems.

HP : 12

Notes: Erica Synths Black VC Clock is the beating heart of your modular system.

The beating heart of your modular system in 10HP.

This module generates several clock signals simultaneously and has some more advanced features like tap tempo, shuffle and divide, both for controlled rhythmic music production and for experiments with high level of uncertainty. You may also find the adjustable and even random duty circle of shuffling and random clock outputs interesting. Bonus feature - the module can be used as a performance time stopwatch.

Erica Black series are high-end modules with unique functionality. Only the highest quality components are used and all inputs and outputs are protected against undesired overvoltage. When designing the Black Series, design and usability was prioritised over module width. Big knobs are assigned to functions that make difference in sound. Together the Erica Black series are a range of modules that make an entire synthesizer.

Technical specifications:

Max input level: -10V - +10V
Clock signal level: 0 - +5V
Clock rate: 30 - 400BPM
CV input level (full sweep): -5V - +5V
Power consumption: 40mA@+12V, 5mA@-12V
Module width: 10HP
Module depth: 25mm

Notes: A-101-6 is a new filter module that uses so-called opto FET's to control the filter frequency. Opto FET's are very similar to Vactrols, but use light dependent field effect transistors (FET's) instead of light dependent resistors (LDR's). An opto FET is a combination of a light-dependent FET and an LED, both put into a small light-proof case. The advantage, compared to vactrols, is a much faster response of opto FET's compared to LDR's - this allows much faster attack/decay times and even FM effects.

The variable resistors corresponds to the opto FET. The brightness of the Opto FET LED's, and consequently the filter frequency, can be adjusted manually (Frequ. control) and controlled by means of an external control voltage (CV) with attenuator. The LED at the front panel reflects the LED brightness inside the opto FET's.

The type of filter is chosen by jumpers on the PC board (factory setting: low pass). The type of filter determined by the jumpers positions can be marked by means of a water-resistant felt pen at the front panel.

The resonance is controlled by the Feedback control up to self-oscillation. By means of a trimming potentiometer the maximal feedback can be adjusted. High feedback values can be used mainly in the all-pass mode to obtain very extreme self-oscillation sounds. Even an external feedback signal can be used instead of the internal feedback connection (FB In socket). Whenever the filter type is changed by means of the jumpers the trimming potentiometer for the maximal feedback has to be re-adjusted.

The Mix control is used to pan between the original signal (CCW position) and the effect signal (CW position). In filter mode (LP/HP) this control is usually set fully CW. In the all-pass modes one obtains phasing sounds at centre position or "pure" all-pass sound in fully CW position.

Notes: From trickling hi-hats to thunderous kicks. The Befaco Percall 4-Channel VCA/Delay Envelope Module is designed to take care of all percussive aspects of your Eurorack rig. You'll be able to create a whole host of percussion thanks to the 4 VCAs, volume control and decay options. By using the trigger you'll be free to open the VCA whilst the volume knob helps determine the level of the percussive sound you've sculpted. Take your tones to the next level thanks to the inclusion of an output on the envelope. You can apply this to the pitch of the oscillator to achieve a fat kick drum which offers excellent low frequency energy. The Percall 4-channel module is the ultimate addition to your Eurorack.

Notes: USB/MIDI to clock interface that allows for synchronizing clock-driven modules with the MIDI environment. It processes only the Clock, Start, Stop and Continue MIDI commands. It has several clock divider outputs, each one start, stop and reset outputs for controlling sequencers and also an interesting wait function. Input is either a 5-pin DIN socket or USB.

Notes: Erica Synths Black VCO Expander essentially is an advanced waveform mixer plus two octaves down suboscillator, it allows you to explore wave design in brand new areas.

Features
Waveform mixer/inverter
Sine/Triangle/Tits waveform switch
Transistor-based -2 octave suboscillator
-1 and -2 octave suboscillator crossfade
Suboscillator lowpass filter
Diode limiter on output signal amplitude
Three simultaneous outputs

Erica Black series are high-end modules with unique functionality. Only the highest quality components are used and all inputs and outputs are protected against undesired overvoltage. When designing the Black Series, we did not economise on the module width, we put design and usability first. Big knobs are assigned to functions that make difference in sound. Together the Erica Black series are a range of modules that make an entire synthesizer.

NB! This expander module can be connected only to Black VCO and Black VCO2. It will not work as a standalone eurorack module.

Dimensions
10 HP
25 mm deep

Current Draw
5 mA +12V
5 mA -12V

Notes: Module A-135-1 is a quad voltage controlled mixer. It is made of 4 independent linear VCA's. The VCA outputs are mixed to a common output. For each VCA the following inputs and controls are available: audio input with attenuator, control voltage input with attenuator, gain (pre-amplification). The VCA's are realized with high-quality CEM VCA's (CEM3381 for version 1 and SSM2164 for version 2).

Applications: voltage controlled mixing of up to 4 audio signals with separate control voltages (e.g. delivered by LFO's, ADSR's, Random, Shepard generator, MIDI-to-CV interface or other control voltage sources). In connection with the Morphing-Controller A-144 the soft fade-over of 4 audio signals with only one control voltage is possible.

Inputs: 4 x Signal in, 4 x CV In
Output: Signal Out, Version 2 in addition: 4 x Single Out
Controls: 4 x Signal In Attenuator, 4 x CV Attenuator, 4 x Initial Gain

Notes: With our MORPHEUS digital filter module, we're finally able to unleash the full power of the 14-pole Z-Plane Filters that Dave invented for the E-mu Morpheus synthesizer.

The MORPHEUS Eurorack module includes over 280 filter configurations, what we call Cubes. Each Cube is composed of up to 8 complex filters that you can picture as being at the corners of a three dimensional cube (hence the name). Morpheus gives you the ability to smoothly interpolate between those 8 filters within the cube's three dimensional space.

Due to processor limitations back in the day, the original Morpheus was capable of real-time morphing in one dimension, but interpolation in the frequency and transform dimensions were set at note-on and remained static for the remainder of the note. But even with that limitation, Morpheus offered sonic capabilities that are unmatched to this day.

With the MORPHEUS filter module, you now have simultaneous real-time CV control of all three dimensions, for dynamic timbral effects unlike anything you've ever heard before. In stereo.

Notes: Performance-focussed crossfader module designed to simplify the process of morphing CV and audio signals. Quad channel design with lots of creative potential.

Supplier's Notes:
Morphader is a performative tool designed to make multichannel CV/Audio crossfade easy and comfortable. Fading from one quad CV/audio scene to another. The core of the module has four CV controlled crossfaders, each with their individual control and a master fader to control them all. The module mixes the four crossfades at its fourth output, thanks to a clever normalization scheme. Each of them can be easily removed from the mix by plugging a cable at its own output.

Main Features:

CV Controlled four channel crossfader.
Attenuators per input.
Normalized voltages to every input, allowing cv levels morphing.
Fader control to crossfade all channels at the same time.
Cv or Audio switch per channel to change resposne curve.
Leds per channel for signal level monitoring.

Notes: Premium analogue delay from Erica's flagship Black Series range. Two bucket brigade device delay lines work simultaneously with smooth crossfading and tons of voltage control. Lovely.

Supplier's Notes:
Erica Black Series include high-end, unique functionality and superior quality modules. Only the best, highest quality components are used, all inputs and outputs are protected against undesired overvoltage. When designing Black Series, put design and usability superior. Big knobs are assigned to functions that make difference in sound. Erica Black series consist of range of modules that are needed to put together entire synth. Enjoy!

The Erica Synths Black BBD is one of kind analogue delay module. It features two BBD lines: short, 1024 stage and long, 4096 stage, that work simultaneously and you can smoothly fade between those two, thus creating distinct multitap effect.

Furthermore, an advanced BBD clock noise cancellation circuit is implemented that reduces unwanted BBD noise without filtering higher frequencies of audio signal. Most of parameters are voltage controlled, which allows to integrate the module in complex modular setups.

Time

This is delay time manual control.

Because of BBD clock suspension circuit, delay time can be pushed in extremely long regions, however in that case BBD clock noise may appear. The Time CV is added to the knob setting.

In level

This is the input attenuator switch. Select among full amplitude, half amplitude and audio off.

BBD mode

This control smoothly fades between short and long delays. Any setting in-between will result in distinct multitap delay effect.

LFO rate

Adjust the internal modulation LFO rate. The internal LFO controls delay time, and it's automatically disengaged, when an external modulation signal is connected. The LED gives visual feedback on the LFO rate.

LFO shape

Select the LFO shape. Three shapes are available - triangle, square and in-between shape - mix of triangle and square.

Input

This is the audio input of the module. This is manual Dry/Wet mix. The MIX CV is added to the knob setting.

Colour

Even though the module has BBD clock suspension circuit, the colour switch provides extra lowpass filtering of the signal. At top setting no filtering is applied, at lower settings increasing filtering is present.

Feedback

This is the delay feedback manual control. In extreme clockwise settings the module goes into self-oscillation, and by adjusting delay time and BBD mode settings, the module becomes a drone machine. The FBK CV is added to the knob setting.

CV level

This is the Time CV level attenuator. If nothing is patched into TIME CV socket, it controls the internal LFO amplitude.

WET out

This is the WET signal output of the module - use it for advanced patches.

Out

This is the main output of the module.

Time CV; FBK CV; Mix CV;
These are CV inputs for Time, Feedback and Dry/Wet mix.

SPECS:
Audio level 10Vptp
CV level (full span) -5V - +5V
Power consumption +95mA, -81mA
Module width 12HP
Module depth 35mm

Notes: If we're honest we don't really understand fractals. Something to do with maths, apparently. But that doesn't really matter because we do understand this sequencer module, which is ideal for randomly twisting and morphing sequences.

Supplier notes:
Bloom is a fractal sequencer capable of generating infinitely evolving melodies with a host of musical features.

At its core is a powerful 32 step sequencer with two independent channels and an intuitive interface. What makes the Bloom come alive are its fractal algorithms which can transform existing sequences into powerful melodies, or even generate new patterns altogether. The base sequence is known as the Trunk and can be programmed by hand, or automatically generated with the Mutate function. Once a Trunk sequence is in place, fractal transformations are only a knob turn away by using the Branch and path controls. Each new Branch adds a complete variation to the base sequence and Path determines its passage through the set of recursively generated sub-sequences, offering a unique take on the melody with each turn of the knob.

Bring your sequencing to life with Bloom.

Notes: Xer Dualis is a compact analogue four-channel stereo mixer. Each channel has left and right inputs, a level control, and a mute.

Want to use mono signals? No problem! The left inputs normal to the right ones. On the stereo pair output, XD features a simple meter and a clip indicator to keep your mix clean. Xer Dualis is a compact and performable choice whether you need a submixer for a large system or an easy way to mix all the elements of a portable case together.