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Notes: Great value from this compact filter module. The Pip Filter is a 12dB/oct resonant design with built-in normalled VCA and a trigger input for pinging. Lots of functionality and creative potential packed into 4 HP.

Supplier's Notes:
Compact Low Pass Filter and VCA

The 'Pip Filter' is a compact 4HP voltage controlled 2 pole low-pass filter with resonance, a 'pingable' trigger input and built in VCA.

Filter cutoff is controlled via both knob control and dual CV inputs with a built in attenuverter.

Resonance is manually controlled and will reach into self oscillation with rough V/Oct tracking.

A trigger input allows the filter to be pinged for percussive plucked type sounds. Finally, a built in VCA (normalled open) allows for additional independent amplitude control of the filtered signal.


Technical Specifications

Size: 4HP
Power: +12V 25mA / -12V 25mA
Depth: 32mm (approx)

Notes: Compact Analogue LFO & VCO

The 'Pip LFO' is a compact 4HP all analogue low frequency oscillator with a wide frequency range, voltage control, numerous outputs, reset input and a VCO mode.

LFO speed is set via a manual control and voltage control input. There is a unipolar square wave output along with both bipolar and uni-polar triangle, saw and sine waveform outputs.

When VCO mode is activated, the frequency jumps to audio range and will track V/Oct for approx 5 octaves. A reset input allows the LFO waveform cycle to be reset and produces hard sync functionality in VCO mode.


Technical Specifications

Size: 4HP
Power: +12V 40mA / -12V 20mA
Depth: 32mm (approx)

Notes: Four voice paraphonic

Ripsaw contains 4 voices that can each be individually controlled with 1 volt per octave pitch CV.

Seven oscillator spread

Each of Ripsaw's 4 voices contain 7 waveforms that can be detuned from eachother in pitch to create a lush swarm oscillator sound.

Wave morph

Ripsaw's oscillator waveforms morph smoothly from classic sawtooth to square for a hollow, haunting tone when spread detune is introduced.

Super sync

Ripsaw's shift parameter offsets the pitch of a hard sync oscillator for every one of the 28 waveforms to open up a whole new timbral dimension

Hex platform

Ripsaw is only the first firmware to be released on our new 6hp eurorack hardware platform called HEX. Other firmware options that generate and process sound will be available to download and try out free of charge.

Specifications:

6hp
25mm deep
42mA on +12V, 5mA on -12V, 0mA on +5V

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


Punch is the ultimate VCA-DECAY module for Eurorack

Specially designed to generate dynamic percussive sounds but also capable of basslines, leads, envelopes and more. The VCA has a built in voltage controlled Decay envelope that can be turned from smooth to more aggressive exponential responses and can be activated with triggers, gates or cv's.

Punch features two modes per channel to play, with a dedicated switch control: "vintage style drum machine mode" and "dynamic cv mode"

Punch is capable of creating AM sounds with control voltage on the "amount"

Each envelope can be inverted via dedicated switches on the front panel.

If you use an inverted envelope alongside the accent input you can create ducking effects like side-chain compression..

INSTALLATION:
* Disconnect your synth from the power source.
* Double check polarity from the ribbon cable, unfortanetly if you damage the module by powering in the wrong direction it will not be covered by the warranty.
* After connecting the module check again you have connected the right way, the red line should be on the -12V.

Notes: Bringing the sound of the legendary Roland Jupiter-8 crashing into Eurorack, the ISE-NIN is Black Corporation's 100% analogue monophonic synth voice, derived from the mega eight-voice ISE-NIN desktop synth.

Supplier's Notes:
(ISE-NIN) VOICE brings the legendary Japanese discrete analogue sound into a compact 100% analogue Eurorack creation. Ideal for combination with an x0x techno rig, the full depth of rich sonic potential and programmability of ISE-NIN can now be patched into new modular concoctions. A full complement of iconic analog oscillators, filters, envelopes, and modulation make this at once a full-featured semi-modular synth on its own, and a powerful addition to any rig with the addition of ISE-NIN BREAKOUT.

Two Oscillators with Deep Modulation

This is a no-compromise compact recreation of a complete voice - lacking only the desktop synth's polyphony. Two oscillators each include multiple waveforms (triangle, ramp, pulse, and square on the VCO-1, with sine and noise replacing triangle and square on VCO-2). Hard sync is available, as is configurable modulation, with dedicated PWM (controlled manually, via LFO, or via envelope 1), and tweakable modulation amounts from both LFO and envelope 1 to VCO-1, VCO-2, or both. The LFO section provides access to waveform (sine, saw, square, random), rate, and delay.

Unmistakable Filter, Dual Envelopes, Musical Control

The unique classic 80s Japanese filter sound is fully embodied here, with highpass filter, lowpass with two slope options (-12 dB, -24 dB), and resonance, all with their own controls. Dual envelopes, each with four stages, are assignable to the filter, VCO modulation (ENV-1), and VCA (ENV-2), with an envelope mod fader. Envelope 1 also sports a polarity switch. As with our desktop synths, musical control is front and center, literally: you'll find dedicated controls for toggling keyboard input to each envelope, a keyboard amount to VCF fader. If you're using ISE-NIN alone as a voice, you'll have access to 1v/octave and gate inputs with glide control.

Unprecedented Patchability

Start with ISE-NIN VOICE (36HP), and you'll already have a deep semi-modular instrument on its own. But add ISE-NIN BREAKOUT (22HP), and you can place every single control under one-to-one voltage control for unmatched patchability and programmability. This is a level of sound possibility that could would normally require investing in several rows of modules; here, they're all readily accessible on one convenient, compact front plate. Not only do you get dedicated inputs for the oscillators, filters, and each separate envelope stage for both of the two envelopes, but there are separate FM inputs to each oscillator and every possible routing of the LFO, envelope, and keyboard. XMOD amount and VCO-2 quantized range each get their own input.

Power consumption: 110mA at +12V and 30mA at -12V

Depth: 38mm

36 HP

Notes: Breakout for the ISE-NIN Voice

Extensive outputs, open-ended Functionality

The output section of the ISE-NIN BREAKOUT is a perfect match for the voice. Each waveform for each oscillator has its own independent instrument, as does each envelope and the inverse of envelope 1, each filter and slope, each LFO waveform, noise and low noise, and mix. There's also a dedicated headphone output so you can enjoy ISE-NIN without waking the neighbours. You'd be hard pressed to find as much tonal range, as many distinctive vintage Japanese tones, or as much expandability with as much horsepower as ISE-NIN VOICE and its BREAKOUT.

Notes: Sonora is a spectral mixing output module that aims to be the ultimate sound stage of a modular setup. A place where all your mixes meet and find a stereophonic solution for your final track thanks to its twelve fixed panning inputs that allow you to give each track its own space and importance in the stereo field.

While being a 12 inputs summing mixer, Sonora also features a LED meter, a soft clipping limiter circuit at the output stage, a headphone output section with loudness indicators and 3.5mm pro line output jacks.

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

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

Overview

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

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

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

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

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

Interface

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

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

The - button removes the current chord.

Inputs

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

Trigger input

The trigger input triggers a chord change.

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

Direction input (+-5V)

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

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

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

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

0V equals no movement.

Transpose input (+-5V)

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

It is therefore a 5V/oct input.

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

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

Outputs

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

Notes: Bartender is the centerpiece of the mixer system. Four stereo channels, with two stereo aux send and two stereo returns. Each channel can be used in a mono mode where both channels are mixed. If you want to do eight channels of mono, you can put the channels in stereo mode (I know it feels backwards) and then use the pan control to control the crossfade between each channel, and then take the mono output. There is a built in cueing system so you can monitor channels in your headphones and control the blend with the main output. You can expand a Bartender with both a Barback and/or another Bartender. When connecting two Bartenders, the main level control on the 'expander' Bartender acts as a group control.

Notes: Serious versatility from AJH here. Based on the circuits from the Oberheim Matrix 12, the Matrix VCF offers a whopping 16 different fully analogue filter modes, each with two different resonance models. All bases covered.

Supplier's Notes:
Presenting the new AJHSynth Matrix VCF - this may well be the most versatile Eurorack VCF ever.

This amazing multimode filter and VCA offers sixteen different filter types, and two different resonance models on each, totalling an incredible thirty two assorted resonant filters to choose from. AJH Synth have also included manual and CV control of filter type selection, along with 16 LED's that give a clear visual indication of which filter type is currently selected.

The filter core circuitry is based on that of the rare and highly sought after Oberheim Matrix 12 synthesiser, and of course has an all analogue signal path. The Matrix 12 VCF originally offered fifteen filter types, however AJH Synth have expanded this to 16 with the addition of AP4, a full four pole all pass phaser mode.

AJH Synth have added a unique P-Vox resonance distortion and overdrive circuit that changes the character of the resonance completely, and can force all of the filter modes into self oscillation. This effectively doubles the filter variants and hugely broadens what is already a very impressive sound pallet.

Other features include an inbuilt VCA with Input and Output Level controls, a Peak level LED, CV control of resonance, and of course the legendary AJHSynth build quality.

The Matrix VCF in depth

After two years of development AJH Synth have finally released what they consider to be the most versatile Eurorack VCF & VCA ever. Like many other AJHSynth modules it uses the very best vintage analogue circuitry as the starting point for the design, and in this case, the filter was chosen from the rare and very desirable Oberheim Matrix 12 synthesiser. AJH Synth expanded this from the original fifteen filter compliment to sixteen distinct filter types by adding in a really useful four pole phaser!

So, behind the compact 14hp front panel lies sixteen distinct filter types, including all of the favourites: Low Pass filters with a choice of one, two, three or four poles, Band Pass filtering with two or four poles, High Pass filtering with one, two or three pole options, along with Notch filtering and four complex, combination filter types. Finally, a four stage phaser with two types of emphasis that can be forced into tuneful self-oscillation!

However, this is far from the end of the story. AJH Synth decided to use their design expertise to add in some crazy resonance distortion circuitry, that could be switched on from the front panel. This was inspired by the filter from the Soviet Polivoks synthesiser, but again the implementation used here is considerably changed, improved, and best of all this can be applied to all filter types! This completely changes the filter character when engaged, and it forces all of the filters into self-oscillation at higher resonance settings. Better still, the oscillation waveforms are more harmonically rich than the usual sine waves - everything from gloriously fat to screaming and angry! Best of all, this takes the number of different filters up to a massive thirty two variations!

AJH Synth put a lot of thought into the ergonomics and how to select the individual filter type. Filter type can be changed either with the front panel Mode knob, or by using a control voltage patched to the MODE CV input. The selected filter mode is displayed by the LED next to the filter in use. This is also very helpful when using a step sequencer to change filter mode as it gives a real time display of the filter chosen as you take the step CV voltage up or down, while setting up each individual step.

Lastly, AJH Synth have also included a VCA hard-wired to the output - simply patch an envelope or an LFO to the VCA input, connect a VCO to the audio input and you have a synth voice (with a choice from 32 different filters!) using only three modules!

Thirty two Eurorack VCF's and a VCA would most certainly take up a lot of rack space - AJH Synth have got all of this into 14hp and managed to have a really finger-friendly user interface, without it feeling cramped.


Sixteen distinct filter modes to choose from

Here's a list of the different filter modes that are available:
1 - Four Pole Band Pass
2 - Three Pole High Pass combined with One Pole Low Pass
3 - Three Pole All Pass combined with One Pole Low Pass
4 - Two Pole Notch combined with One Pole Low Pass
5 - Two Pole Low Pass
6 - Four Pole All Pass (Phaser)
7 - Four Pole Low Pass
8 - Two Pole Band Pass
9 - Two Pole High Pass combined with One Pole Low Pass
10 - Three Pole High Pass
11 - Three Pole All Pass
12 - Two Pole Notch
13 - One Pole Low Pass
14 - Two Pole High Pass
15 - Three Pole Low Pass
16 - One Pole High Pass

All of the above filter types can be further altered by switching in P-Vox mode, this doubles the list up to thirty two different filter variants!

P-VOX MODE

Transforming the resonant character of every filter type

This magical switch completely transforms the resonance of the filter core by overdriving it in a similar fashion to the filter from the Soviet Polivoks synthesiser, which was renowned for it's powerful, aggressive character.
In common with the Oberheim Matrix 12 VCF, some of the sixteen filter types will not normally go into self-oscillation, however when you switch on P-Vox mode all sixteen filter types can be forced into self-oscillation at higher resonance settings. But that isn't the only change, the self-oscillation waveform is not the usual sine waveform, it is a rather more interesting and harmonically rich waveform that varies according to the filter type chosen - generally Low Pass modes produce the nearest to regular sine waves, whereas other filter types can produce very much more complex waveforms as can be seen in the diagrams below. It does not require any audio input for this, it can be a stand alone oscillator. Most of the filter types will track 1V/Oct reasonably well over a three to five octave range, so it can be used as a VCO with a few interesting waveshapes!

Of course, P-Vox mode isn't just useful for self-oscillation, it adds lots of character to any audio signal as P-Vox resonance is switched in.

Module Width: 14hp
Module Depth: 29mm (Including power lead)
Current Usage: 56mA Positive, 36mA Negative

Notes: NANO modules are excited to introduce you to OCTA, the upcoming 4-channel Analog Drum module, inspired by the iconic TR-808 and redesigned with a modern twist.

OCTA delivers punchy and dynamic analogue drums, with individual outputs, mute switches, CV control over Drive, and a built-in Tilt EQ and Compressor for creative shaping. Nano stayed faithful to the original circuits, but added key controls to give each voice more range and modular versatility.

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

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

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

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

Controls and displays:

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

Technical Details:

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

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

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

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

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

Notes: Designed for Make Noise's New Universal Synthesizer System but compatible with all Eurorack modules, the Jumbled is a 6-in/6-out VCA-based signal router, designed to manipulate and reimagine control voltage signals.

Supplier's Notes:
The Jumbler music synthesiser module is a six by six channel analogue signal combiner and distributor for the New Universal Synthesizer System or any Eurorack modular synthesiser. Jumble is one of the N.U.S.S. concepts where the routings of a patch could be re-configured, or jumbled, instantly via voltage control to produce variations on a theme.

Jumbler gives you powerful two-parameter access to the rearrangement of both origins and destinations for up to six modular signals. One to six inputs are routed to one to six outputs, in an order determined by the Rotate control, and combination determined by the Radiate control. Unlike a simple switch module, Jumbler's analogue VCA-based design is specially geared for smooth transitions and hybrid signals.

Jumbler is a great module for hybrid control voltage mashing, complex waveform mixing, on-the-fly effects re-routing, gate and clock re-combinations and more. Some folks have said it is like patching a stack of 6 RxMx circuits.

Width: 10hp
Max Depth (incl. power cable): 43 mm

Power:
178mA@ +12V
92mA @ -12V

Notes: FMOS R2 is a FM oscillator, and the successor of the discontinued FMOS module with a lot of new features!

FMOS R2 is basically a 2-operator FM synthesis sound generator, with the classic parameters MULTIPLIER for the modulating operator and MOD DEPTH for controlling the amount of FMing of the carrier operator.

Beyond this basic functionality, FMOS R2 offers following extra features:

- Additionally to the basic sinewave operator waveform, FMOS R2 has five additional waveform combinations for the carrier/modulator waveform, resulting in a more rich overtone spectrum

- The FEEDBACK control adds feedback the carrier/modulator chain, adding more variety to the sound spectrum

- The modulator can optionally be set to fixed frequency, especially useful for synthesizing metallic, inharmonic sounds

- A sub-oscillator output provides a square wave one octave lower

- The MIX output provides a mix between the FM sound and the sub-oscillator.

- Pitch is either controlled by a 1V/octave CV or IMDI, the "modular MIDI" introduced by tangible waves

- Modulation depth can be modulated by CV

- All parameters can also be controlled via IMDI, with a number of MIDI controllers.

All this with a nice portion of 8-bit charm!

Notes: The SEQ8 R2 s an 8-step sequencer for controlling oscillator pitch and triggering envelopes.

Compared to "classic" analogue sequencers it works a bit different: Instead of setting the CV for each step independently (which means in fact "tuning" each step which can be a bit tedious), the SEQ8 has 4 knobs for presetting different CV's (= notes); each of the 8 step knobs selects one of these CVs, plus 0V (=base note) plus Pause (no trigger output). So some CVs have to be fine-tuned once; with the step knobs you can focus entirely on the sequence itself and you can even modify it on the fly, still remaining in tune.

The IMDI input allows timing and start/stop control via IMDI, e.g. from teh IMDI HEART module or from the MASTER R6 and newer. The module can be configured to different time signatures, scaling the notes (minor, major, pentatonic, chromatic) and adding an octave offset. The IMDI out provides the notes as IMDI, parallel to the CV/GATE output.

Additionally to the selected CV presets, the "raw" value of the step knobs is also accessible at an extra output.

Notes: The Ultimate Output Expander For Hermod+

Introducing xp32, the perfect expander for unlocking 32 assignable CV or Gate outputs, amplifying the creative power of your Hermod+ sequencer.

Transform your Hermod+ into a 16-track CV/Gate powerhouse, an expansive MIDI/USB-to-CV interface, a preset manager, or customize your outputs to suit even the most intricate modular setups.

The xp32 opens a new world of possibilities for both live performances and studio setups, giving you the flexibility to realize your most complex musical ideas.

Seamless Integration.

Setting up the xp32 is as easy as connecting the included expander ribbon cable to the back of your Hermod+.

The xp32 integrates seamlessly: Hermod+ will automatically recognize it, and your 32 additional outputs are ready to use instantly.

With the xp32, Hermod+'s 8 CV/Gate tracks remain untouched. Instead, the xp32's 8 additional voices are internally mapped to Hermod+'s MIDI tracks, offering maximum expandability without altering your existing workflow.

Unmatched Precision & Flexibility.

Each of the 32 output jack is powered by a dedicated 16-bit industrial grade DAC, ensuring the best accuracy for all your control voltage signals, from pitch to fine modulations.

Easily configure each output as a Gate (for notes, triggers, or clocks) or as a CV (for pitch, velocity, aftertouch, modulation...).

High-precision.

Low noise.

At the heart of the xp32 are highly-precise digital-to-analogue conversion circuits, developed with meticulous attention to detail. Squarp have incorporated high-end components to guarantee reliable, low-noise, high-performance outputs that you can depend on for both small and large modular systems.

The 32 signal LEDs are driven by a fully analogue current-control circuit, guaranteeing zero digital noise.

Specifications

Power

Consumption : -12V 70mA, +12V 80mA, +5V 20mA

Hardware
Width : 14HP
Depth : 33mm
Height : 128,5mm (3U)
Weight : 170gr (0.37lbs)
32x CV outputs resolution : 16-bit DAC (industrial grade)
32x CV outputs range : -10V to +10V

Notes: Really nice approach to sequencing from Omni-Tone. The Melodi generates 'semi-random' patterns based on tunable parameters and probabilities. Dial in combinations of scales, pitch range, tempos and so on to create unique melodies.

Supplier's Notes:
Melodi generates sequences based on the mood you set so you can create the sound you're searching for- it can be tweaked to create anything from a powerful bassline to a sparkly melody.

Ships with version 2 of firmware

Improvements: Skip, tie, length are now LIVE knobs. Added a ping-pong trend line and a blues scale.

GENERATE

1. NEW - will prompt Melodi to generate a new sequence.
2. TRIGGER IN - accepts a trigger to prompt Melodi to generate a new sequence.

CYCLE

1. ON/OFF - determines if the sequence will loop or require retriggering.
2. TRIGGER - button and jack trigger the sequence to restart at the beginning.

TUNE

* While adjusting tunable parameters, the light bar will reflect the current selection. For continuous parameters the light bar shows amount from 0-100%, for quantized parameters the light bar shows steps.
1. SKIP (continuous) - sets the probability that a note will be skipped in a sequence.
2. PLUCK (continuous) - sets the length of the gate, from short plucks to gliding between notes (portamento).
3. TIE (continuous)- sets the probability that a note gets tied to the next (effectively making the note last two clock cycles).
4. TREND (continuous) - sets whether the sequence trends upwards or downwards in pitch.
5. SCALE (quantized) - select the quantization of the notes used in the sequence. Choose from perfect notes, pentatonic scale, diatonic scale, chromatic scale and completely unquantized.
6. RANGE (continuous) - sets the range of notes from 1 to 4 octaves (unquantized)
7. LENGTH (quantized) - select the number of notes to play in a sequence (from 1-16, or infinitely generating at the max position).
8. SPEED (continuous) - sets the tempo of the internal clock, between 20 and 2000 BPM.

OUT
1. GATE - outputs the gate of the notes in the sequence.
2. PITCH - outputs the pitch (in V/OCT) of the sequence.

CLOCK

1. SELECT - Melodi will generate internal clock signal if select switch is up, and will use external clock signal when down
2. IN - connect external clock signal
3. OUT - output clock signal

Technical specs:

- Module Size: 3U X 8HP X 25 Mm Deep.
- Current Draw: 85mA @ 12V, 10mA @ -12V.

What's in the box:

- Ready to use Assembled Module
- Mounting Screws
- Power Cable
- User Manual

Notes: Welcome to the Envy Machine ! A compact quad-channel modulation machine, with an envious array of Envelopes, LFOs, random voltages even Knob Recording. With four channels of modulation, ENVY MACHINE makes an ideal companion to the RYK ALGO module

Each of the four channels on the ENVY MACHINE can be set to one of five super-flexible modulation modes:

- ADSR Envelope

- AD Envelope

- AD LFO

- Random Voltage

- Recordable Knob Voltage Control

Ghost hand - Parameters can be animated using KNOB RECORDING to create timed variations in your patch. Oh, and with the dedicated MOD input per channel, you can use an external CV to control anything - TIME, LEVEL, WAVESHAPE and more.

Polarity paradox - Modulation inputs AND channel Outputs come with bipolar attenuverters, now you can choose either bipolar or unipolar, with continuously variable level control.

Slippery slopes - WAVESHAPES are continuously variable between LOG, EXPO, SIN, TRAPEZOID, and SQUARE!

Notes: FM & Vector Synthesis

Two icons of the '80s in one unit

Introducing Vecor Wave from RYK Modular bringing together the awesome power of 16 oscillator FM, combined with Vector synthesis OR true multi voice polyphony.

The Vector Wave is a feature packed compact Eurorack module, which can be used as a stand alone synth-voice without the need for external VCA,ENV, LFOs etc.

Features

16 oscillators, divided into 4 banks, oscillators can freely configured into series or parallel combinations for complex FM or additive synthesis

A cute Vector Joystick for morphing between oscillator banks, for cool performance timbre sweeps and sonic movement
Vectors can be recorded from the joystick and replayed from trigger sources, or animated from external or internal modulation sources

Super cool retro Big-Pixel screen, ideal for nostalgia freaks or the visually impaired

Wave Warping brings grit and aggression to the FM synthesis with oscillators continuously variable between Sine,Tri-ish Saw, Pulse waveforms

Wave Folding for subtle to extreme sonic bending

Two Envelope generators [ per voice in polyphonic modes ], and two LFOs with all controls assignable as modulation destinations

Intuitive Modulation Slot patching from external and internal sources to be routed to any parameter within the Vector Wave

30 User Voice storage spaces for storing your synth masterpieces to internal memory, enabling you to impress your friends at a later date

Thee modes of oscillator bank allocation Monophonic Vector, and Polyphonic Voice, and Multitimbral Polyphonic

MIDI input for a spaghetti-free Polyphonic setup, velocity, aftertouch and MIDI CCs avail- able as modulation sources

Slim but handsome Expander Module also available that adds 3 more V/oct and Gate inputs, for maximum mutli-voice multitimbral melodious mayhem!

Notes: This module is designed to generate a multitude of aggressive, punchy, violent and absolutely bonkers variations of the original unprocessed sound.

Transform any clean sound into a distorted monster, using 2x drive stages per channel with a wide range of distortion flavors ranging from subtle saturation to extreme fuzz.

Process two channels at the same time and create balanced and smooth or raw and rough transitions between them.

Allow the kick drum and bass line to coexist effectively in the mix, avoiding conflicts in the low-frequency range with env. follower and sidechain.

Shape any sound with 3 band adaptable EQ.

Function as a signal generator as well, this module can be pushed into self-oscillation at any frequency even with no input.

Add sub-octave tones to melodies and bass lines.

Preserve the dynamic range and clarity of the sound through parallel processing, ensuring that the original characteristics are not lost even when applying heavy distortion.

Add character, flexibility and madness to any source that sparks your imagination.

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

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

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

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

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

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

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


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

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

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

How it works:

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

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


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

Technical Specifications:

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

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

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

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

Notes: Noise Engineering is excited to announce a limited-edition BIA. Same great Basimilus Iteritas Alia (with all the perks of an Alia!), spiffy new outfit.

The panel features black ink overprinted on a black powder-coated aluminum panel. These panels will not be sold separately.

Universal drum synthesizer with roots in the analogue world on a swappable 10HP oscillator platform

Basimilus Iteritas Alia is a parameterized digital drum voice with its roots in the analog world. At its heart, the BIA is a simple six-oscillator additive and FM synthesizer with waveform, harmonic spread, and envelope controls. An adjustable noise oscillator and an extreme take on a wavefolder round out its synthesis abilities. Its straightforward controls make sound design fun and performable: create sub-shaking kicks, snares, hats, and unique drum hits with just a few tweaks.

BIA is a classic percussion module but you'll be blown away by how much more it can do. Use it for leads, basslines, or build a whole drum kit with some external CV. Plus, the envelope output means you can use the BIA for shaping and modulating other parts of your patch.

Basimilus Iteritas Alia is available on our 10HP Alia oscillator platform. Buy an Alia module and use the included USB cable to connect to the Firmware Swap app and check out any other Alia firmware, free of charge, any time. More info can be found on the World of Alia page here. Hotswappable overlays are also available so you can easily panel your module to match your firmware, no assembly required.

Basimilus Iteritas Alia is the successor to the Basimilus Iteritas Alter. It was developed to sound nearly identical, with added features and new firmware-swapping capabilities.

Size and Power
10HP Eurorack
+12v:100mA
-12v: 15mA
Basimilus - small foundation - from Latin basos "foundation" with suffix -lus "small"

Iteritas - repetitiousness - from Latin itero "repeat" with suffix -tas "state of being"

Alia - another, other from Latin alia "other", also marine animals, or salty from Greek "halia"

"more small salty foundation of repetitiousness"

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

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


A visit to the Hainbach Studio Complex two years ago, led to a collaboration that would result in what is perhaps Joranalogue's finest design yet. United by a common passion for vintage test gear, the Joranalogue team joined forces with artist and YouTube sensation Hainbach.

Collide 4 builds upon on the lock-in amplifier concept, and brings it into the Eurorack world. These atomic age physics research instruments are known for their raw power when used in musical applications. Soon, any synthesist can experience this for themselves, at a fraction of the size and weight of a vintage unit, and with full voltage control.

The result is a wholly new kind of synth voice and audio processor, unlike any other. It's a perfect union of Hainbach's extensive experience in exploring the deepest musical realms contained within vintage test equipment, and profound knowledge of audio design and production.

'Quadrature spectral computer' is how you could describe this new kind of musical generator and processor. The sound? Quite simply: it's smashing!

Specs

Modern, fully analogue re-imagining of the lock-in amplifier concept, expanded to new heights.
Pingable variable bandwidth filter with self-oscillation capability.
Pre- and post-filter gain stages, for a total of up to 130 dB of amplification!
Through-zero sine/cosine quadrature oscillator.
Hilbert transform network for use as a frequency shifter.
Dual ring modulators with output lowpass filters.
Extensive output section, including magnitude and phase analogue computing outputs.
Unique X/Y quadrature topology, ideal for stereo use.
Handsome (and useful) signal level/overload LED indicator.
CV control over everything, with temperature compensation and excellent volt/octave pitch tracking.
20 HP, 30 mm deep. Over 600 components, yet a fraction of the weight and size of a vintage Model 124A lock-in amplifier unit.

Notes: Presenting the new AJHSynth Matrix VCF - this may well be the most versatile Eurorack VCF ever.

This amazing multimode filter and VCA offers sixteen different filter types, and two different resonance models on each, totalling an incredible thirty two assorted resonant filters to choose from. AJH Synth have also included manual and CV control of filter type selection, along with 16 LED's that give a clear visual indication of which filter type is currently selected.

The filter core circuitry is based on that of the rare and highly sought after Oberheim Matrix 12 synthesiser, and of course has an all analogue signal path. The Matrix 12 VCF originally offered fifteen filter types, however AJH Synth have expanded this to 16 with the addition of AP4, a full four pole all pass phaser mode.

AJH Synth have added a unique P-Vox resonance distortion and overdrive circuit that changes the character of the resonance completely, and can force all of the filter modes into self oscillation. This effectively doubles the filter variants and hugely broadens what is already a very impressive sound pallet.

Other features include an inbuilt VCA with Input and Output Level controls, a Peak level LED, CV control of resonance, and of course the legendary AJHSynth build quality.

The Matrix VCF in depth

After two years of development AJH Synth have finally released what they consider to be the most versatile Eurorack VCF & VCA ever. Like many other AJHSynth modules it uses the very best vintage analogue circuitry as the starting point for the design, and in this case, the filter was chosen from the rare and very desirable Oberheim Matrix 12 synthesiser. AJH Synth expanded this from the original fifteen filter compliment to sixteen distinct filter types by adding in a really useful four pole phaser!

So, behind the compact 14hp front panel lies sixteen distinct filter types, including all of the favourites: Low Pass filters with a choice of one, two, three or four poles, Band Pass filtering with two or four poles, High Pass filtering with one, two or three pole options, along with Notch filtering and four complex, combination filter types. Finally, a four stage phaser with two types of emphasis that can be forced into tuneful self-oscillation!

However, this is far from the end of the story. AJH Synth decided to use their design expertise to add in some crazy resonance distortion circuitry, that could be switched on from the front panel. This was inspired by the filter from the Soviet Polivoks synthesiser, but again the implementation used here is considerably changed, improved, and best of all this can be applied to all filter types! This completely changes the filter character when engaged, and it forces all of the filters into self-oscillation at higher resonance settings. Better still, the oscillation waveforms are more harmonically rich than the usual sine waves - everything from gloriously fat to screaming and angry! Best of all, this takes the number of different filters up to a massive thirty two variations!

AJH Synth put a lot of thought into the ergonomics and how to select the individual filter type. Filter type can be changed either with the front panel Mode knob, or by using a control voltage patched to the MODE CV input. The selected filter mode is displayed by the LED next to the filter in use. This is also very helpful when using a step sequencer to change filter mode as it gives a real time display of the filter chosen as you take the step CV voltage up or down, while setting up each individual step.

Lastly, AJH Synth have also included a VCA hard-wired to the output - simply patch an envelope or an LFO to the VCA input, connect a VCO to the audio input and you have a synth voice (with a choice from 32 different filters!) using only three modules!

Thirty two Eurorack VCF's and a VCA would most certainly take up a lot of rack space - AJH Synth have got all of this into 14hp and managed to have a really finger-friendly user interface, without it feeling cramped.


Sixteen distinct filter modes to choose from

Here's a list of the different filter modes that are available:
1 - Four Pole Band Pass
2 - Three Pole High Pass combined with One Pole Low Pass
3 - Three Pole All Pass combined with One Pole Low Pass
4 - Two Pole Notch combined with One Pole Low Pass
5 - Two Pole Low Pass
6 - Four Pole All Pass (Phaser)
7 - Four Pole Low Pass
8 - Two Pole Band Pass
9 - Two Pole High Pass combined with One Pole Low Pass
10 - Three Pole High Pass
11 - Three Pole All Pass
12 - Two Pole Notch
13 - One Pole Low Pass
14 - Two Pole High Pass
15 - Three Pole Low Pass
16 - One Pole High Pass

All of the above filter types can be further altered by switching in P-Vox mode, this doubles the list up to thirty two different filter variants!

P-VOX MODE

Transforming the resonant character of every filter type

This magical switch completely transforms the resonance of the filter core by overdriving it in a similar fashion to the filter from the Soviet Polivoks synthesiser, which was renowned for it's powerful, aggressive character.
In common with the Oberheim Matrix 12 VCF, some of the sixteen filter types will not normally go into self-oscillation, however when you switch on P-Vox mode all sixteen filter types can be forced into self-oscillation at higher resonance settings. But that isn't the only change, the self-oscillation waveform is not the usual sine waveform, it is a rather more interesting and harmonically rich waveform that varies according to the filter type chosen - generally Low Pass modes produce the nearest to regular sine waves, whereas other filter types can produce very much more complex waveforms as can be seen in the diagrams below. It does not require any audio input for this, it can be a stand alone oscillator. Most of the filter types will track 1V/Oct reasonably well over a three to five octave range, so it can be used as a VCO with a few interesting waveshapes!

Of course, P-Vox mode isn't just useful for self-oscillation, it adds lots of character to any audio signal as P-Vox resonance is switched in.

Module Width: 14hp
Module Depth: 29mm (Including power lead)
Current Usage: 56mA Positive, 36mA Negative

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

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

Specifications & connections

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

Included in the box:

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

Requirements:

Eurorack case and power supply
Monitor or Amp.

Notes: The MASTER module is the base of an AE modular system if MIDI control has to be possible; it contains

- The voltage regulation (5V) for the power supply of the modules

- A MIDI input (minijack; Breakout cable to DIN-5 socket is available separately); the MIDI channel can be selected between 1, 14, 15,16 or OMNI

- In/out-sockets (3.5mm minijack) for audio out and/or interfacing with a Eurorack system

- All bus signals (CV, GATE, CTRL, MIDI clock/start/stop) as patch sockets

- IMDI output

Notes: The 2OSC R2 is a dual 1V/octave oscillator module. Another successor of a classic AE module, the 2OSC/d. The 2OSC is a dual oscillator module, digitally based, with a great feature set:

Oscillator 1:

- Sawtooth
- Multi-Sawtooth, detuned
- Pulse Wave
- Triangle waveform with wavefolder
- Sinewave
- Suboscillator output
- Mix output (primary wave plus suboscillator)


Oscillator 2 , Noise:

This oscillator is focused on square waves; additionally to a pulse width controlled and CV-controllable square wave, it offers also a "synced square wave" (sounds really nasty!) and synced to oscillator 1. A separate suboscillator out is here available too. Additionally, a separate noise output is included, whose sound depends of the frequency setting of oscilaltor 2. The octave range switches are the same like in 2OSC/d. On top of the usual 1V/octave pitch control, the module can be controlled also via IMDI, the internal, patchable MIDI! Oscillators 1 and 2 are separate via different MIDI channels.

Notes: The FADRMIX JACKOUT is an extension for the FADRMIX6 with two 1/4" (6.5mm) jack sockets for master left/right output and 4 stereo minijack sockets for the FX send and returns.

The module is connected via a small internal connection cable to the right of the FADRMIX6.

Notes: This module is best if you want a classic, analogue oscillator and prefer fully analogue sound generation. It offers:

- two CV inputs 1V/octave

- Modulation input with Level-knob, switchable to frequency or pulsewidth

- PWM input

- Coarse / Fine knob for frequency

- Pulsewidth knob for square wave

- Square / Triangle / Sawtooth output

The VCO R2 supersedes the VCO module which was part of the AE modular Kickstarter campaign in 2017; with the overall development of AE modular, the old one doesn't really meet the current quality level of AE any more. So Tangible Waves are happy to offer this completely redesigned module, that offers a really good volt/octave tracking over 5-6 octaves (using both CV inputs) and an amazing temperature stability.

Notes: Upgraded version of WMD's excellent performance mixer module, the PM MKII features four stereo or dual mono channels, CV control of levels, panning and aux sends, plus soft mutes per channel.

Supplier's Notes:
Need More Inputs?

Add four channels at a time to your Performance Mixer MKII setup, or you can use the Channels MKII as a standalone four channel mixer.

The expansion is simple -- identical channels, just more of them. Four at a time, up to four Channels units, for 24 total stereo channels.

A simple 16 pin 2mm pitch expansion cable is provided and is the only connection necessary. Units can be daisy-chained easily resulting in a clean setup.

Additionally, the outputs on Channels MKII still work when connected to the PM MKII. So you get a submix of AUX1, AUX2, and MIX available for whatever you may want to do, drum submixing, FX routing, etc.

Not Just an Expansion -- Standalone Operation
As a standalone unit, you get three stereo outputs, MIX, AUX1, AUX2. The buttons are soft mutes. It's a robust four channel setup.

FYI -- You can not connect CHANNELS MKIIs together without a PM MKII. The summing, buttons, and control brain is in the master section of the PM MKII.

Recording Outputs:

Pre and Post fade headers are available on the rear for connection to the DB25 MKII. Each Chanels MKII will fill 1/2 of a DB25 with the Pre or Post connections.

Specifications:

24HP
36mm Depth behind Panel Including Cables
Board Height Between Rails 111.5mm
Channel Input Gain: -12dB to +20dB
Fader Gain: -100dB to +5dB (Applies to Aux1, Aux2 also)
Pan Curve: -100dB at Hard L/R, -3dB at Center
All Inputs and Outputs (Including Sends, Inserts, Headers, etc) are IN PHASE
HPF: -1.3dB at 20Hz

Notes: Analogue discrete Synthvoice with two VCOs, three SUB-VCOs, Wavefolder, Noise, Ring Modulator, two loopable ADRS, two LFOs/VCOs, MIXER, 24db Lowpass VCF, VCAOur new Eurorack flagship hits stores this summer. Very compact (pre-patched) discrete synth voice module with excellent analogue technology for endless soundscapes at a reasonable price.

Two discrete VCOs with highly stable tracking

Three analogue Suboscillators (3/4-1/2-1/4 with SQUARE, SAW, TRI) + Gravity Mix -Sync

Wavefolder (VCO 1 TRI WAVE)

White Noise

XOR Ringmodulator

Discrete VCA

24dB LP VCF with overdrive

Dual analogue LFO (one also usable as VCO) with incredible range and keytracking -Two superfast and punchy analog ADSR sections with LOOP function and four TRG outputs (End of ATT, End of DEC)

Mixer section with Master level -Glide presets and huge Patchfield to communicate with other Eurorack Modules.

Screwed metal shaft potentiometer

Rackspace: 36TE
Depth: 25mm

Notes: Control Forge's core functionality is drawn from the E-mu Morpheus's insanely powerful (but hard to program on a two-line display) Function Generators. But now expanded into a supremely flexible modulation source encompassing elaborate one-shot contours, evolving cyclical patterns and sequences of arbitrary length and complexity.

At its most basic, it's an 8-segment function generator with variable time and target voltage level for each segment. Each segment's level can be defined either absolutely or relative to the ending level of the previous stage and can optionally be quantized to the nearest 1/12 volt, additionally, each segment's level may have a user defined range of randomness of either linear or gaussian distribution.

'Tempo Mode' lets you specify each segment's length in musical note values relative to a tempo set in BPM. The time scale may be modulated under CV control or manually via the encoder during runtime.

There are 67 different transition shapes between segments (indicated graphically on the display during selection), from linear and exponential shapes to various flavours of random, chaotic, and many more that don't lend themselves to one-word descriptions, including the ability to pass CVs directly through to the output for individual segments. Also included are 'DC' shapes that allow the module to be used as a sequencer with all of the module's available programmability. When combined with the Preset Sequencer described below, sequences can be hundreds of steps long and modified in real time manually or by CVs.

Each segment may optionally have a conditional jump mode that results in a jump to another selected stage if a particular condition is met. e.g. a CV being above or below the selected conditional value, the presence or lack of a gate or logic high at their respective inputs, rising or falling edges at the inputs, etc. So, in addition to one-shot shapes, extremely elaborate cyclical patterns can be programmed that evolve based on the various conditional inputs.

Control Forge's AutoChain functionality allows the creation of two very specific kinds of multi-preset patterns: A multi-preset retriggerable pattern (like a long syncable LFO), and a multi-preset 'envelope-like' pattern with retriggerability, an optional sustain section, and a 'release' section that's jumped to on gate fall. Two independent triggers can be programmed to fire in response to a variety of events and can be used to affect either CONTROL FORGE itself or external modules.

500 presets can be saved and recalled. a preset sequencer allows stepping through up to 200 user-defined series of presets under trigger, clock or manual control. This allows contours and sequences of almost unlimited length and complexity. All presets and sequences can be transferred to any number of Satellite modules, which can then operate as stand-alone modulation sources, completely independent of the Control Forge.

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


Inspirational west coast sounds from one of the masters. Additive oscillator with eight harmonics, direct outputs and powerful CV control to scan, tilt and mix the waveforms.

Supplier's Notes:
For the first time in Eurorack, this oscillator module provides outputs for the first 8 harmonics as sine waves. Also included are triangle, saw, square waves.

A voltage controlled mixer with various methods of address allows the user to scan, tilt and mix the harmonics from both panel and external voltage control. It is built on a discrete, all analog triangle core with an old school discrete transistor exponential converter. It has inputs for linear and exponential FM, the exponential with a reversing attenuator. Of course there's a 1 volt/octave trimmed CV input as well.

Power consumption: 120mA at +12 V and 90mA at -12 V

HP : 32

Notes: Not just another clone or continuation of the 808-esque, acid-style kicks of the Mutant Bassdrum - the Mutant BD9 seeks to explore uncharted bassdrum territory by having an integrated sub-oscillator for maximal auditory obliteration.

Parametric bassdrum synthesis offers creative control of the core sound

The primary analogue VCO offers classic 909-esque sinusoidal bassdrums, but can also be switched to generate a square wave bassdrum

The PITCH of the VCO spans several octaves, from about 30Hz to 240Hz, and can be modulated with voltage control

A novel PITCH DECAY circuit allows you to adjust the duration and AMOUNT of the pitch-modulation envelope applied to the bassdrum, from short blips to exaggerated tom-like sweeps

The AMPLITUDE DECAY allows adjustment of the length of the bassdrum, from short punchy kicks to massive booms. This parameter is voltage-controlled with a snappy CV response time, allowing you to modulate the duration of your kicks per step.

The CLICK generator is responsible for the attack intensity of the BD9. A fair amount of circuitry goes into creating this subtle punch at the beginning of the kick. The level of this effect is adjustable up to a fairly dramatic extremity.

The overall timbre of the BD9 varies with the DRIVE control from warm, analogue bassdrums at low settings to speaker-shattering overdriven sounds at high settings. Output levels are modular-level signals, unlike many classic line-level percussive devices.

Still not heavy enough? Try the sub-oscillator.

A square wave sub-oscillator derived from the primary oscillator's pitch can be mixed in (manually and with voltage control) to the BD9. The effect can be subtle deepness or extreme timbre changes.

A jumper on the back of the module allows you to select between the sub-osc being a raw square wave or having some of the high frequency components removed with a lowpass filter.

At high OUTPUT DRIVE and SUB LVL combinations, the sub-oscillator can be modulated with CV to saturate the BD9 output in evolving ways.

The SUB OCT can be set to 0, -1 or -2 octaves down from the primary oscillator. A drop of 0 means that you can mix an equal-pitch square wave with a sinusoidal primary wave.

Designed for the contemporary modular synthesiser

Plenty of eurorack-compatible control voltage inputs with bipolar attenuverters allow synthesis of dynamic percussion

A practical analogue trigger circuit allows activation of the BD9 from many signal sources (anything with a positive-going edge lasting 2ms or longer). Most electronic drum pads can also directly trigger the Mutant BD9.

An accent input accepts analogue voltage control (0 to 5V will fully modulate the volume from low to high)

13HP | 30mm deep
+50mA, -50mA

Notes: Patterns is a 4 channe modular sequencer designed for deep flexibility and hands on performance.

Each channel supports up to 64 steps, with essential creative tools like randomisation, probability, gate length control, swing, clock divisions, and more, giving you everything you need to build evolving, dynamic rhythms.

Its 4×4 grid layout makes programming intuitive and performance friendly, letting you quickly visualize your sequences and punch in steps with ease.

But the real power of Patterns lies in its dedicated Pattern button, your instant gateway to 16 different pattern slots. Switch between them on the fly, program your custom pattern chains, or use CV to jump between patterns and create unexpected breaks, fills, and experimental grooves.

Whether you're building complex arrangements or just jamming, Patterns gives you the immediacy and depth to stay in the flow.

Notes: Simple but effective approach to signal routing here from Jolin Rosa. The Morpher is a four-in/four-out crossfader, scanner and switcher, allowing you to shape, route and manipulate any signal with ease.

Supplier's Notes:
ROSA is a multi-mode crossfader, scanner, and switcher that allows seamless morphing between up to four inputs and outputs. With its three operating modes (Scan, Wave, and Pass), you can easily shape and route signals to fit any patch.

A quick overview:

Scan Mode: Morph between up to four inputs with adjustable curves using the KNEE control.
Wave Mode: Independently control the four VCAs for complex dynamic changes.
Pass Mode: Route a single input (or mix multiple inputs) to up to four outputs, perfect for quadraphonic setups or parallel processing.
Infinite Analogue Potentiometer: For smooth, continuous transitions.
Global SHUT Control: CV-controlled mute for immediate silence.

Notes: ALGO's four oscillators can be configured in series or parallel combinations, to create Complex FM or additive sound textures.

A unique Algorithm Display indicates the signal flow from one oscillator to another - easy to understand FM with pretty twinkly lights!

Each oscillator has controls for Level and Frequency, allowing easy adjustment of FM timbres, no menu diving snorkels needed.

Modulation inputs for Frequency or Level for each oscillator - patch in a couple of Envelopes, and you have an instant FM synth voice.

Bored of Sine waves ? A generous Wave Warp control bends things through Triangle to Pulse wave and back again.

Wave Warp can be applied to Carrier, Modulator or both types of oscillator.

For the more discerning mangler, Wave Folding is also available in three delicious flavours; Symmetric, Asymmetric and Soft Clip!

A Global Detune spread control with CV input is great for creating Netflix apocalypse drones that descend into the abys.

Lastly an onboard Stereo Chorus can add a vivacious 1980's shimmer to all your FM creations.

Oh, nearly forgot. It's Stereo!

Notes: The OpticTone MK2 is an improved revision of our original module, combining a 12dB multi-mode Vactrol VCF and a Vactrol VCA. This unique circuit is inspired by the distinct characteristics of Vactrols and Lowpass gates, celebrated for their fluid and natural character.

Notes: Add 3 more V/Oct and Gate inputs to your Vector Wave with the Expander

The Vector Wave Expander module from RYK Modular allows you to use CV and Gate to control the Vector Wave as a 4 Voice multi-timbral synth module.

And it looks nice.

Features:

3HP

Notes: A sequencer and a filter-bank got together...

...And a love child was born !

Introducing NIGHT RIDER, from RYK Modular

Four multi model filters with stereo capability, combined with a six-stage four-channel modulation sequencer.

Finally a filter bank that unifies the control of multiple parameters, enabling a spaghetti-free approach to formant animation fun.

NIGHT RIDER cleverly turns the dials to where you want them, when you want, via it's unique modulation sequencer

Create dreamy swooshing 70's phaser filter sweeps
Phenomenal for phoneme vocal formant rasps and wheezes
Plucking great for strumming Karplus Strong twangs, and pinging filter pings!
Or, turn your silk into shredded cabbage, with the built in bad-ass clipping-saturator

Technical specifications

Frequency range - from rumble to wispy
Resonance/Feedback range - from tame to insane
Individual Filter levels - silent to beyond 11, for serious saturation-clipped sonic destruction

Features:

Four filter blocks, with multiple models , including:
6db BPF [ pingable ]
12db BPF [ pingable ]
12db variable width BPF
Comb Filter for Karplus Strom [ pluckable & flanger vibes ]
All Pass filter [ crazy Phaser vibes ]

Dual Input and Stereo output, with Pan control for each filter in the stereo field. Input can
be Mono [ CH1 - 1,2,3,4 ] or Dual [ CH1-1,2 CH2 - 3,4 ]
Modulation Sequencer capable of being clocked, scanned, and interpolated
CV inputs for sequencer Interpolated scanning, 1V/Oct frequency offset, Slew amount,
Resonance amount, Clock or MIDI clock input for sequence animation, MIDI CC
Memory slots for storing and retrieving Filter and animation setups, and retrieving preset formant, and chord based Filter setups

Vital stats:

Width 16 HP
Depth 25mm

52mA +12V
9mA -12V
0mA 5V

Notes: This module is designed to generate a multitude of aggressive, punchy, violent and absolutely bonkers variations of the original unprocessed sound.



Transform any clean sound into a distorted monster, using 2x drive stages per channel with a wide range of distortion flavors ranging from subtle saturation to extreme fuzz.



Process two channels at the same time and create balanced and smooth or raw and rough transitions between them.



Allow the kick drum and bass line to coexist effectively in the mix, avoiding conflicts in the low-frequency range with env. follower and sidechain.

Shape any sound with 3 band adaptable EQ.

Function as a signal generator as well, this module can be pushed into self-oscillation at any frequency even with no input.

Add sub-octave tones to melodies and bass lines.



Preserve the dynamic range and clarity of the sound through parallel processing, ensuring that the original characteristics are not lost even when applying heavy distortion.



Add character, flexibility and madness to any source that sparks your imagination.

Notes: 
Q^Mix
4 channels CV/Audio polarising mixer
Q^Mix is a four-channel CV and audio mixer designed to take simple signals and combine them into something altogether new.
The four DC-coupled inputs feature a switch that selects between linear attenuation or bi-polar attenuversion.
Q^Mix can be used to sum simple signals to create much more complex results.
perfect for use as a final volume control when used as an audio mixer.

Technical Specifications
All inputs are DC-coupled.
Four-channel audio and CV mixer.
Logarithmic attenuation on the output stage.
Input impedance: 100k for all inputs.
Noise filtering and resettable fuses on the module's power input.
Reverse current protection.
Dimensions
Width
: 6HP
Depth
: 10mm
Current Draw
+12V
: 5mA
-12V
: 5mA

Notes: S&M is a very useful utility module in 1u Intellijel format combining unity mixer and a precision active buffer.

CV and Audio Mixer
Audio grade dc-coupled unity mixer for mixing CV or Audio signals
Active Buffer/Splitter
Precision active buffer/splitter for splitting signals along your system without any signal loss (highly recommended for splitting Pitch CV).
Reverse polarity protection
The module have proper reverse current and over current protection in its power input stage to protect the module in case it was connected the wrong way or connected to a faulty power supply.
Dimensions
Width
: 12HP
Depth
: 20mm
Current Draw
+12V
: 10mA
-12V
: 10mA

Notes: Reduxer is a stereo sample reducer effect module.

Depends on it's signal, It can produce dynamic range of sounds from knurly bitcrushing to formant/vowel style effects.

Extra resolution

Custom made Redux potentiometer with 300 degrees rotation for extra crashing resolution.

Double the power

Two proprietary sample reduction circuits with extra offset control on channel 2 via the "Spread", lets you create motion in the streo field for wider effect.

Stereo operation

Inputs are normelized - supporting mono to stereo configuration.

Reduction under control

Redux CV input with attenuator for external control of the bit reduction rate.

Reverse polarity protection

The module have proper reverse current and over current protection in its power input stage to protect the module in case it was connected the wrong way or connected to a faulty power supply.

Dimensions

Width: 8HP
Depth: 20mm

Current draw

+12V: 25mA
-12V: 25mA