Synth modules

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

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

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

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

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

Notes: The Polaris is a 4-stage cascaded OTA filter designed by David Dixon. It builds on the lineage of the Dr. Octature and Atlantis filters, but with a totally revised core and resonance control. Along with dedicated LP, HP and BP outputs it features a configurable MULTI output capable of an unprecedented 27 different filter modes.

With drive turned down the Polaris is capable of buttery smooth filtering, and the cutoff control range has been fine-tuned for playability. With the drive dialled up and the new asymmetric multi distortion circuit engaged it creates a more aggressive sound. Not content to be just a filter, the Polaris's AP phaser mode combined with frequency modulation can be used to achieve a phaser effect.

With so much versatility in a modest size, the Polaris is an ideal filter for a starter system and an excellent addition to the tonal palette of a larger modular.

Notes: Scales is an 8hp dual-channel note quantizer and step sequencer. Fundamentally, it takes an input voltage, quantizes it to notes in a user-defined scale, and sends that quantized voltage to an output, where you can use it as a melodic pitch source for oscillators or any other module that expects to see discreet note values at its input.

Scales goes far beyond the fundamental, allowing you unprecedented control of the pitches and intervals hiding inside your control voltages; turn LFO's into arpeggiators; random voltages into harmonic counterpoint; and unquantized external CV sequencers into chromatically tuned note sequencers.

Quantization can be locked to an incoming trigger. There are a number of trigger output options as well, ranging from no triggering (good for pitch shifting drones); through triggers that sync with either of the two outputs (or both); to a trigger or gate transmitted in sync with one sent to the module's TRIG input.

Shift:

Scales features two independent outputs, enabling you to create shifted harmonic intervals within your chosen scale using only a single pitch input. Using the SHIFT input you can modulate changes on OUT A and/or OUT B.

You can also use the shift input to switch between scales or to change the root of any existing scale pattern or split Scales into two quantizers - each conforming to a common scale, but fed entirely different voltage sources.

Sequence:

Scales also features a 128-step SH-101 style step sequencer (complete with storage for up to 35 fully programmable patterns) - allowing you to feed OUT B with sequenced notes and rhythm patterns, while OUT A continues to function as a standard pitch quantizer for external voltages. You can even sync the sequencer to quantizer events on OUT A.

Notes: Steppy is a 4-track programmable gate sequencer with eight internal memory slots, external clocking, numerous tweakable parameters, and a performance-first design aesthetic.

Each track features numerous independent parameters that govern its playback independently of the other tracks. Specifically:

- Each track has its own length, which can range from 1-step to 64-steps, allowing for polyrhythms, fills, or constantly evolving gate interactions between tracks.
- Each track has its own gate length, which ranges from very short to very long, with tied gates possible at the extreme setting.
- Each track has its own clock divider, allowing patterns to play out over completely different periods of time.
- Each track has its own swing setting, which offsets the timing of every other step.
- Each track has its own delay setting, which offsets the timing of every step.
- Each track has its own probability control, which sets the likelihood that each programmed gate will fire when called upon by the pattern.
- Each track can be shifted (or 'rotated') forward or backward by a number of steps. So if you've created a pattern that 'feels' like it has its downbeat on step 3, you can shift that pattern two steps to the left, so that the downbeat sits on step 1.

Tracks can be programmed by entering active steps on the grid or tapped in live as the sequence is moving. Tracks can be selected and modified in real time as the sequence plays. A select button allows you to directly access each track (and each page of 16 steps within that track) directly through Steppy's intuitive multifunction buttons array.

Tracks can be individually muted and unmuted, and a special performance mode (called "Loopy") enables you to touch any two gate steps and instantly create a performance that loops between those steps.

Track patterns can be cleared without clearing its playback parameters, and all track patterns (along with their individual playback and performance parameters) can be saved as a preset to one of eight internal memory slots.

Notes: Tangrams

Push (or Pulse) the Envelope

Snappy, classically analogue envelopes with visually intuitive controls. Add a powerful, cv controllable cyclical gate generator, integrated VCA, and trigger buttons -then double it-now you've got Tangrams.

Tangrams, like the Dual ADSR before it, is a dual analogue core-envelope inspired by the Roland SH-101 / System 100m design with several enhancements. Taking further inspiration from trapezoidal function generators like the one on the EMS Synthi, Intellijel have added a voltage-controlled pulser circuit to link the triggering of two envelopes - allowing for delayed one-shots, cycling organic envelopes, and more. In addition, Intellijel added two VCAs for level control of each envelope, or alternatively, direct injection of the signal you'd like to envelope - freeing up your other VCAs.

The Pulser

The Pulser can be thought of as a way to set both a gate ON time (T1) and an OFF time (T2). In this way, you could configure a cycling ADSR that has a gate time that is different from the interval between gates. Alternatively, you can create a sequence where ADSR2 is triggered by a delayed amount of time after ADSR1 is triggered (either cyclically or in a single shot sequence). The panel switches for routing or disabling the pulse sources allow for even more complex combinations of control beyond these examples. This special combination of functions can yield a plethora of interesting and organic envelope and gate patterns to be created; cyclical and single shot.

ADSR + VCA Features

Dual Analogue ADSR envelopes with digital gate Pulser for trapezoid shapes
Pulser stages P1 and P2 can be selectively routed to trigger each ADSR via panel switches
Three timing ranges: (FAST: ~5 seconds, MED: ~35sec, SLOW: ~1min A/D times)
Retrig input (allows re-triggering of the envelope if source gate held high)
VCA input can be used to dynamically control the respective ADSR output level (bipolar) or to process signals to be modulated in amplitude by the ADSR.
Manual GATE buttons for each envelope

Pulser Features

A pulse is made of individually controllable T1 and T2 stage lengths
CV control over T1 and T2 time
Pulser can be one-shot (SINGLE) or repeating (CYCLE)
PULSE output has a switch to select P1 or P2 as the source.
Pulser stages P1 and P2 can be selectively routed to trigger each ADSR via panel switches
START trigger input for starting/restarting the Pulser sequence
Manual GATE button to trigger the Pulser sequence

Size: 14HP
Depth: 35mm
Power: 66mA @ +12V 49mA @ -12V

Notes: Expander module for the Tetrapad, Intellijel's multi-dimensional performance touch controller. Adds huge functionality, allowing you to sequence parameters and create complex modulation.

Supllier notes:
Tete is the long awaited and highly anticipated expander for the Tetrapad.

Some of the key features:

Three primary modes: VOLTAGES, NOTES and COMBO.

VOLTAGES mode:

Up to 16 voltage storage locations (grid) with 8 voltages stored at each location.

You have the choice to record and playback your recall of these locations in a looper style (just play freely and spend arbitrary amount of time at any location) or as a clocked sequence (SH-101 style). Additionally you can traverse the matrix using the X and Y CV inputs to get Cartesian style sequencing.

There is also variable slew that allows you to morph/glide between the values.

NOTES mode:

You can create sequences or loops in chord, scales or keyboard mode. The isomorphic keyboard grid can vary from 4 notes to 12 notes max. There are real-time performance looping, transposition and inversion capabilities via the CV inputs and dedicated loop button. In sequencer mode each step can be a tie, rest, or gate with size 25/50/75%. Basically we have created a way to very quickly and intuitively make chord sequences that are very musical and easy to manipulate. It is difficult to summarize in words but we will be sure to create some videos to demonstrate how easy and fun this is to play with. It definitely represents something unique in the landscape of Eurorack sequencers.

COMBO mode:

In this mode you can loop record your performance on any combination of the following functions:

fader, bipolar fader, drum hit, switch or LFO. Kind of like Elektron style parameter locking but all of the motions is recorded continuously instead of just in slices. Instantly turn a simple patch into a highly animated and complex beast.

With all of the above mentioned loop recording modes you can very easily overdub since the Tetrapad detects pressure/pressing. In combo mode you can erase individual channels.

All modes allow for internal or external clocking and configurable syncing.

All of the modes have special XYZ CV modulation assignments and make use of the dedicated CV outputs.

For example, in Looper mode one of the CV outputs generates a continuous ramp that represents the position in the loop. This can be used with devices like the Planar 2 in Interpolation mode to sync the recorded patterns together no matter what tempo.

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


Expander module for the Tetrapad, Intellijel's multi-dimensional performance touch controller. Adds huge functionality, allowing you to sequence parameters and create complex modulation.

Supllier notes:
Tete is the long awaited and highly anticipated expander for the Tetrapad.

Some of the key features:

Three primary modes: VOLTAGES, NOTES and COMBO.

VOLTAGES mode:

Up to 16 voltage storage locations (grid) with 8 voltages stored at each location.

You have the choice to record and playback your recall of these locations in a looper style (just play freely and spend arbitrary amount of time at any location) or as a clocked sequence (SH-101 style). Additionally you can traverse the matrix using the X and Y CV inputs to get Cartesian style sequencing.

There is also variable slew that allows you to morph/glide between the values.

NOTES mode:

You can create sequences or loops in chord, scales or keyboard mode. The isomorphic keyboard grid can vary from 4 notes to 12 notes max. There are real-time performance looping, transposition and inversion capabilities via the CV inputs and dedicated loop button. In sequencer mode each step can be a tie, rest, or gate with size 25/50/75%. Basically we have created a way to very quickly and intuitively make chord sequences that are very musical and easy to manipulate. It is difficult to summarize in words but we will be sure to create some videos to demonstrate how easy and fun this is to play with. It definitely represents something unique in the landscape of Eurorack sequencers.

COMBO mode:

In this mode you can loop record your performance on any combination of the following functions:

fader, bipolar fader, drum hit, switch or LFO. Kind of like Elektron style parameter locking but all of the motions is recorded continuously instead of just in slices. Instantly turn a simple patch into a highly animated and complex beast.

With all of the above mentioned loop recording modes you can very easily overdub since the Tetrapad detects pressure/pressing. In combo mode you can erase individual channels.

All modes allow for internal or external clocking and configurable syncing.

All of the modes have special XYZ CV modulation assignments and make use of the dedicated CV outputs.

For example, in Looper mode one of the CV outputs generates a continuous ramp that represents the position in the loop. This can be used with devices like the Planar 2 in Interpolation mode to sync the recorded patterns together no matter what tempo.

Notes: Tetrapad is a versatile, multi-dimensional, touch-sensitive control surface for Eurorack. Each of its four pads use force sensing resistors to respond to both the vertical position of your finger and its pressure. Four push encoders and a shift function give you even more tactile control over your modular system.

Tetrapad operates in numerous modes - each of which configures the module to perform a specific control task. Through these modes, Tetrapad can emulate a bank of faders; a voltage storage device; a finger drumming surface; a chord generator; an 8-key keyboard; four independent LFOs; or an 8-switch panel. The chosen mode determines what type of signal (CV, note, trigger, gate, etc.) is sent from each of Tetrapad's eight independent outputs, while its multitude of multi-coloured LEDs keep you informed of exactly what's happening within each mode.

Tetrapad automatically remembers how you've configured each of its modes and retains these settings when powered off. By default, Tetrapad automatically saves these settings every minute, or whenever you change modes. This makes Tetrapad ideal for live performance, since you know it will always power up with your configurations intact.

Notes: Mission Control

All the essentials to control and sync your Eurorack modular from your computer, iPhone/iPad, or hardware MIDI device. No menu diving or configuration scripts, just two buttons. Get crazy with external modulation and sequencers, or just sync your rack's clock from the rest of your MIDI bus.

Bridge Your System

The uMIDI provides all the essentials to control and sync your Eurorack modular from your computer, iPhone/iPad, or hardware MIDI device with a minimum of fuss. No menu diving or configuration scripts, just two buttons. The connectivity, features, and compact size allows the integration of your modular system with the rest of your studio while not taking up too much space in your case.

The upper clock section features a dedicated 16th note clock output ideal for synchronizing a Eurorack sequencer like the Metropolis. A second clock output with selectable divisions can be used when different sync events are needed. The run and reset outputs can be used to reset your Eurorack sequencers in tandem with any external sequencer or DAW.

The lower half of the uMIDI gives you everything you need to control a single-voice synth via MIDI. Just connect either a USB or DIN MIDI cable to the module, LEARN a channel, and start playing.

As of firmware revision 1.11 the uMIDI supports configuration of some internal parameters via a browser-based configuration utility. Currently the utility is only compatible with Google Chrome.

Features

High speed ARM processor for low latency & jitter.
DIN or USB MIDI input.
Two clock outputs, one with selectable divisions.
Sequencer sync via run and reset outputs.
Precision 0 - 10 V note pitch output with pitch bend & portamento CC support.
Gate and trigger outputs for envelope triggering.
Mod wheel and continuous controller outputs for additional modulation.
Firmware updates and configuration over USB.

Specifications

Width: 6HP
Depth: 40mm
Power: 3mA @ -12V, 47mA @ 12V

Notes: AGOGO is a pack of 8 vactrol low pass gates in an open design configuration.

Why:

To bongo.
To enhance and enrich a weak audio source.
To create sub-mixes of up to 8 inputs.
To send a single source to many outputs and modulate each one of them individually.

With:

Multiple fixed waveforms - use the individual LPGs as a CV scanner.
Stereo sources - control them with a single CV input.
EOC pulses and triggers - this is where it gets percussive.
Slow modulations - take advantage of those vactrols and their natural decay.

How:

"I", the inputs row is normalized from top to bottom.

An input inserted in the first socket will be copied unaltered to the next one.

If a jack is plugged in it will break the normalization.

"V" is for control voltages and they cascade the same way as the inputs following to natural decay of the vactrol response. All the LPGs can be opened simultaneously with a single CV source. Combining the features of both "I" and "V" rows you can control a signal with 8 different CVs or 8 different sources with the same CV.

"O" stands for outputs. They act as an active mixer letting you combine up to 8 signals. As in the previous two rows, the connection can be interrupted in any given point to create sub mixes or individual outputs.

Since Jolin are actively summing copies of the original input, each LPG stage will add saturation to the final out. Thanks to the open design path and normalizations this is just an additional feature: all the LPGs can still be used individually or in multiple combinations for multichannel effects or other creative application. More AGOGOs can be chained together thanks to headers on the back to multiplicate the number of inputs/outputs.

Dimensions:

6 HP
28 mm deep

Current Draw:

150 mA +12V
90 mA -12V

Notes: Bucket brigade delay gets pushed into exciting creative territory with this beauty from Joranalogue. Precise analogue delay with loads of character, capable of simple chorus and flanger or more exotic Karplus-Strong synthesis and comb filtering.

Supplier's Notes:
While digital audio processors are often plagued by latency issues, analogue circuits are known for their instant response. But what if you want to delay a signal on purpose, without the use of tape or digital memory? Enter the bucket brigade delay (BBD) line: a series of capacitor 'buckets', which pass the incoming signal along at a high rate in order to delay it.

Delay 1 is a fully analogue BBD-based delay module with a multitude of features geared towards modern musical use. An integrated temperature-compensated, high-frequency voltage controlled oscillator (VCO) provides the 'clock' signal necessary to drive the delay line within 1 to 50 ms.

By increasing the drive frequency to over 20 kHz, the classic 'BBD clock whine' problem is solved, while still providing a wide range in delay time. Classic chorus, flanger and echo effects are easily achieved using the dry/wet blend, feedback and damping parameters.

To greatly reduce distortion and noise, Delay 1 includes a newly developed control circuit. The improved fidelity is maintained at a multitude of signal levels by an integrated high-performance compander, while maintaining signal dynamics.

The module's 'split phase' topology provides two different dry/wet mixes, which may be used to convert mono signals to stereo, for complementary comb filtering and more.

Delay 1 also allows you to experiment with Karplus-Strong synthesis, an exciting technique to create string and percussion type sounds. This is made easy by an integrated noise transient generator, driven by the 'pluck' input, and by the clock VCO's 1 volt per octave response.

By re-engineering the classic analogue delay line, Delay 1 brings the unique magic of BBDs into the contemporary electronic musician's arsenal.

Analogue bucket brigade delay line.
Integrated temperature-stable high-frequency BBD clock VCO with fine and coarse tuning.
Split-phase topology with additive and subtractive dry/wet blend outputs.
Blend, feedback and damping (feedback filter) parameters. Positive or negative feedback with low or high pass filtering.
High-performance BBD drive circuitry and transparent compander chain ensure optimal signal fidelity.
Dedicated pluck trigger input for Karplus-Strong synthesis.
High-frequency BBD clock input and output to synchronise multiple delay lines.
Impedance-compensated outputs with dual-colour LEDs.
Trim potentiometer accessible from the front panel.
Premium mounting hardware: black screws, black nylon washers and matching hex key.
High-quality components and assembly; designed and made in Belgium.

12 HP | +12: 125 mA, -12: 95 mA

Notes: Belgian analogue innovators Joranalogue serve up an ultra-versatile filter module. Multimode flexibility meets self-oscillation for added sonic versatility. A hell of a lot of filter for the money.

Supplier's notes:
Representing the cutting edge in modular analogue voltage controlled filter (VCF) design, Filter 8 offers more possibilities and higher fidelity in 12 HP than ever before.

Starting from the classic OTA-style 4-pole cascaded lowpass (LP) topology, Filter 8 features separate LP outputs, each with their own character. Additional filter responses are achieved by pole mixing: 1-pole highpass, a special band boost and notch response, phase shifter and 4-pole bandpass. All outputs are available simultaneously.

Key to Filter 8's performance is the innovative resonant feedback circuit. By increasing the resonance, all outputs will resonate at the filter frequency, without any low frequency response loss. At higher resonance levels, self-oscillation is achieved, turning the module into an excellent 8-phase sine wave voltage controlled oscillator (VCO) with temperature and switchable gain compensation, low distortion, constant amplitude and accurate frequency tracking over at least 5 octaves. At sub-audio frequencies, Filter 8 can function as an 8-output voltage controlled slew modifier or 8-phase low frequency oscillator (LFO).

Simultaneous exponential and linear frequency modulation is possible, for classic FM tones or chaotic modulation. A hold feature is also provided, 'freezing' the output voltages manually or under gate control. This is useful for halting modulations, or as a sync-like effect at audio frequencies. The dedicated 'ping' input allows you to easily create crisp percussive sounds with different timbres.

While rooted in the legacy of classic synthesisers, Filter 8 provides a new approach to musical signal generators and modifiers: instead of simply a VCF, VCO, slew modifier or VCLFO, a single analogue module can now be any of those, and anything in between.

Notes: Any signal can be expressed in terms of a few parameters: frequency, phase, amplitude and timbre. It is through modulation of these aspects that synthesists create electronic sound. With Generate 3, it is now possible to create a signal and control all its parameters by through-zero modulation within a single 12 HP wide module.

Everything starts with the exceptionally precise triangle-core voltage controlled oscillator (VCO) at the module’s heart. Through-zero linear frequency modulation (FM) enables rich yet pitch-stable FM sounds, by allowing the oscillator to run backwards into ‘negative frequencies’.

The resultant triangle wave is then processed by the through-zero phase modulator, providing a total phase shift range of 900°. Phase modulation offers an interesting alternative for FM, as it enables deep FM-type tones without actually changing the oscillation frequency.

The timbre of a signal is determined by its harmonic content. This full set of harmonics can be grouped into three main parts: the fundamental, even and odd harmonics. Generate 3’s harmonics generator separates out these three timbral ‘channels’. By adjusting their relative amplitudes, a vast array of different waveforms can be created, including but not limited to the classic sine, saw and square waves.

While the amplitudes can be adjusted manually, each timbral channel supports through-zero amplitude modulation, also known as balanced or ring modulation. When audio-frequency modulation signals are applied, the harmonics become ‘split’, enriching the spectrum.

In addition to all the usual analogue synthesis techniques, the extensive set of modulation options makes Generate 3 especially suited for exploring multiphonic synthesis: a monophonic source creating a complex timbre, much like throat singing, yet by electronic means.

Notes: Introduce some precisely controlled chaos to your patches with the Orbit 3, based on the orbit of a particle through 3D space. Audio and low-frequency modes allow it to work as an oscillator or LFO.

Supplier's Notes:
In everyday usage, 'chaos' means 'disorder, 'randomness'. In mathematics however, chaos has a very specific meaning. Chaos theory deals with systems exhibiting highly irregular behaviour, seemingly random yet completely deterministic.

Applying this to the world of modular synths opens up a whole new world of modulation opportunities, introducing a natural irregularity to otherwise purely 'mechanical' music, yet with much more control and repeatability than just simple randomness.

In chaos theory, the combination of all possible oscillations at a specific set of parameters is known as the 'attractor'. Orbit 3 incorporates a modified electronic analogue of the classic double-scroll attractor. Since it contains some (bi)stable regions in addition to chaotic ones, this type is known as a 'strange' attractor.

The voltages at each of the module's outputs can be thought to describe the orbit of a particle through 3D space around two equilibrium points. The positions of these points, as well as the distribution of the orbits and rate of movement can all be adjusted under manual or voltage control.

Not just limited to low frequency modulation use, Orbit 3 can operate in the audio frequency domain as well, yielding a variety of waveforms from its three complementary output pairs. These span a wide range, from near-sine waves to white noise. The addition of temperature compensation and calibrated pitch tracking makes for an unconventional and lively, yet also accurate audio oscillator.

And when you need a break from all that musical chaos, simply connecting any pair of outputs to the XY inputs of an oscilloscope will surely not disappoint!

10 HP
+12: 70 mA, -12: 65 mA

Notes: Digitally-controlled full-analogue path Granular + Multimode VCF

The Grainity brings a unique and never-heard-before concept to the world of analogue VCF.

While being based on analogue filtering only, the Grainity expands and enriches the sound in creating subharmonics, harmonies, unison, flanging effects and formant filtering all at once.

The module presents two sections, the granular filter itself and a typical multimode filter, each with its own output.

A third output offers a mix of both filter paths. Numerous controls and CV allow a very wide palette of results.

What is the Grainity

Granular?

The word granular was chosen for this filter module in relation to the concept invented by the composer Yannis Xenakis, and which is described as assembling small chops of sounds - he called grains - according to a pattern.

This is exactly what the Grainity does, no more no less ... but, digital control allows doing it in ways that are decades away from what tape and scissors allowed at the time.

Technology wise ...

In the granular section, the incoming sound cycle is determined in order to step through various filtering and phase variations of itself according to predefined patterns called structures.

The controls allow alterations to the cycling phase, cycling frequency offset (tuning), structure selection and frequency division of the filters cycling. This comes in addition to the usual filter frequency and resonance controls.

What the Grainity is not

Technology wise ...

Despite relying on a microprocessor, the Grainity is not a digital audio processor. At any time, the sound remains in the analogue domain and goes through analogue circuits from in to out.

The digital processor does not convert or generate audio signals; it is there to control the analogue circuitry and manage the interface and display.

Sound wise ...

Several digital modules offering granular processing rely on the layering of sound grains, which leads to blurry and cloudy textures.

Layering of the grains is a late addition to the concept of granular synthesis and is not a mandatory feature of the concept.

The Grainity does not use delay lines or sampling memory but is nevertheless true to the foundations of the granular synthesis concept.

The granular VCF in the Grainity is unconventional in that, most of times, it is not filtering the sound in the common expectation of removing something. Typically, the granular process adds more than it removes by expanding both the lower range, creating subharmonics, and the upper harmonic contents in multiples ways.

Dimensions
10 HP
21 mm deep

Current Draw
101 mA +12V
59 mA -12V
0 mA 5V

Notes: A unique analogue take on granular synthesis, inspired by Yannis Xenakis, the Grainity pairs a granular filter with a multimode filter to create new textures and harmonics.

Supplier's Notes:
The Grainity brings a unique and never-heard-before concept to the world of analogue VCF.

While being based on analogue filtering only, the Grainity expands and enriches the sound in creating subharmonics, harmonies, unison, flanging effects and formant filtering all at once.

The module presents two sections, the granular filter itself and a typical multimode filter, each with its own output.

A third output offers a mix of both filter paths. Numerous controls and CV allow a very wide palette of results.

What is the Grainity

Granular?

The word granular was chosen for this filter module in relation to the concept invented by the composer Yannis Xenakis, and which is described as assembling small chops of sounds - he called grains - according to a pattern.

This is exactly what the Grainity does, no more no less ... but, digital control allows doing it in ways that are decades away from what tape and scissors allowed at the time.

Technology wise ...

In the granular section, the incoming sound cycle is determined in order to step through various filtering and phase variations of itself according to predefined patterns called structures.

The controls allow alterations to the cycling phase, cycling frequency offset (tuning), structure selection and frequency division of the filters cycling. This comes in addition to the usual filter frequency and resonance controls.

What the Grainity is not

Technology wise ...

Despite relying on a microprocessor, the Grainity is not a digital audio processor. At any time, the sound remains in the analog domain and goes through analog circuits from in to out.
The digital processor does not convert or generate audio signals; it is there to control the analog circuitry and manage the interface and display.

Sound wise ...

Several digital modules offering granular processing rely on the layering of sound grains, which leads to blurry and cloudy textures.
Layering of the grains is a late addition to the concept of granular synthesis and is not a mandatory feature of the concept.
The Grainity does not use delay lines or sampling memory but is nevertheless true to the foundations of the granular synthesis concept.

The granular VCF in the Grainity is unconventional in that, most of times, it is not filtering the sound in the common expectation of removing something. Typically, the granular process adds more than it removes by expanding both the lower range, creating subharmonics, and the upper harmonic contents in multiples ways.

Dimensions
10 HP
21 mm deep

Current Draw
101 mA +12V
59 mA -12V

Notes: The Quadigy is a complex envelope generator focused on live play.

The goal is to allow the user setting up rich, interactive and dynamically evolving envelopes without the risk of breaking up a subtle and intricate patch once on stage.

This is achieved by offering two main modes, one where full control is available and a Live mode where only the settings that are sensible using on stage are accessible.

The user interface offers an intuitive access for otherwise complex settings.

Advanced features such as automatic time-stretching, multiphase clocking and full morphing put the Quadigy in a category on its own.

Dimensions
14 HP
21 mm deep

Current Draw
24 mA +12V
10 mA -12V
40 mA 5V

Notes: Clever dual-mode envelope generator, designed to combine studio functionality with a safety net for live performance. Dial in a patch then switch to live mode for tweaking without losing control.

Supplier's notes:
The Quadigy is a complex envelope generator focused on live play. The goal is to allow the user setting up rich, interactive and dynamically evolving envelopes without the risk of breaking up a subtle and intricate patch once on stage. This is achieved by offering two main modes, one where full control is available and a Live mode where only the settings that are sensible using on stage are accessible.

Notes: Two oscillators independently set as VCO, LFO, or random generator

This new version replaces the original Twin Waves. All features of the former are retained. You can check all videos, reviews and comments of V1, being sure to benefit of all in the MKII version :-)

Features in VCO mode:

V/Oct tracking over 10 octaves
Tuning lock with octave selection
Through zero and linear FM
Sub-octave output
Hard & soft synchronization
VCA control and CV algorithms selection
Quantizer with various scales
20 algorithm-based synthesis types among:
Wave shaping
Phase modulation
Phase positioning of multiple waves
Up to 5 stacked oscillators in tunable unison
Self-sync with phantom oscillator
Additive synthesis (7 waves)
Variable bit reduction (bit-crushing)
Ring modulator with its own 2nd oscillator
Noise with LPF, BPF, or resonant filter

Features in LFO mode:

Simultaneous signal and trigger outputs
External wave synchronization
Clock controlled rate with voltage controlled multiplier and divider
CV and knob control of output level
Algorithm based wave engine with a selection of:
Wave shaping
Phase modulation
Random levels and vectors (also Brownian)
Randomly spaced triggers and waves
Display with contextual icons and instant reminder help text
LEDs indicating potentiometer vs. value matching, switch settings and output signals
Automatically saved settings for instant recall at power on
Firmware update by playing an audio file via the front panel
Compact and skiff-friendly module

Dimensions
8 HP
21 mm deep

Current Draw
52 mA +12V
17 mA -12V
0 mA 5V

Notes: Voltage-controlled Dual VCO/LFO - two oscillators independently set as VCO or LFO.

Features in VCO mode:
V/Oct tracking over 10 octaves
Through zero and linear FM
Sub-octave output
Hard & soft synchronization
VCA control and CV algorithms selection
Quantizer with various scales
20 algorithm-based synthesis types among:
Wave shaping
Phase modulation
Phase positioning of multiple waves
Up to 5 stacked oscillators in tunable unison
Self-sync with phantom oscillator
Additive synthesis (7 waves)
Variable bit reduction (bit-crushing)
Ring modulator with its own 2nd oscillator
Noise with LPF, BPF, or resonant filter
Features in LFO mode:
Simultaneous signal and trigger outputs
External wave synchronization
Clock controlled rate with voltage controlled multiplier and divider
CV and knob control of output level
Algorithm based wave engine with a selection of:
Wave shaping
Phase modulation
Random levels and vectors (also Brownian)
Randomly spaced triggers and waves
Display with contextual icons and instant reminder help text
LEDs indicating potentiometer vs. value matching, switch settings and output levels
Automatically saved settings for instant recall at power on
Firmware update by playing an audio file via the front panel
Compact and skiff-friendly module

The driving idea behind the Twin waves voltage-controlled dual oscillator/LFO is to offer two interesting oscillators in a skiff-friendly and compact size. To achieve that challenge, Klavis built the product's architecture on the concept of pre-defined algorithms, where the most useful configurations and their matching parameter are ready to use.

This MKII evolution brings a redesigned layout, additional knobs for more hands-on fun and semi-modular cross-patching between sections.

All of the original features are present: a top selection of synthesis techniques, each with their key parameter directly at hand, enriched by a full set of complementary features.

More than ever, the Twin Waves is versatility at its best.

Dimensions:

(mm) Height: 128.40, Width: 40.40, Depth: 21.00
(Inches): Height: 5.06, Width: 1.59, Depth: 0.83
Eurorack: Height: 3HE, Width: 8HP
Depth behind panel (no supply cable inserted)- 21.00mm, 0.83 inches

Current draw
+12V: 46mA
-12V: 18mA
+5V: 0mA

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

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

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

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

Notes: MachineRoom 204D Dual VCF is a dual voltage-controlled low-pass filter, which filters out the higher parts of the sound spectrum and lets lower frequencies pass through.

Based on the "transistor ladder" design of Minimoog 204D with a cut-off slope of -24 db/octave as in various Moog synthesisers. Resonance (or Emphasis) is adjustable all the way up to self-oscillation with V/Oct tracking up to 4 octaves.

Filter has separate controls for both sections, but can be used for stereo operations as well.

4 cv inputs (2 with attenuators) allows complex cut off modulation
Skiff-friendly
25 mm deep
12HP
Power consumption: 120 mA +12V, 15mA -12V, 0 mA 5V
Hand-built in Kyiv, Ukraine

Notes: The basis of the module is a version of the transistor ladder with low-end compensation at resonance, to which Machineroom have added aggressive Overload and linear VCA. Thanks to three audio inputs, FILTH can work with polyphonic patches, if you add Trilobite (or another triple osc) and ADSR to it, you will get a paraphonic synthesizer. 2 VCA inputs in the classic case allow you to use loudness envelope and voltage offset (for example, velocity) at the same time, but there are many more options for their application.

Works in LP/HP and 12/24 db modes

In the 24db mode, the filter self-oscillates and can act as a sine generator with perfect pitch tracking in the range of 5 octaves.

Despite the name, without overload, the module can be used as a vanilla filter, but its brutal version is generally more preferrable.

Based on "transistor ladder" design of Minimoog 204D with a cut-off slope of -24 db/octave as in various Moog synthesisers.

10HP
* skiff-friendly (25mm depth)
* 28 mA +12V
* 21 mA -12V
* 0 mA +5V
hand-built in Kyiv, Ukraine

Notes: The Dual Stereo Gate (DXG) music synthesizer module is a Dual Stereo Low Pass Gate and Mixer. It follows in the footsteps of the QMMG, Optomix, RxMx, DynaMix, and LxD. Unlike its predecessors, the DXG is specifically oriented around mixing stereo signals, making it an important addition to any system containing modules like XPO, QPAS, Morphagene, Mimeophon, and other stereo modules by Make Noise or others.

Unique to the DXG is a new low pass gate circuit that does not use vactrols. This circuit is 100% analogue and its response was arrived at after many months tailoring it to meet or exceed the expectations that have been set by all the vactrol low pass gates that Make Noise has created over the years.

In the past, Make Noise produced the Dynamix module and Dynamics circuit in the 0-COAST, both of which are vactrolless LPGs; however, the DXG is a completely new approach which better implements the gentle single pole filtering of a low pass gate, while also emulating the slow decay and memory of the vactrol based low pass gate. This new circuit makes possible the consistency of response necessary for versatile stereo use, while also keeping the module small and affordable so that it can be a key part of just about any modular system.

As on all of Make Noise's low pass gates, the DXG's Control parameter is used to set both the amplitude and the frequency content of the sound that passes through it. The control parameter tends to open faster than it closes, imparting a subtle decay phase onto any envelope shape that is used to modulate it.

Unlike previous low pass gates made by Make Noise, all the DXG's inputs and outputs are stereo. Each set of inputs is normalled so that the left input can be used for a mono signal, sending a copy to both left and right outputs. The Auxiliary inputs are also a stereo pair with mono normalization. These normalizations allow for the DXG to be used as a simple three channel stereo mixer, with one or two of the channels additionally being used for dynamics control and note event generation. The Aux inputs can be used to chain together larger decentralized mixes using additional DXG modules, or X-PAN, Optomix, modDemix etc.

Features

- Make Noise's first Stereo Low Pass Gate

- Vactrol-free design for classic Low Pass Gate sounds, but with the balance and consistency needed for true Stereo

- Fully Stereo i/o for easy integration into a Stereo-equipped modular synthesizer

- All Left inputs normalled for easy use with Mono signals

- STRIKE Input allows use of Gate signal to trigger Low Pass Gate circuit, creating "plucking" or "pinging" sound from any Gate

- Summing stage with Stereo AUXiliary IN allows for chaining of multiple units, creating larger mixes

- Part of a decentralized mix console integrated throughout the system along with X-PAN, Optomix, XOH, etc.

- Pairs well with XPO, QPAS, Morphagene, Mimeophon, Spectraphon etc.

Width: 8hp
Power:
74mA @ +12V
86mA @ -12V
Module Depth (incl power cable): 43mm

Notes: A true legend of modular synthesis, Make Noise's Maths is arguably the definitive Eurorack function generator. Based on analogue computing circuits, Maths draws on Buchla-style techniques to offer countless ways of generating and processing modulation signals.

Supplier's Notes:
The MATHS music synthesizer module is an analogue computer designed for musical purposes. Amongst other things, it will allow you to:

Features

Generate a variety of linear, logarithmic, or exponential triggered or continuous functions

Integrate an incoming signal

With no signal applied, generate a variety of linear, logarithmic, or exponential functions

Add, subtract and OR up to 4 signals

Generate analogue signals from digital information (Gate / Clock)

Generate digital information (Gate / Clock) from analog signals

Delay digital (Gate / Clock) information

If the above list reads like science rather than music, here is the translation:

Voltage Controlled Envelope or LFO as slow as 25 minutes and as fast as 1khz

Apply Lag, Slew or Portamento to control voltages

Change the depth of modulation and modulate backwards!

Combine up to 4 control signals to create more complex modulations

Musical Events such as Ramping up or Down in Tempo, on command

Initiating Musical events upon sensing motion in the system

Musical note division and / or Flam

Perfect for modulating the DPO and just about anything else

Specifications
Width: 20hp
Max Depth
(incl. power cable): 32mm

Power:
60mA@ +12V
50mA @ -12V

Notes: Pressure Points is a controller module, an analog sequencer that is played by hand. Touching the gold plated copper wires (aka Touch Plates), you become part of the circuit, generating a gate signal (Gate OUT), a control signal proportional to the amount of pressure applied (Press OUT) and the 3 Tuned Voltages for the activated Stage.

Notes: The WoggleBug music synthesizer module is a random voltage generator, originally designed by Grant Richter of Wiard Synthesizers. It is a continuation of the "smooth" and "stepped" fluctuating random voltage sources pioneered by Don Buchla within the Model 265 "Source of Uncertainty," expanding it to include the other-worldly Woggle CVs (stepped voltages with decaying sinusoids edges). The Wogglebug is a very musical random voltage generator where it is possible to synchronize all random signal to a Master Clock. Guaranteed to unleash your synthesizer's ID MONSTER!

Features:
Complete Complex Random Voltage system, no external modules necessary
Two VCOs, Phase Lock Loop, Lag Processor, Clock, Burst Generator and Sample & Hold
Generates 7 Random Signals simultaneously: Smooth VCO, Woggle VCO, Ring Mod, Stepped, Smooth, Woggle, Burst
Generates voltage controlled Master Clock
External inputs for S&H (Heart IN) and Ring-Mod (Influence)
Disturb button adds performance element
Wonderful for modulating the Morphagene and DPO

Specifications:
Width: 10hp
Max Depth (incl. power cable): 32mm
Power: 50mA@ +12V; 40mA @ -12V

Notes: ***NEW revision TEMPI firmware tempi11 improves External SYNC and RUN/ STOP behaviors. Download here today - http://www.makenoisemusic.com/content/patchsheets/tempi11_firmware_update.zip***

TEMPI is a 6 Channel, polyphonic time-shifting clock module. It provides an intuitive method for creation and recall of complex clocking arrangements within a modular synthesizer system. Using HUMAN and/ or MACHINE programming you could re-create most classic Clock Divider and Multiplier arrangements and then continue on to create new ones. Store up to 64 for later recall and Select them using control signals from within your system or the Select Bus.

Notes: X-PAN is a compact and powerful 5 channel Voltage Controlled Stereo Mixer with Low Noise and High Headroom allowing for creation of complex panoramic audio imagery in just 10hp.

X-PAN is highly responsive to control signals allowing for exploration of the fluctuating stereo sidebands possible with Audio Rate Crossfading and Panning. X-PAN is Direct coupled for use as a CV Processing and Routing toolbox.

X-PAN consists of two full featured Channels and one simpler Channel. The top two Channels each have voltage controlled cross-fading and panning while the third Channel is a stereo aux input with stereo VCA. All three Channels are combined together at the stereo SUM outputs.

Notes: Drums4 is a 4 voice, sample based percussion sound generator.

Each voice can select its sound from a 48 sample global bank, samples are curated from the manufacturer's collection of percussion sources used in their music.

Each sample can be tuned and has an individual output for independent processing , and there's also a simple mixer that controls levels to the main mixed output.

Operation is simple and intuitive, the selected sample is remembered after power down for each of the 4 voices.

Incoming triggers are displayed on each voice LED indicator.

Controls:
for each voice:
-PITCH potentiometer : for tuning sound over a wide range.
-SAMPLE SELECTOR encoder : allows choosing among 48 global samples , setting is
remembered after power down
-MIX potentiometer: adjust blending of each voice to the mix output

Connectors:
for each voice
TRIGGER jack : trigger or gate input , accepts a wide range of sources from 5v to 12v
OUT jack : individual sound output for voice
CV jack : allows external control of voice pitch, 0 to 5 volts range, over voltage protected.
Main Mix jack: summed output of mixed voices, controlled with mix pots.

Specifications:
width : 12HP
depth: 28 millimeters
Power consumption: 130 milliamps +12v , 10 milliamps -12v

Notes: Moonwalker is a versatile signal generator that performs as an envelope, lfo, and audio oscillator, with attack and decay time controls

Phase offset is continuously variable from 0 to 360° and inverts the waveform without changing it’s amplitude, and with or without changing it's polarity.

Unipolar mode preserves the output range by offsetting the starting voltage, so it always stays between 0 and +10v

Bipolar mode preserves the starting voltage by offsetting the output range, so it always starts at 0v. The output range will shift from +unipolar, through +bipolar, to -unipolar, through -bipolar back to +unipolar.

The reference waveform does not change phase, but the timing of the rate change between Attack and Decay shift with the phase offset, to ensure synchronous movement.

The phase offset output is half-normalled to the phase offset cv input and skews the waveform from triangle to saw or ramp without changing frequency (when attack = decay).

Dimensions
10 HP
39 mm deep

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

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: 8HP Tides version 2

Fully calibrated.

With LED Pots for the attenuverters.

Notes: 6HP Micromodule of Opensource Rings

Notes: 12HP version of Marbles Random Sampler

Fully calibrated

Notes: 8HP Micromodule based on Opensource Frames.

This devices comes with Parasites 1.1 firmware

Notes: Hue is an audio colour processing effect, in 6HP eurorack format. Hue is comprised of a chain of 5 effects (Drive, Filter, Tape Saturation, LoFi, Compressor). Each effect imparts a particular coloration, tone, distortion, and/or texture to the source audio. With Hue, Drums bang with more intensity & melodies morph into lush LoFi tones.

Hue's goal is to simply colour your sound. The initial concept was born of a debate about the techniques and processes used to make drum machines sound big, bold, and delicious. The sounds that tug at the hearts of boombap, LoFi, and subsequently modbap, enthusiasts are those that have great texture, lush degradation, soft distortion, and big bold strokes of colour. The classic beloved drum machines were often processed with outboard gear, recorded to tape, pressed to vinyl, played in big booming systems, sampled, and resampled and on and on. Ultimately, those are the sounds that become nostalgic and reminiscent of all that we love about classic LoFi boombap production. Hue is Modbap's attempt at bringing that vibe into eurorack with a cute little 6hp package.

The effects chain audio signal path is as follows; Drive, Filter, Tape Saturation, LoFi, Compressor. The panel layout allows for the DJ style filter knob to sit in first position for ease of tweaking. Drive boosts and lightly distorts the signal, while shift+Drive adjusts the Drive tone. The Filter is a low pass filter to the left and a high pass filter to the right. Tape effect is intended to impart cassette tape saturation, while shift+Tape adjusts the intensity. LoFi adjusts bit depth, while shift+LoFi adjusts sample rate. Lastly, the one knob compressor mini pot serves as the final glue in the signal path that brings it all together.CV inputs for Drive, Filter, Tape Saturation, and LoFi opens loads of creative possibilities. Hue is a textural beast when creative modulation is thrown at it.

Hue puts the power to shape and transform your sound at your fingertips. It's great for beefing up drums and equally as magical on melodic content. Hue can be the glue that brings it all together. It also, pairs well with Trinity and Osiris. All in all, Hue exemplifies the tagline "Made for eurorack, dope enough for boombap!"

Tech Specs

Width: 6HP
Depth: 28mm
Power: 50mA +12V, 50mA -12V

Features
5 effects (Drive, Filter, Tape Saturation, LoFi, Compressor.)
4 CV inputs for modulating the effects
Mono in and mono out
6HP

Notes: Instant IDM! An unusual genre-specific module from Mystic Circuits, automatically generating complex trigger sequences. Create loops or apply real-time effects to a trigger or gate input.

Supplier's Notes:
IDUM is a gate processing effect that turns its input effortlessly into IDM. Making complex electronic music with the modular usually requires meticulous sequencing done in advance or a large ecosystem of modules. Unfortunately, the level of expertise needed to accomplish this is not accessible to the average modular user. IDUM aims to make this process easier and put Intelligent Dance Music, also known as IDM, into the hands of people with average intelligence. IDUM does not require much knowledge to get immediate and compelling results; but with some extra familiarity, this module can enable innovative music making techniques. Instead of generating musical patterns on its own, IDUM acts like an effects processor for the sequences that run through it. For example, a filter or a delay allows the user to alter their sound by twisting the knobs or modulating the parameters. Similarly, IDUM manipulates the actual gates and sequences of connected modules, but with a level of playability normally inaccessible to a sequencer. IDUM can vary carefully crafted sequences or turn your music into an onslaught of controlled chaos. Its open source code and hardware based on the beginner friendly Arduino Nano Every encourage users to tweak their modules to taste or to add new features all while ensuring future improvements as IDUM makes its way into the wild.

IDUM has eight effect modes:

HOLD - Alter the length of incoming triggers.

BURST - Generates a ratcheting effect with timing determined by the clock.

MULTIPLY/DIVIDE - Generates a ratcheting effect with timing determined by incoming triggers.

BALL - Generates a bouncing ball effect.

ROTATE - scrambles the connections of inputs and outputs.

DELAY - postpones incoming gates by a dynamic amount of time based on incoming triggers.

BREAK - preset rhythms that turn incoming triggers into breakbeats.

SKIP - manipulates the clock output to multiply the clock speed or skip forward multiple steps.

In addition to these modes, IDUM features an eight step looper that loops incoming gates as well as any effects that were active on those steps.

To control when IDUM's effects are active, the CHANCE slider sets the likelihood that on a given step an effect will activate and the LENGTH slider sets how many steps the effect will last for. The PARAM knob controls a parameter unique to each effect while the MODE knob selects the mode. All of these controls as well as the LOOP status have their own CV modulation inputs.

Unique to IDUM is its ability to manipulate external sequencers using the clock output. This includes functions like: pausing the clock when an effect is active for dynamic clock division, skipping forwards or multiplying the speed of the clock in SKIP mode, and looping a sub-section of sequencer steps in the looper. To keep everything tamed while manipulating the clock, the CYCLE switch will send out bursts of clocks to catch your sequencer up with its original sequencer position after an effect has completed. Keep in mind that not all sequencers like to be clocked fast enough to work with these features, so for best results pair your IDUM with a TREE/ LEAVES combo from Mystic Circuits.

IDUM might be the stupidest way to make IDM and Mystic Circuits are proud of that. Whether you want to add complexity to your dance floor bangers or make the most obtuse and unlistenable music imaginable, IDUM is here to help. See just how dumb your music can get with the Mystic Circuits IDUM.

Notes: Four independent, analogue LFOs in 8hp. Linear voltage control over frequency. Sine or square waveforms.

The Quad LFO gives you four independent high quality temperature stable modulation sources. While audio rate analogue oscillators famously sound more alive, the living quality of analogue modulators is often overlooked. The Quad LFO has a totally analogue sine core, for living, low distortion, accurate, and consistent sine wave outputs. However, if you need a square wave for a clock, to drive a logic input, or for another purpose, you can set one or more LFOs to a square with a jumper on the back.

The Quad LFO provides linear voltage control over frequency, matching our perception of sub-audio rate frequencies. Each oscillator ranges from nearly stopped to around 23 Hz. It is designed for knob twiddling, with accurate potentiometers, aluminium knobs, and 1Hz easily reachable in the centre.

Specs

Size: 8HP
Depth: 32mm
Power Consumption: +12V 51mA, -12V 51mA
Frequency Range: 5+ minutes to 23Hz
Input Range: 0-10V
Input Impedance: 40kO
Output Swing: -5V-+5V peak
Output Impedance: 1kO
Output Drive: 2kO (min), 20kO+ (ideal)

Notes: Jam Jam is a versatile and fun trigger-and-gate processor with four individually adjustable and CV-able channels. The three modes pack incredible functionality into the tiny 6hp package.

Random mode turns the module into four individually adjustable probability processors, great for adding variety to a patch.

In Clock Phase mode, the module adjusts incoming clock phase based on clock period. Use this to adjust sequencer timing or to create sequences that drift out of sync and then back in with CV.

Use Gate Delay mode as a simple trigger delay to help keep things in sync in your patch or for creative patching: dial in shifts in the timing of events from sub-millisecond adjustments to huge delays of over 15 seconds.

Jam Jam is a musical and fun utility sure to find a use in every patch.

Notes: Performance-focussed four-channel attenuverter and offset module, with built-in voltage generator for 0-5v or i5v voltages. Simple but effective.

Supplier's Notes:
Lapsus Os is a four channel attenuator/attenuverter and offset. Designed with performance in mind, each channel can be set to either attenuate or attenuate/invert an incoming signal, adjust offset of an incoming signal, or with nothing patched to its input, generate a 0-5v or i5v offset. Switches on the back of the module invert the fader behavior, allowing for the module to be mounted in either direction, for further customization and ease of use.

Etymology
Lapsus -- from latin lapsus : 'sliding' Os -- from latin os 'bones'
"Translation: Dancing Corpse"

Interface

Faders 1-4: The main controls of LO. The LEDs in the faders show the CV that is being passed through. When in attenuverter mode, the LED will be off at 0, allowing each fader to easily be set near 0.

Offset inputs 1-4 (+): Sending a signal to these inputs adds an offset to the input, controlled by the fader and the mode switch.

Outputs: Each channel has a pair of identical outputs. If nothing is sent to either input of a channel, an offset will be generated and output here, useful for controlling parameters on other modules with a single fader.

Uni/Bi Switches 1-4: In the Unipolar position (left), the corresponding channel attenuates the input signal. In the Bipolar position (right), the upper half of the corresponding channel fader attenuates the input signal, the lower half of the fader inverts and attenuates the signal.

Attenuating/attenuverting inputs 1-4 (x): Sending a signal to these inputs attenuates/attenuverts the signal, depending on the position of the channel fader and switch.

Rear-board switches: Below, in red. Inverts the corresponding channel, allowing for creative mounting in either direction. Note that each channel must be switched independently to fully reverse the functionality.

Patch Tutorial

Patch 1: Set a channel switch to the left position and patch the outputs to CV inputs on another module (for instance, Loquelic Iteritas). The fader becomes an easy-to-use controller for those parameters. Patch the rest of the LO channels to other parameters in your system to create an expressive and intuitive interface.

Patch 2: Patch a CV signal (such as an LFO) into the attenuverting input of a channel. Set the channel switch to the right position, and patch the output to a bipolar CV input in your system. Tweak the fader to attenuvert and dial in the perfect amount of modulation on the fly.

Patch 3: In a case with four voices route each LO channel to the decay control for each voice. Use for centralized control over voicing.

Size: 10HP Eurorack
Depth .8 Inches
Power 2x5 Eurorack
+12 mA 60 mA
-12 mA 50 mA

Inputs: i10v
Outputs (without voltage applied):
Unipolar: 0-5v
Bipolar: i5v

Notes: Librae Legio is a dynamics processor designed to take a whole patch to the next level. Compression, expansion, limiting, noise gating, and two styles of gentle distortion: Librae is the perfect tool to bring your mix together. And while it can do extreme limiting and really squash your sounds together, Noise Engineering developed it with transparency in mind - whether you want to hard-limit your techno mix or gently bring the sounds in your ambient patch together, Librae is the end-of-chain dynamics processor you've been looking for.

Notes: Quantus Trajecta is a quad envelope designed with polyphony in mind. Quantus Trajecta's envelope structure takes the functionality from Noise Engineering's beloved Loquelic and Cursus Iteritas Percido modules, and adds even more control and mode options like Tremolo and ADSR.

Each parameter is CV controllable, and each control universally adjusts all four envelopes for easy polyphonic tracking. Quantus Trajecta is performable, musical, and most importantly, fun.

Notes: Roucha Legio is a 12 dB /octave state-variable stereo multimode filter available on the Legio DSP+oscillator platform.

Noise Engineering received tons of requests for NE filters over the years, and Roucha Legio is their first dedicated release. The filter features lowpass, bandpass, and highpass settings and tracks frequency via the dedicated encoder and extremely accurate 1v/8va CV input. Roucha Legio's CV-controlled resonance parameter can go from clean to acidy-squelchy for bassline joy. Add CV for filter sweeps that will knock your socks off. Of course, because it's a Noise Engineering module, there's a Fold knob. Add wavefolding to the signal chain before, after, or both before and after the filter.

Noise Engineering have made it easy to carry out dramatic buildups and cuts with Roucha Legio. Just tap the encoder to bypass; tap again to turn the filter on again. Want to automate it? Send a gate into the Bypass input. The filter will remain bypassed as long as a high gate is present.

Roucha Legio is also a DSP and oscillator platform: users can change the firmware on any Legio module, 100% free, to any other firmware in the Legio series.

Dimensions
6 HP
38 mm deep

Current Draw
140 mA +12V
22 mA -12V

Notes: Roucha Legio is a 12 dB /octave state-variable stereo multimode filter available on the Legio DSP+oscillator platform.

Noise Engineering received tons of requests for NE filters over the years, and Roucha Legio is their first dedicated release. The filter features lowpass, bandpass, and highpass settings and tracks frequency via the dedicated encoder and extremely accurate 1v/8va CV input. Roucha Legio's CV-controlled resonance parameter can go from clean to acidy-squelchy for bassline joy. Add CV for filter sweeps that will knock your socks off. Of course, because it's a Noise Engineering module, there's a Fold knob. Add wavefolding to the signal chain before, after, or both before and after the filter.

Noise Engineering have made it easy to carry out dramatic buildups and cuts with Roucha Legio. Just tap the encoder to bypass; tap again to turn the filter on again. Want to automate it? Send a gate into the Bypass input. The filter will remain bypassed as long as a high gate is present.

Roucha Legio is also a DSP and oscillator platform: users can change the firmware on any Legio module, 100% free, to any other firmware in the Legio series.

Dimensions
6 HP
38 mm deep

Current Draw
140 mA +12V
22 mA -12V

Notes: Describing Univer Inter as merely a MIDI-to-CV module falls short of its immense potential. It serves as an all-encompassing MIDI-to-any-format converter, elegantly packed into a compact 6 HP unit. Connect to your gear via USB B or TRS MIDI, or use the included adapter to plug straight into those 5-pin DIN connecters we all know and love. Whether you're looking to map clock, note, CC, aftertouch or something else that MIDI can encode, UI can do it: we built in over 20 settings for each of the 8 outputs.

Want to control a pair of monophonic voices, complete with velocity and aftertouch? No problem. How about a polyphonic setup, with gate and pitch per voice? Easy. Need to synchronize an in-the-rack sequencer with your DAW or a MIDI clock? UI has you covered.

Eight outputs isn't enough, you say? Chain two UI together via their front-panel MIDI ports and a TRS cable for 16 - you read that right, 16 - configurable CV outputs from a single MIDI connection. The possibilities are endless.

Noise Engineering also made configuration simple via the front-panel USB connection and the easy-to-use Univer Inter section on the Noise Engineering Customer Portal. Go wild and set each channel to any output option you need, or just use one of our simple presets. Configuration files can also be saved as sysex files for easy backup and sharing.

Features

Size and Power
6HP Eurorack
+12v: 40mA
-12v: 10mA

Univer - from Latin: "Universe"

Inter - from Latin: "between"

"Between universes"

What's in the box:
Module
Power cable
5-pin MIDI to TRS cable
USB A to B cable

To reduce excess materials, screws will no longer be included with Noise Engineering modules beginning in 2023.

Notes: Describing Univer Inter as merely a MIDI-to-CV module falls short of its immense potential. It serves as an all-encompassing MIDI-to-any-format converter, elegantly packed into a compact 6 HP unit. Connect to your gear via USB B or TRS MIDI, or use the included adapter to plug straight into those 5-pin DIN connecters we all know and love. Whether you're looking to map clock, note, CC, aftertouch or something else that MIDI can encode, UI can do it: we built in over 20 settings for each of the 8 outputs.

Want to control a pair of monophonic voices, complete with velocity and aftertouch? No problem. How about a polyphonic setup, with gate and pitch per voice? Easy. Need to synchronize an in-the-rack sequencer with your DAW or a MIDI clock? UI has you covered.

Eight outputs isn't enough, you say? Chain two UI together via their front-panel MIDI ports and a TRS cable for 16 - you read that right, 16 - configurable CV outputs from a single MIDI connection. The possibilities are endless.

Noise Engineering also made configuration simple via the front-panel USB connection and the easy-to-use Univer Inter section on the Noise Engineering Customer Portal. Go wild and set each channel to any output option you need, or just use one of our simple presets. Configuration files can also be saved as sysex files for easy backup and sharing.

Features

Size and Power
6HP Eurorack
+12v: 40mA
-12v: 10mA

Univer - from Latin: "Universe"

Inter - from Latin: "between"

"Between universes"

What's in the box:
Module
Power cable
5-pin MIDI to TRS cable
USB A to B cable

To reduce excess materials, screws will no longer be included with Noise Engineering modules beginning in 2023.

Notes: Particles, is 4 channels of trigger modulation, capable of mathematically variating and manipulating your patterns with a combination of features to play with.
It can evolve your rhythmic idea into more complex and groovy patterns which are difficult to achieve without music knowledge.

You can create your algorithms from the rhythmic tools provided to be able to change the patterns instantaneously in many ways without worrying to sacrifice
the original idea.

You can shift and scramble the outputs, you can repeat the triggers with different time signatures to transform the grooves, mute in different ways, disappear by probability trigger inputs, disappear by probability repetitions, use sequential switching to shift randomly with a different kind of resetting, bypass each channel and set it individually the amount of each feature per channel when feeding external CV.
The idea of Particles, was designed to provide features for building complex breaks, grooves, organic-evolving percussion sounds, and different options for
arpeggios, and even bass line grooves, the limits are decided by you.

Particles Features

4 trigger inputs/outs.

Repetitions with different distribution times to choose from.

Manually shift the output channels, scramble them randomly or clocked them in forward mode.

Reset the outputs to 4 different shift modes.

Disappear repetitions by probability per channel.

Disappear the input trigger by probability per channel.

Mute each channel with clock divisions from the input clock.

Mute manually the outputs

Disable triplets from repetitions to have musical patterns

Random voltages output clocked from clock input.

The slider keeps the adjusted value from each feature.

Notes: Particles, is 4 channels of trigger modulation, capable of mathematically variating and manipulating your patterns with a combination of features to play with.
It can evolve your rhythmic idea into more complex and groovy patterns which are difficult to achieve without music knowledge.

You can create your algorithms from the rhythmic tools provided to be able to change the patterns instantaneously in many ways without worrying to sacrifice
the original idea.

You can shift and scramble the outputs, you can repeat the triggers with different time signatures to transform the grooves, mute in different ways, disappear by probability trigger inputs, disappear by probability repetitions, use sequential switching to shift randomly with a different kind of resetting, bypass each channel and set it individually the amount of each feature per channel when feeding external CV.
The idea of Particles, was designed to provide features for building complex breaks, grooves, organic-evolving percussion sounds, and different options for
arpeggios, and even bass line grooves, the limits are decided by you.

Particles Features

4 trigger inputs/outs.

Repetitions with different distribution times to choose from.

Manually shift the output channels, scramble them randomly or clocked them in forward mode.

Reset the outputs to 4 different shift modes.

Disappear repetitions by probability per channel.

Disappear the input trigger by probability per channel.

Mute each channel with clock divisions from the input clock.

Mute manually the outputs

Disable triplets from repetitions to have musical patterns

Random voltages output clocked from clock input.

The slider keeps the adjusted value from each feature.

Notes: Punch MG is a unique module with VCA-DECAY & Mute GROUP designed for Eurorack systems.

This module has been specially crafted to generate dynamic percussive sounds while also offering the capability to manage multiple signals simultaneously through its innovative mute group feature.

Punch MG provides a versatile platform for crafting dynamic percussive sounds. With its mute group feature, it allows you to handle numerous signals concurrently.

The manual will guide you through the various features and functions of Punch MG, enabling you to explore its full potential.

Key Features:

Dynamic Sound Generation: Punch MG is engineered to generate dynamic percussive sounds with finesse, offering a range of creative possibilities.

Mute Group Interaction and Signal Patterning: Utilize the mute group feature to enable interactions between signals that share the same group.

This feature enables signal muting and amplitude limitation when multiple signals are triggered simultaneously. The amplitude and decay time of each signal are influenced by others in the same group. This characteristic can lead to captivating pattern variations when focusing on specific channels.

Expandable Capability: By linking two modules, you can expand the effect of the mute group to accommodate up to eight signals, fostering intricate interactions and captivating sonic landscapes.

AM Sound Creation: Connect audio rate signals to the level input to explore the creation of AM (Amplitude Modulation) sounds, further extending the sound design possibilities.

Envelope outs: Each envelope's polarity can be inverted using dedicated switches on the front panel, enabling you to achieve effects like side-chain compression and ducking. Moreover, the mute group circuit's influence extends to the envelope signal output, providing intriguing modulation capabilities that add a unique layer of creative expression to your sonic endeavours.

16 HP
Power consumption 180mA@+12V, 64mA@-12V