Three families of vibrating structures are simulated by the module, with CV control over their parameters:
- Strings, membranes and tubes as modelled by Elements' resonator section (modal synthesis).
- Strings coupled together and vibrating in sympathy, with controllable intervals between them.
- Strings with a variable amount of inharmonicity.
Rings can be configured so that each new note is played on its own virtual string, while the previously played note(s) still decay(s). This unique take on polyphony allows the module to play strummed chords.
*For audio demo, please visit - http://mutable-instruments.net/modules/rings
What about four more?
Veils provides four VCAs with an adjustable response curve. Veils' outputs are daisy-chained, allowing adjacent groups of 2, 3, or all 4 channels, to be mixed together.
- 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 analog signals from digital information (Gate / Clock)
- Generate digital information (Gate / Clock) from analog signals
- Delay digital (Gate / Clock) information
A few of the Morphagene's most basic uses: Splice recorded audio and jumble it using ORGANIZE. Manipulate playback speed and direction with Vari-Speed. Granularize with Gene-Size and Slide. Layer or Stagger Genes using MORPH. Undertake iterative music processes by recording manipulations and overdubs into new Splices, like having two machines (one for Playback and modulations, one for Record). Process sound in real time using Time Lag Accumulation. Utilize envelope following CV OUT and EOSG Trigger to engage Morphagene in conversation with the rest of your modular system. Stretch and squash sound with Clock input.
Max Depth: 30mm
Power: 165mA @ +12V, 20mA @ -12V
***MG137 Firmware Update:
1. Improves Vari-Speed response for slow modulation rates.
2. Improves SD Card file format for more compatibility with software .wav file formats.
3. Doubles total record time per Reel.
Upgraded memory performance offers an increase from 1.45 minutes to 2.9 minutes of record time.
If you are using Splices that are over 1 minute long the SLIDE parameter will be scanning across a massive amount of material and therefore the longer the Splice the longer it will take to get to where you are Sliding toward. Imagine a tape machine shuttling forward or backward to get to your desired destination. No we cannot change this, the MG is scanning as fast as possible. This new double record time firmware will make this even more of a factor.
Read and Write times will be MUCH longer when you have a Full 2.9 minute reel. So for example, if you decided to erase a 5 second Splice in the middle of a 2.9 minute reel it will take twice as long as before because the MG must re-write the entire 2.9 minute reel. Of course all of this is happening in the background and should not cause too much hassle. Still when that SHIFT button is flashing it is best to not perform more SD Card actions.
For most granular processing Splices of 10 seconds or less are recommended.
So why even bother increasing record time to 2.9 minutes? Well it allows for storing even more Splices on a Reel and it also makes it possible to record long portions of a patch for later arranging within your DAW. You could potentially capture a patch, including modulations of a shorter Splice (say 10 seconds), retrieve the sound from the SD Card and compile into a larger work using your DAW.
4. Increased max number of Splices to 300.
With Warps, the cross-modulated sound can be sculpted with control voltages along 4 dimensions: by controlling the amplitude and distorting the input signals, by smoothly scanning through the collection of modulation algorithms, and by adjusting a timbre parameter controlling the brightness/harshness of the modulated signal.
Since many classic cross-modulation effects work best when the carrier is a simple waveform - for example, a sine wave for ring-modulation or a buzzing waveform for vocoding - Warps includes a digital oscillator offering a handful of classic waveforms. This internal oscillator, which tracks V/Oct and supports through-zero FM, will replace the carrier audio input - freeing up one oscillator in your system for other duties!
3 filter modes are available: 2-pole band-pass, 2-pole low-pass, and 4-pole low-pass.
Self-oscillation is available for all modes and produces a clean sine-wave on the LP4 output. Unlike many classic 4-pole designs, this filter does not suffer from "loudness drop" when resonance is increased. The resonance loudness compensation circuit brings a slight tone coloration reminiscent of the Roland SH/Jupiter filters, with a very round and "liquid" resonance.
The 4-pole low-pass output is additionally sent to a VCA. This makes Ripples a good "final stage" module for an inexpensive/space-constrained subtractive synthesis synth voice.
*For audio samples, please visit - http://mutable-instruments.net/modules/ripples
The core of the module is a digital asymmetric triangle function generator, which can be used in AD and AR modes (for envelope generation), or looping (as a VC-LFO or VC-DO). The triangle generator is followed by a wavetable waveshaper providing linear, exponential, logarithmic, sinusoidal, or arc-sinusoidal shapes for the A and D segments. Then, a second processor applies either a 2-pole low-pass filter to the waveform, smoothing its sharp edges; or a rubbery wavefolder, adding kinks and "bounces" to the waveform. Because Tides has been designed from the ground up to work at audio rates with minimal aliasing, and because all its parameters are under voltage control, it can be used as a unique self-contained synth voice.
Tides' advanced features include:
- Output level CV input (digital VCA).
- Dual outputs: standard unipolar waveform, and "double-shot" waveform with a positive spike during the ascent and a negative spike during the descent. At audio rate, both of them have a different sound.
- Accurate V/Oct tracking with straightforward calibration procedure.
- Freeze input to temporarily hold the waveform.
- Clock input to lock onto a multiple or fraction of a trigger sequence... or audio signal, PLL-style.
*For audio demos, please visit - http://mutable-instruments.net/modules/tides/demos
Grids' "brain" is a map of the typical drum patterns used in (mostly electronic) music, laid out by similarity, trained on a large corpus of drum loops. The module can smoothly interpolate and navigate from one pattern to the other, at the whim of a knob move or a CV.
But Grids' knowledge of drum patterns goes far beyond what would be achieved with presets - given a position in the map, thousands of variations can be intuitively generated by controlling the "event density" of each of the 3 channels (bd, sd, hh) - gradually moving from a sparse backbone to a deliciously rich pattern with ghost notes, rolls and fills.
Add CV-control on these parameters and you can add subtle or drastic variations to the drum pattern. If you don't want to waste a noise source or S&H for that, Grids has its own internal source of randomness that can unpredictably spice the pattern, in an always meaningful way.
Building the rhythmic foundation of your tracks with Grids is fun, surprisingly intuitive, with modulation and variations possibilities that will rapidly make you forget x0x-style sequencers.
*For audio demos, please visit - http://mutable-instruments.net/modules/grids
Yarns provides 4 CV outputs and 4 Gate/trigger outputs, 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 channel 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.
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. 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!
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.
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.
The Happy Ending Kit includes:
1 x Z-Rails set plus screws to attach to Z-Ears
1 x uZeus 4HP PSU with 2 x flying bus boards
1 x UK 3-pin mains adapter
Named for the French philosopher & mathematician Rene Descartes, it uses his Cartesian coordinate system to unlock the analog step sequencer from the shackles of linearity.
More than 10 in stock $431.57
The Sub-Timbral Oscillator is the more subtle and melodic friend to the DPO's complex harmonic lattice.
Typical reverb types such as plate, room, hall, shimmer and others may be programmed by adjusting the knobs. The continuously variable algorithm allows for hybrid and unreal spaces to be found.
Traveling between spaces is possible by modulating the algorithm or manually sweeping parameters. More than an end-of-chain effects unit, it's a whole new building block for modular synthesis. Like the Echophon, it's coded by Tom Erbe of soundhack.
A bicolor LED monitors the polarity and intensity of the audio or CV signal on each output.
Unconnected inputs are normalized to an internal precision voltage reference, which can produce either a +5V or +10V constant voltage.
Normalization on the outputs allows the module to be used as a mixer or offset generator: when no jack is inserted in an output, the signal from this output is summed into the next output. Combined with the internal voltage reference, this allows the module to be used as a CV offset control.
When output 1 is left unconnected, the signal on output 2 is the sum of channels 1 and 2. Channel 3 can be used for another purpose (attenuation, attenuversion, or constant CV generation).
When output 1 and 2 are left unconnected, the signal on output 3 is the sum of channels 1, 2 and 3.
Leave channel 1's input and output unconnected, and connect a CV source to channel 2's input. Channel 2's output will contain a scaled and offset copy of the input CV. Channel 1's level knob will control the offset and channel 2's level knob will control the signal scale and polarity.
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!
The tELHARMONIC's roots go back further than the advent of electronic music, as it also takes a new approach to handling music theory in the modular context. TONIC, INTERVAL, DEGREE and D-GATE, allow for patch-programming of complex chord progressions, scales, melodies and playing styles. This Voltage Controlled Music Theory guides the Algorithms in a unified way, whereas CENTROID, FLUX and H-LOCK sculpt the timbre of each Algorithm uniquely, allowing for complex sounds to be created around a unified melodic structure and pattern.
***FIND THE SPIRATONE INSIDE YOUR TELHARMONIC***
The Spiratone is a form of Shepard Tone generator. It is a sonic barber pole that creates the auditory illusion of a tone that continually ascends or descends in pitch, yet ultimately seems to get no higher or lower.
It occupies the same space as the tELHARMONIC. To find it, have nothing patched to D-Gate and HOLD H-LOCK for 5 seconds. The sound will dramatically change... you've found the Spiratone inside your tELHARMONIC.
Multi Voice Shepard Tone generator inspired by Jean-Claude Risset "Computer Suite from Little Boy: Fall," 1968 & James Tenney "For Ann (rising)," 1969
CENTROID sets spacing of the oscillators
INTERVAL allows for complete control of modulation depth and direction
FLUX adds random pitch fluctuations
8 octaves of continuous 1V/ Octave pitch control
8 octaves of quantized pitch control
DEGREE Modulation able to be synchronized by clock or gate via D-Gate input
Gate Out completes the conversation between Spiratone and rest of system!
Utilizes High performance DSP hardware with 24bit, 48kHz codec, 32 bit floating point processing
Reasonable power consumption
Pairs well with Optomix
Video demo - https://www.youtube.com/watch?t=1&v=Mz6n-tzX5Xk
It is designed to facilitate live performance on the modular synthesizer by allowing the artist to preview and modify portions of a patch using the Auto-CUE system, while the audience is listening to a different portion of the patch as selected by the crossfader.
Additionally it allows for Stereo processing of all sounds via the FX Loop. The Rosie is suitable for headphone monitoring of the modular system and interfacing the modular system to a recording environment. Internal Level Matching and Limiting w/ overload indication makes it easy to connect the modular system in the studio or on stage.
Elements combines an exciter synthesis section generating raw, noisy sounds characteristic of bowing (filtered friction noise), blowing (pitch-controlled granular noise), or striking (stick, mallet, hammer or brush sample playback... or bursts of synthetic impulsions). These sources, or external audio signals, are processed by a modal filter bank - an ensemble of 64 tuned band-pass filters simulating the response of various resonant structures (plates, strings, tubes...) with adjustable brightness and damping. A stereo ambience reverberator adds depth and presence to the sound.
All parameters have a very meaningful and well-delimited impact on the sound. When designing Elements, great care has been taken in selecting parameter ranges and control curves, producing a large palette of sounds - often beyond physical realism - but always well controlled and stable. The "dark spots" of noise and feedback are reached gradually, and they do still react to controls. The module is deliberately menu- and switch-free - what you dial/patch is what you hear!
*For audio demos, please visit - http://mutable-instruments.net/modules/elements/demos
The 4ms Dual Looping Delay (or DLD) is an advanced audio processor for creative synthesis. Not a tape or analog emulation but a modern crystal-clear digital delay, the DLD combines features of delay, looping, and sample-tight synchronization for powerful and dynamic sound capture and modification. The DLD is designed to integrate seamlessly with modular time-base and sequencing devices such as the 4ms Quad Clock Distributor (QCD), etc.
What is a "Looping Delay"?
Modern looping devices grew directly from hardware digital delays of the late 70s and early 80s. A looping delay, modelled on units such as the classic Lexicon PCM42, has the very long storage times associated with dedicated looping, but without triggered record and playback functions.
By default, a looping delay records and plays continuously, though recording can be suspended at any time with Infinite Repeat. Sustain of delays and loops is mainly accomplished with regeneration, allowing an organic, evolving approach to sound creation as new material replaces old, more or less gradually. The 4ms Dual Looping Delay also provides advanced clock input and output facilities that allow for locking delayed and looped material with sequencers and rhythm devices of all descriptions.
The 4ms Dual Looping Delay is conceived and designed by Gary Hall. Implemented and manufactured by 4ms Company
- 4-channel attenuator/VCA.
- 4-channel mixer.
- 4-channel programmable CV source.
- Quadraphonic signal dispatcher.
But what makes Frames truly unique is the way in which channel/CV levels can be controlled, using a technique inspired by computer animation. Frames allows up to 64 configurations of the 4 level knobs to be stored and recalled throughout the course of its big Frame knob. By rotating the knob (or sending a CV to the Frame modulation input and adjusting its amount with the attenuverter), the configurations are morphed into one another.
To fine-tune the animation and get varied morphing or sequencing results, the following options are available for each of the 4 channel:
- Easing curve (stepped, linear, exponential, logarithmic, sine, bouncy)
- Attenuation response of the level knob, from linear to logarithmic
With a bit of patching and imagination, Frames can also be repurposed as a 4-channel sequencer, a multi-stage envelope generator or a trajectory generator for quadraphonic panning...
Mutable Instruments modules are packed with features and Frames is no exception: Frames can switch easily to an entirely different mode of operation in which it becomes a wavetable quadrature LFO.
4 in stock $248.70
A gorgeous ring of colored lights displays the frequency of each filter, as well as the levels and current scale selection(s).
At a glance, the SMR works like a normal six-band graphic EQ: six frequency band-pass filters are mixed together using sliders. Resonance/Q is variable, which changes the "ringy-ness" or width of the bands.
But here's where comparison stops. The frequency of each channel is treated like a note in a scale, and the six bands form a chord. Spin the Rotate knob and the "notes" circle around the scale, rotating back to the bottom once they've reached the top. Adjust Spread and the distance (interval) between each note changes. Triggers for up/down motion, CV inputs for sequencing and scale selection allow for flexible control with external modules. Morph, which automatically cross-fades between frequencies, together with variable Slew allows rhythmic clocks drive the SMR as a variable-speed evolving resonant filter.
At maximum Resonance/Q, the SMR can be struck like a gong or marimba by inputting clocks or triggers. The frequency of each channel is quantized to a scale: beautiful chords, ethereal tones and eerie ambiance flows easily. With lower resonance, the SMR can pull out particular frequency bands, and sweep these across the spectrum.
Two 1V/octave Frequency jacks allow for tracking even and/or odd bands and creating floating melodies over evolving chord bases, or complex percussive membrane sounds.
Save your settings into one of six storage banks, and recall on the fly. On startup, the SMR instantly jumps to the last saved settings. The color scheme of the lights can be adjusted, so if you prefer all white lights on your modular, you can have that (or all red, or rainbows, pastels, etc..)!
- Program your own scale. The frequency of each of the 20 notes can be assigned by setting the octave, the semi-tone, and coarse and fine micro-tone. Up to 11 scales can be saved permanently in the user bank
- Adjust color scheme of the LEDs. Pick a pre-programmed color scheme or create your own using the sliders to set Red/Green/Blue values. Custom color schemes can be saved permanently
- Save your settings in one of six parameter banks. Note position, scale and bank selection, Q value, Lock settings and color scheme can be saved and recalled on the fly. On startup, the SMR loads settings from the last saved bank.
- Optional alternative filter type for a more exponential decay when plucked and different timbral qualities. Freq jacks no longer track 1V/oct in this mode.
- Slider LEDs can be assigned to display level for each channel (combination of slider position and CV on the jack), or clipping for each channel.
It has 9 inter-connected sockets that may be split into different group combinations depending upon how it is patched. The jacks circled in white will make or break the interconnects between the 3 groups of three, thus allowing for three 3-way, one 5-way/ one 3-way or one 7-way multiple.
The Multiple is passive, because the Make Noise system does not require Buffered Multiples since all critical control signals are already buffered in such a way as to provide a large fan-out capability.
Oscillator 1 can be operated in a CHORD mode, which runs 8 copies of the oscillator in parallel with adjustable detuning, leading to very fat, rich waveforms. The oscillators have extensive modulation capabilities including audio rate (98KHz) Frequency and Phase Modulation (FM and PM) via external sources. Nonlinear combination processes allow the outputs of the two oscillators to interact to generate complex timbres and sonic textures.
There are 64 user selectable chords.
The SHAPESHIFTER module also includes the analog wave folder circuitry from
module to add analog warmth and metallic rasps to the digital oscillator output.
External signals can also be patched in.
The module includes a sophisticated preset mode where panel settings can be stored. There are 12 user-programmable preset slots and another 52 volatile slots that can be used as a scratchpad. These scratchpad slots are initialized to interesting presets on module powerup. The capabilities of the preset mode is not limited to mere passive storage of settings, however. In this mode the user can also step through, or sequence, the settings, either in order or randomly in response to pulses input to the external sync input. This gives the user the ability to generate complex sequences of sounds. The preset mode also allows the user to morph between the current panel settings and a preset providing a very powerful real-time performance tool.
8 Different sync modes: HARD, SOFT, REV, HOLD, BUMP, 2=1, 1=2, OFF
with the ability to internally sync to a sub oscillator
User selectable modes for the PULSE output: OR, AND, XOR, GLCH, +OSC1, EOC, +OSC2, -OSC2
MOD A modes: (audio rate modulation)
COMBO IN, SHAPE IN, PHASEMOD, VOCODER
MOD B options (all with CV control)
-Combo modes for OSC1 and OSC2:
NORMAL, RING, MIN, PONG, INLV, AND, XOR, GLCH
-Chord mode overdrive
-Delay depth and FB
-Percussive mode decay time
Output and Modulation types include Pulses, Gates, LFOs, Digital Noise, Loopable S&H modes and a collection of Arpeggios and Rhythmic Loops.
Tempo-sync for all Outputs is provided by the on-board Clock or
an External Clock Input with Tempo ranges from 20 to 270 BPM.
Outputs can be set to any Clock Division or Multiple from 1/16th
of a Beat to 16 Bars and can be Offset up to 360 Degrees.
Intuitive interface allows user-definable control over knob and parameter behavior to match the preferences of individual users.
For audio, please visit: http://www.abstractdata.biz/products/eurorack/3x/ade32/?tab=audio
Expanding on the classic arrangement of Primary and Modulator Oscillators, the DPO has both of the VCOs operable as complex signal sources. It is in essence a Dual Primary Oscillator.
One can think of Blinds' as a voltage-controlled version of Shades, the control center for all the modulation CVs used in a patch. Many other uses are possible, though. For example, each individual channel can be used to scale/offset a CV; and with audio rate modulation signals, each channel acts like a ring-modulator, with massive potential for drones and feedback patches.
- Eurorack synth compatible
- 14HP, skiff friendly
- Current draw: +45mA / -42mA
- Reverse power protection
Each channel consists of an analog voltage-controlled filter and amplifier (VCFA). The response curve of the amplifier section is continuously variable from exponential to linear. The amplifier gain is directly controllable from a CV input, through an attenuator. But what makes Streams truly unique is the multi-purpose EXCITE input. The signal routed to this input is analyzed by a micro-controller and translated into internal control voltages for the VCFA, turning Streams into a very versatile signal contouring tool:
The EXCITE input can work as a trigger input, triggering an internal AD or AR envelope routed to the gain and the filter cutoff (in variable amount). With only 6-HP of space, you can shape an oscillator or noise source into a full-bodied sound.
Vactrol curve generator
The EXCITE input is processed by a digital model of a resistive opto-isolator (Vactrol), controlling the gain and the filter cutoff (in variable amount). The digital emulation allows the modification of properties of opto-isolators - such as response time - which are otherwise difficult to control. The virtual vactrol response can be either optimized for processing CVs, or triggers (for "plucked" sounds).
Amplitude and frequency content follower
The envelope and cutoff of the EXCITE signal is measured, and applied to the signal on the VCFA input.
Streams' VCF is disabled, and the VCA is used to control the dynamics of the input signal. An intuitive control scheme allows the compressor to be used either for peak reduction/limiting operation; or for boosting signal levels with soft-limiting. The EXCITE input can be used as a sidechain.
CV over mix allows dynamic movement between the dry and reverberated sound, and the dampening control lets you dial in the perfect timbre for the wet signal. Whether you need a traditional reverb for an FX send or an esoteric sound design tool, Verb can take you there. Get lost in space with Verb.
Supply: +/-12V (Reverse voltage protection)
Current Draw: ~80ma
Size: 8 HP
Depth: 32mm (including power header)
To bring to your system the +5V rail needed by Mutable Instruments modules, an adapter such as Volts can be used.
It is available in both a horizontal (skiff-friendly) and a vertical version (deep case with narrow bus boards-friendly).
First of all, make sure that your case/bus board does not already have a +5V source. Doepfer cases/bus boards have 3 LEDs, one for each voltage (-12V, +12V and +5V). Power your system on and check that the +5V LED is off before installing the power adapter! Using Volts in a case already equipped with a +5V source might damage your equipment.
Your system must be powered off during the installation of the power adapter. Insert the Volts power adapter on one of the 2×8 pin connectors on the bus board. Make sure that the -12V text printed on your bus-board is on the same side as the -12V text printed on the Volts module; and that all male pins of the bus board are inserted into Volts‘ connector.
Maximum output current: 1.5A.
Ripple noise: max. 75mV.
Plonk does this by breaking sound creation into two distinct elements - the exciter and the resonator. The exciter is a mathematical model of the device used to strike a particular surface. Plonk, because it's percussion oriented, has two types of exciters: one modelled on a mallet, and the other providing a noise source. The resonator is a virtualization of the object being struck, which vibrates, resonates and creates the body of a sound. Plonk offers several types of resonators: beam; marimba; drumhead; membrane; plate; and string.
Plonk provides numerous parameters that let you shape, mould and design both the exciter and the resonator, thus enabling you to synthesize the sound of striking or scraping almost any type of object - real or imagined. In this way, Plonk can accurately model the sounds of kicks, snares, toms, cymbals, claps, tablas, congas and all manner of traditional percussion instruments. It can also model pitched percussive instruments, like vibes, marimbas, and even bass or guitar-like tones. Of course, it additionally excels at modelling instruments that heretofore never existed.
Best of all, the sounds created by Plonk are not static - any sound you design can respond dynamically to velocity, as well as four different modulation inputs. This means the sound of Plonk can change completely from note-to-note (or strike-to-strike). Because of this, Plonk is actually a duophonic (2-voice) module, which lets the sound of one note decay naturally when a second note (possibly employing an entirely different set of modelling values) is struck. Thus, hitting a new note does not choke the sound of the previously struck note (unless you want it to, of course)!
Plonk stores up to 128 patches in its internal memory, and ships with many presets programmed by professional sound designers and composers. You may overwrite these patches if you wish, and banks of patches may be transferred via MIDI System Exclusive over Plonk's built-in mini-USB port to facilitate offline storage by programs or websites that support this capability.
Plonk was developed in cooperation with Montreal-based Applied Acoustics Systems - physical modelling pioneers, and the creators of Tassman, Lounge Lizard, String Studio, Ultra Analog, Chromaphone and numerous other plugins. It is with great pleasure that Intellijel brings the potential of this physical modelling technology to a hands-on, CV-laden device capable of the sort of dynamic control and sonic exploration that modular synthesists demand.
Adjusting the sample rate control will distort and decimate the incoming audio as well as warp the time domain of the currently locked buffer. From beat repeat to granular audio buffer, Freez will create new sounds and textures out of any input signal.
this makes a perfect modulation source to pair with the rubicon. add a ufold, uvca and ufade and you have all the ingredients for a powerful and highly flexible complex timbre generator.
The drum voice consists of 3 parts; a digital noise source with controllable frequency and release time, a wavetable oscillator with start and end frequency settings together with a variable rate (and release time, and finally a mix and tone control for the audio output. All settings, bar the tone control, are both direct and voltage controllable.
The drum voice includes a trigger input as well as accent and choke trigger inputs to add further expressive and rhythmic control.
It is a small analog computer designed for solely musical purposes.
+12V @ 1.5A
-12V @ 1.3A
+5V @ 1.5A
Simply plug a universal power supply (laptop style) into either of the barrel plugs on the 4HP panel. Connect your modules via flying-bus cables or the Bus Stick.
Daisy-chain multiple Row Powers to use a single power brick for multiple rows (typically 3-5 rows per power brick). Each row will be independently regulated and protected for ultra-low cross-talk between rows. Rows can also be hot-swapped (plugged/unplugged without powering the whole system down).
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.
Supply: +/-12V (Reverse voltage protection)
Current Draw: ~50ma
Size: 4 HP
Depth: 32mm (including power header)
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.
8 in stock $259.14
Branches packs two such gates in a small 6-HP panel. Get a sequencer to randomly skip steps, randomize drum patterns, dispatch events from a sequence to two subpatches, or patch a monster modular Pachinko machine...
Input specifications: 100k impedance, 0.6V threshold.
Output specifications: 5V HIGH level.
Response time: 15us.
Current consumption: +12V: 10mA, -12V: 1mA.
- Clock Input (5V to 15V clock, rising edge triggered), max 3kHz
- CV Rotate (0V to +5V input)
- CV Reset (5V to 15V trigger)
- Divided Clock Outputs (8 jacks):
...where R is the CV Rotation.
- Selectable Gate/Trigger mode:
- Selectable Divide range up to Divide-by-64:
Two jumper pins on the back can be pre-set with jumpers plugs, or used with (forthcoming) breakout panel.
- Selectable Auto-reset:
Auto-reset will reset the divide counter every 16/24/32 clocks, which keeps the beats more "dance-able" even when using the "weird" clock divisions (3/5/6/7/9/10/11/etc..) Two jumper pins on the back can be pre-set with jumpers plugs, or used with (forthcoming) breakout panel.