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Notes: A serious bargain for anyone putting together a modular system, TipTop bundle three VCOs and the Octopus controller with their mixer, filter, dual envelopes and VCA. Great value.

Supplier's Notes:
The S2 is a promotional bundle that TipTop is offering to users, providing a 33% savings to get you started with ART. With these bundles, TipTop have included an incredible voice: the big, beefy 3 VCO stack. The bundles come in two options: Bundle S1, which uses the ART V/OCT Quantizer as a controller, and Bundle S2, which uses Octopus as a controller. In addition to the controllers, there are three ATX1 analogue oscillators, MIX7 for mixing them with plenty of headroom, and followed by TipTop's beloved 4-pole Z2040 filter that has been with them since day one; it just sounds so good. Finally, we end up with Control Path dual envelope plus VCA dynamics modules. This special price is time limited and while supplies last.

OCTOPUS is a powerhouse ART controller that takes MIDI in via the USB or DIN connector and outputs 8 ART channels with 8 velocity CV plus 8 drum triggers. Together with the ART oscillators the OCTOPUS provide unprecedented simplicity connecting the modular to your computer sequencers, hardware midi sequencers and keyboards. Each ART channel can play polyphonic notes, monophonic notes or create multi-channel polyphony using an internal voice manager. All together OCTOPUS can play more voices and notes from a single controller than ever was possible in modular. Using ART high speed control signals OCTOPUS can maintain low jitter for tight timing. OCTOPUS is TipTop's first ART controller with more to follow, please select between Octopus or ART V/Oct Quantizer to get started with ART. Please note, OCTOPUS is not a 1V/Oct midi to CV and should not be confused as one.

Size: 18HP - Depth: 40mm / 1.5"
Power: +12V 140mA / -12V 100mA

ATX1: a classic all analogue saw VCO core with 3 switchable modes, ART, 1V/Oct, LFO and is recommended as the basic building block for ART systems. It is designed for patching analogue polyphonic synths from discrete modules or multi-mono patches in ART mode. When using ART the ATX1 takes care of the tuning including accounting for temperature changes. In 1V/Oct mode the ATX1 runs as a standard old school modular VCO. LFO mode drops the frequency range and is great for patching vibrato to other ATX1s among other things. The ATX1 outputs variable waveshapes with manual or CV control. Classic FM, PWM and hard sync are provided. A dedicated Gate Out in ART mode manages the voice envelopes or any modulation synced to that voice. TipTop consider the ATX1 the best sounding analogue VCO they have ever created.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 105mA / -12V 33mA

MIX7 is a seven channel analogue summing mixer module for Eurorack. It is designed for summing any of the different types of signals you'll find in a modular system: Audio, CV, Triggers, or Gate.

MIX7 gives ability to sweeten your mix with more headroom using the power of low noise analogue summing. A compact 3HP Eurorack utility module, MIX7 is an attractive mixing addition to any rig, especially with the ability to also combine rhythms, note patterns or CV automations from different control sources. The main output of one section can be connected to the input of another MIX7 to create larger mixing groups and complex signal routes inside your modular.

The MIX7 summing mixing circuit is built with low-noise operational amplifiers, giving it an excellent sound quality for mixing audio, the beautiful texture of classic analogue mixing with plenty of headroom to handle hot modular signals, and the versatility to sum non-audio signals in your system to open up new creative possibilities.
Each input is labelled with a number of dots, 1-7, yellow for input and green for output. The module matches Tiptop's system look with clean white faceplate styling.

At the back of the module is a user-configurable jumper allowing users to configure the MIX7 for either unity gain (OUT = IN) or give increased headroom (OUT = 0.4IN) for use with hot audio signals, which makes it a great pairing for Tiptop Audio percussive modules. A peak indicator light on the front panel warns the user of even the slightest audio clipping in the mix, helping to keep all the incoming sound sources at their full original quality.

Size: 3HP - Depth: 43mm - Power: +12V 25ma / -12V 20ma

CONTROL PATH is an all in one voice dynamics module that helps build full voices quickly. It contains two analogue envelopes with velocity cv, and one VCA. In a typical voice patch the left envelope will control a filter and the right envelope will be the voice VCA. Velocity control is provided for each envelope and delay front panel trimmers are used to compensate for any miss match between incoming gate signal and velocity CV timings. Envelope cv outs are 0-5V, Velocity cv ins are 0-5V.
Size: 8HP - Depth: 40mm / 1.5"

Power: +12V 50mA / -12V 55mA

The Z2040 is TipTop#s redesign of the most famous analog filter from the polysynths of the 80's and features Tiptop Audio's signature lush, big, and creamy sound. Its frequency sweeps make thick bass lines and leads with great dynamics. When modulated with audio frequencies through its various inputs, the Z2040 gets quite colorful and is capable of creating many new sounds and textures as the forces of the incoming waves and their harmonics blend through the filter's non-linear circuit. When set with Resonance feedback fully up, the Z2040 transforms into a pure sine-core VC-Oscillator, great for making snappy percussive elements and whistling sounds.

A look under the hood will find that the heart of the Z2040 is a discrete design 4-pole low pass filter with a core similar to that of the SSM2040 filter chip, used in the 80's Prophet 5 Rev 2 synthesizer, and its brother the SSM2044, used in the famous early EMU samplers and PPG synthesizers of the 80's. Both filters are considered by many to be, "the best sounding filter ever".

The Z2040's four modulation inputs are built to handle CV and audio signals, enabling deep modulation of the filter core and passing signals. A VC resonance input is provided to modulate and even clip the sine wave produced by the filter feedback loop. A Frequency Modulation input (FM) provides dynamic filter sweeps and the unique VC-FM index allows modulation of the incoming FM signals. On top of that, the Z2040 comes with an audio VCA that can be configured to act upon the input or the output of the filter.

Size: 8HP - Depth: 42mm - Power: +12V 20ma / -12V 20ma

Notes: The S1 is a promotional bundle that Tiptop Audio is offering to users, providing a 33% savings to get you started with ART. With these bundles, this incredible voice is included: the big, beefy 3 VCO stack. The bundles come in two options: Bundle S1, which uses the ART V/OCT Quantizer as a controller, and Bundle S2, which uses Octopus as a controller. In addition to the controllers, there are three ATX1 analogue oscillators, MIX7 for mixing them with plenty of headroom, and followed by the beloved 4-pole Z2040 filter that has been with TipTop since day one; it just sounds so good. Finally, we end up with Control Path dual envelope plus VCA dynamics modules. This special price is time limited and while supplies last.

ART QUAD QUANTIZER is a four channel CV to ART Quantizer to play ART oscillators from CV sequencers, LFOs and anything that outputs CV. This is Tiptop's second ART controller option and is designed for those of us playing ART without a computer or MIDI source. The inputs take in positive, negative, bipolar CV voltages. Scales include Major Minor and the five other modes (Dorian, Lydian, etc). The module is simple to set up with a simple menu and one knob with switch for navigation. The 4th channel can be set to generate Chords and polyphonic note streams for ART Polyphonic oscillators.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 38mA / -12V 4mA

ATX1: a classic all analogue saw VCO core with 3 switchable modes, ART, 1V/Oct, LFO and is recommended as the basic building block for ART systems. It is designed for patching analogue polyphonic synths from discrete modules or multi-mono patches in ART mode. When using ART the ATX1 takes care of the tuning including accounting for temperature changes. In 1V/Oct mode the ATX1 runs as a standard old school modular VCO. LFO mode drops the frequency range and is great for patching vibrato to other ATX1s among other things. The ATX1 outputs variable waveshapes with manual or CV control. Classic FM, PWM and hard sync are provided. A dedicated Gate Out in ART mode manages the voice envelopes or any modulation synced to that voice. TipTop consider the ATX1 the best sounding analogue VCO they have ever created.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 105mA / -12V 33mA

MIX7 is a seven channel analogue summing mixer module for Eurorack. It is designed for summing any of the different types of signals you'll find in a modular system: Audio, CV, Triggers, or Gate.

MIX7 gives ability to sweeten your mix with more headroom using the power of low noise analogue summing. A compact 3HP Eurorack utility module, MIX7 is an attractive mixing addition to any rig, especially with the ability to also combine rhythms, note patterns or CV automations from different control sources. The main output of one section can be connected to the input of another MIX7 to create larger mixing groups and complex signal routes inside your modular.

The MIX7 summing mixing circuit is built with low-noise operational amplifiers, giving it an excellent sound quality for mixing audio, the beautiful texture of classic analogue mixing with plenty of headroom to handle hot modular signals, and the versatility to sum non-audio signals in your system to open up new creative possibilities.

Each input is labelled with a number of dots, 1-7, yellow for input and green for output. The module matches Tiptop's system look with clean white faceplate styling.

At the back of the module is a user-configurable jumper allowing users to configure the MIX7 for either unity gain (OUT = IN) or give increased headroom (OUT = 0.4IN) for use with hot audio signals, which makes it a great pairing for Tiptop Audio percussive modules. A peak indicator light on the front panel warns the user of even the slightest audio clipping in the mix, helping to keep all the incoming sound sources at their full original quality.

Size: 3HP - Depth: 43mm - Power: +12V 25ma / -12V 20ma

CONTROL PATH is an all in one voice dynamics module that helps build full voices quickly. It contains two analogue envelopes with velocity cv, and one VCA. In a typical voice patch the left envelope will control a filter and the right envelope will be the voice VCA. Velocity control is provided for each envelope and delay front panel trimmers are used to compensate for any miss match between incoming gate signal and velocity CV timings. Envelope cv outs are 0-5V, Velocity cv ins are 0-5V.

Size: 8HP - Depth: 40mm / 1.5"
Power: +12V 50mA / -12V 55mA

The Z2040 is TipTop's redesign of the most famous analogue filter from the polysynths of the 80's and features Tiptop Audio's signature lush, big, and creamy sound. Its frequency sweeps make thick bass lines and leads with great dynamics. When modulated with audio frequencies through its various inputs, the Z2040 gets quite colourful and is capable of creating many new sounds and textures as the forces of the incoming waves and their harmonics blend through the filter's non-linear circuit. When set with Resonance feedback fully up, the Z2040 transforms into a pure sine-core VC-Oscillator, great for making snappy percussive elements and whistling sounds.

A look under the hood will find that the heart of the Z2040 is a discrete design 4-pole low pass filter with a core similar to that of the SSM2040 filter chip, used in the 80's Prophet 5 Rev 2 synthesizer, and its brother the SSM2044, used in the famous early EMU samplers and PPG synthesizers of the 80's. Both filters are considered by many to be, "the best sounding filter ever".

The Z2040's four modulation inputs are built to handle CV and audio signals, enabling deep modulation of the filter core and passing signals. A VC resonance input is provided to modulate and even clip the sine wave produced by the filter feedback loop. A Frequency Modulation input (FM) provides dynamic filter sweeps and the unique VC-FM index allows modulation of the incoming FM signals. On top of that, the Z2040 comes with an audio VCA that can be configured to act upon the input or the output of the filter.

Size: 8HP - Depth: 42mm - Power: +12V 20ma / -12V 20ma

Notes: This long-awaited FM voice module from Jomox is a self-contained synth in Eurorack format, patchable and compatible with other modules but capable of creating eight-voice polyphonic patches all on its own. Vastly powerful.

Supplier's Notes:
The Mod FM is a completely self-contained 8 voice FM synth in eurorack format, which can create powerful sounds out of the box without lacking the commonly provided CV modulation possibilities.

It provides 4 Operators and 2 LFOs/VCOs per voice. Additionally it has 2 analogue filters and analogue VCAs per voice which apply analogue warmth and depth to the Mod FM, although the FM engine is digital of course.

Each voice has own CV/Gate inputs and an individual output. There is a mix output which separates even and odd voices. Here you can mix internal effects like delay and reverb to the stereo output signal.

Next to the CV/Gate control, the Mod FM has Midi in and out in TRS type A format and a USB C connector which handles Midi too.

Even without diving too much into complicated modular setups you can create extremely good sounding and metallic FM sounds, snappy bases but also soft and deep sounding analogue style sounds.

Furthermore, the Mod FM offers a variety of external cv modulations in order to e.g. modulate each operator individually or control the FM envelopes.

The Mod FM is fully multitimbral, i.e. each voice can play an own sound in Multi Mode which gets stored as a complete multi set (not only vectorized). That is, you can copy a single sound to the desired multi, but editings made on that particular multi get stored along with the multi set.

Hence, we have the biggest advantage of the hybrid approach:

Modular is great but can be very complex, and you might be trapped in a system where you never reach again the desired sound of the latest session. Storability certainly helps.

The different sections in more detail:

Matrix FM:

4 operators are arranged in a matrix, in which every operator (= sine oscillator) can be modulated by each one of the other three.

The 16 endless potentiometers of the matrix adjust the modulation amount (FM amt) and the base frequency of the operators.

For each operator you can change the base frequency by the diagonal knobs.

There are several overtone modes that determine if one operator is controlled by the keynote (or CV) = base operator, or if it's locked in as overtone (= overtone operator) to the assigned base operator. For the base operator, the number resembles xxx semitones added to the keynote.

For the overtone operator, the adjusted number is the xxx = Nth overtone or harmonics to the base operator frequency.

The locked overtone operator tracks the base operator and is still able to modulate and being modulated.

Each operator has an ADSR envelope. This envelope can also be used to frequency-modulate the operator.

Algorithm:

The algorithms from the known FM synthesis are actually special cases to the whole matrix.

Because it gets pretty quickly uncontrollable if you turn all the knobs because of the feedbacks, Jomox have decided to implement the algorithms. There are 26 algorithms, that are derived from the DX9 with its 4 operators.

At this menu it's even possible to change the frequency mode of each operator to a fixed frequency that is edited in single Hz and which does not follow the keynote, but only modulation. That makes sense for e.g. percussive sounds.

LFO/VCO:

Each voice has 2 LFOs which can modulate either the frequency (FM) or the amplitude (AM) of an operator. Every LFO addresses 64 different wave forms that are displayed in the right OLED display.

There is another feature: each LFO can be switched into a VCO that covers the whole audio range. You can even mix it into the signal chain and it tracks to the keynote. The former LFO rate parameter turns into a detune parameter. That is, you can create classic sounding rectangle/sawtooth analogue basses or string pads - and much more of course.

Filter:

Each voice contains an analogue filter which is build up with the chip SSI2140 from Sound Semiconductor, which is an improved modern version of the old SSM2040, designed by Dave Rossum, and which had been used in Oberheim synths and the early SCI Prophet-5.

The filter has a classic 24dB output and a 12dB state-variable multimode-filter. The three basic characteristic outputs LP/BP/HP can be cross-faded continuously with one parameter called shape.

Both filter outputs 24dB/12dB can be mixed independently.

The ADSR for the filter is fast and cuts in very quick and directly, the resonance is well adjustable.

The filter section contains an own LFO for the cutoff which is independent from the digital sound engine and has also 64 waveforms.

The VCA is a fast transistor-VCA which is important for snappy sounds. The same transistor-VCA is used in all Jomox drum products. Therefore the ModFM can be used as a rich source for technoid drums and percussions of any kind.

Notes: Oof. Frap casually serve up one of the best filters we've seen in a long time. Quad multimode circuits with saturation and feedback give you extensive routing options. Delicious.

Supplier's Notes:
cunsa /'cu?nsa/ s.f. [dialect of Modena of uncertain etymology, probably from a Latin *comptiare, derived from comptus, participle of comere 'organize,' 'decorate'] i curing, seasoning (of foods), tanning (of leathers).

Seasoning is crucial for cooking. It is a process that enhances the flavors, glues the ingredients together, and even adds some unexpected kick.

From a gentle refining touch to a shovelful of spice, CUNSA is the perfect seasoning tool for your patches. It can sweeten a sour lead or beef up an insipid bass line, and anything in between.

And, just like a good oil, you can even taste it by itself!

CUNSA is a quadruple analog pingable multimode resonant filter, saturator, mixer, and oscillator.

It is Frap Tools' sound seasoning tool: it can gently even a patch, applying a final touch, or it can set it on fire with a ridiculous amount of spice. It's up to you and your cooking style!

It consists of four multimode resonant filters with a custom saturation and feedback control that you can use independently or in various combinations and roles thanks to a series of seminormalizations.

Four Analogue Resonant Multimode Filters

CUNSA features four state-variable filters that can be used independently or linked and mixed. Each filter provides three behaviors simultaneously: lowpass, bandpass, and highpass. Each behavior has a 12 dB/oct slope, except for the lowpass, which can be either 12 or 24 dB/oct.

Unique 'Character' Circuit for Feedback and Distortion

CUNSA handles feedback and gain staging with extreme control and versatility. Besides the usual Q control that emphasizes the cutoff frequency, the Character circuit defines the amount of soft clipping when the filter overloads. High clipping guarantees a controlled behavior with fat tone and pure resonance, while low or no clipping lets the signal saturate the filter stages and make it scream.

V/oct Tracking and Quadruple Oscillator

Each filter responds to the V/oct signal with excellent tracking. It is thus possible to move the cutoff frequency along with the main melody or make CUNSA resonate with no input and transform it into a multiple oscillator. The V/oct inputs are seminormalled so you can control more filters with the same CV. Easy chords stabs!

Ping and Ring

CUNSA is ideal for percussive and organic tones. The Ping circuit offers a behavior similar to the BRENSO but AC-coupled. Instead of shooting the frequency to the moon with any trig, CUNSA gently responds to different incoming gates with a selectable decay curve. The Ping circuit can thus create natural decay sounds when fed with trigs or smoother envelopes with any other voltage, like a linear integrator with a custom decay.

Besides this, you can also feed the filter's audio input with trigs and make it ring at high Q settings.

Linked or Individual Filtering

The four filters can work independently or arranged in groups through seminormalled inputs and sum outputs. CUNSA can thus be a 4×1, 2×2, or a massive 1×4 filter. Even odd configurations are possible, like 1+2+1 or 3+1. Mono, stereo, or quadraphonic audio is at your fingertips.

Filter and Combo Behaviour

When the filter behavior is set to COMBINED, every control of the cutoff frequency also affects the input VCA, reducing the signal amplitude and saturation as it approaches the lowest range. It can make organic decays with the ping circuit or tame the low range at high Q and Character settings.

Four Seminormalizations for Group Use

Four inputs have a cascaded seminormalization: audio inputs, VCA CV, V/oct, and Ping. Every signal patched to a filter will thus feed also those at its right, making simultaneous use even simpler. To remove a seminormalization, simply patch a dummy cable to the corresponding input.

Analog Mixing Stage and Group Outputs

Every filter output can be routed to an analogue mix bus that sums the four filters and outputs them in three combinations: all, 1+2, and 3+4. These outputs allow for versatile audio processing. Just like we did with FUMANA, we added a gentle shelving EQ for the higher frequencies of the All output to provide additional timbral variety.

CV Inputs with Attenuators

Besides the seminormalled inputs, every filter features additional CV inputs for cutoff frequency, Q, and Character, each with a dedicated attenuverter.

Notes: ***B-STOCK: Dent on the side, product in perfect working order***


This long-awaited FM voice module from Jomox is a self-contained synth in Eurorack format, patchable and compatible with other modules but capable of creating eight-voice polyphonic patches all on its own. Vastly powerful.

Supplier's Notes:
The Mod FM is a completely self-contained 8 voice FM synth in eurorack format, which can create powerful sounds out of the box without lacking the commonly provided CV modulation possibilities.

It provides 4 Operators and 2 LFOs/VCOs per voice. Additionally it has 2 analogue filters and analogue VCAs per voice which apply analogue warmth and depth to the Mod FM, although the FM engine is digital of course.

Each voice has own CV/Gate inputs and an individual output. There is a mix output which separates even and odd voices. Here you can mix internal effects like delay and reverb to the stereo output signal.

Next to the CV/Gate control, the Mod FM has Midi in and out in TRS type A format and a USB C connector which handles Midi too.

Even without diving too much into complicated modular setups you can create extremely good sounding and metallic FM sounds, snappy bases but also soft and deep sounding analogue style sounds.

Furthermore, the Mod FM offers a variety of external cv modulations in order to e.g. modulate each operator individually or control the FM envelopes.

The Mod FM is fully multitimbral, i.e. each voice can play an own sound in Multi Mode which gets stored as a complete multi set (not only vectorized). That is, you can copy a single sound to the desired multi, but editings made on that particular multi get stored along with the multi set.

Hence, we have the biggest advantage of the hybrid approach:

Modular is great but can be very complex, and you might be trapped in a system where you never reach again the desired sound of the latest session. Storability certainly helps.

The different sections in more detail:

Matrix FM:

4 operators are arranged in a matrix, in which every operator (= sine oscillator) can be modulated by each one of the other three.

The 16 endless potentiometers of the matrix adjust the modulation amount (FM amt) and the base frequency of the operators.

For each operator you can change the base frequency by the diagonal knobs.

There are several overtone modes that determine if one operator is controlled by the keynote (or CV) = base operator, or if it's locked in as overtone (= overtone operator) to the assigned base operator. For the base operator, the number resembles xxx semitones added to the keynote.

For the overtone operator, the adjusted number is the xxx = Nth overtone or harmonics to the base operator frequency.

The locked overtone operator tracks the base operator and is still able to modulate and being modulated.

Each operator has an ADSR envelope. This envelope can also be used to frequency-modulate the operator.

Algorithm:

The algorithms from the known FM synthesis are actually special cases to the whole matrix.

Because it gets pretty quickly uncontrollable if you turn all the knobs because of the feedbacks, Jomox have decided to implement the algorithms. There are 26 algorithms, that are derived from the DX9 with its 4 operators.

At this menu it's even possible to change the frequency mode of each operator to a fixed frequency that is edited in single Hz and which does not follow the keynote, but only modulation. That makes sense for e.g. percussive sounds.

LFO/VCO:

Each voice has 2 LFOs which can modulate either the frequency (FM) or the amplitude (AM) of an operator. Every LFO addresses 64 different wave forms that are displayed in the right OLED display.

There is another feature: each LFO can be switched into a VCO that covers the whole audio range. You can even mix it into the signal chain and it tracks to the keynote. The former LFO rate parameter turns into a detune parameter. That is, you can create classic sounding rectangle/sawtooth analogue basses or string pads - and much more of course.

Filter:

Each voice contains an analogue filter which is build up with the chip SSI2140 from Sound Semiconductor, which is an improved modern version of the old SSM2040, designed by Dave Rossum, and which had been used in Oberheim synths and the early SCI Prophet-5.

The filter has a classic 24dB output and a 12dB state-variable multimode-filter. The three basic characteristic outputs LP/BP/HP can be cross-faded continuously with one parameter called shape.

Both filter outputs 24dB/12dB can be mixed independently.

The ADSR for the filter is fast and cuts in very quick and directly, the resonance is well adjustable.

The filter section contains an own LFO for the cutoff which is independent from the digital sound engine and has also 64 waveforms.

The VCA is a fast transistor-VCA which is important for snappy sounds. The same transistor-VCA is used in all Jomox drum products. Therefore the ModFM can be used as a rich source for technoid drums and percussions of any kind.

Notes: ***B-STOCK: Box opened, but product is in excellent condition and in perfect working order***


Oof. Frap casually serve up one of the best filters we've seen in a long time. Quad multimode circuits with saturation and feedback give you extensive routing options. Delicious.

Supplier's Notes:
cunsa /'cu?nsa/ s.f. [dialect of Modena of uncertain etymology, probably from a Latin *comptiare, derived from comptus, participle of comere 'organize,' 'decorate'] i curing, seasoning (of foods), tanning (of leathers).

Seasoning is crucial for cooking. It is a process that enhances the flavors, glues the ingredients together, and even adds some unexpected kick.

From a gentle refining touch to a shovelful of spice, CUNSA is the perfect seasoning tool for your patches. It can sweeten a sour lead or beef up an insipid bass line, and anything in between.

And, just like a good oil, you can even taste it by itself!

CUNSA is a quadruple analog pingable multimode resonant filter, saturator, mixer, and oscillator.

It is Frap Tools' sound seasoning tool: it can gently even a patch, applying a final touch, or it can set it on fire with a ridiculous amount of spice. It's up to you and your cooking style!

It consists of four multimode resonant filters with a custom saturation and feedback control that you can use independently or in various combinations and roles thanks to a series of seminormalizations.

Four Analogue Resonant Multimode Filters

CUNSA features four state-variable filters that can be used independently or linked and mixed. Each filter provides three behaviors simultaneously: lowpass, bandpass, and highpass. Each behavior has a 12 dB/oct slope, except for the lowpass, which can be either 12 or 24 dB/oct.

Unique 'Character' Circuit for Feedback and Distortion

CUNSA handles feedback and gain staging with extreme control and versatility. Besides the usual Q control that emphasizes the cutoff frequency, the Character circuit defines the amount of soft clipping when the filter overloads. High clipping guarantees a controlled behavior with fat tone and pure resonance, while low or no clipping lets the signal saturate the filter stages and make it scream.

V/oct Tracking and Quadruple Oscillator

Each filter responds to the V/oct signal with excellent tracking. It is thus possible to move the cutoff frequency along with the main melody or make CUNSA resonate with no input and transform it into a multiple oscillator. The V/oct inputs are seminormalled so you can control more filters with the same CV. Easy chords stabs!

Ping and Ring

CUNSA is ideal for percussive and organic tones. The Ping circuit offers a behavior similar to the BRENSO but AC-coupled. Instead of shooting the frequency to the moon with any trig, CUNSA gently responds to different incoming gates with a selectable decay curve. The Ping circuit can thus create natural decay sounds when fed with trigs or smoother envelopes with any other voltage, like a linear integrator with a custom decay.

Besides this, you can also feed the filter's audio input with trigs and make it ring at high Q settings.

Linked or Individual Filtering

The four filters can work independently or arranged in groups through seminormalled inputs and sum outputs. CUNSA can thus be a 4×1, 2×2, or a massive 1×4 filter. Even odd configurations are possible, like 1+2+1 or 3+1. Mono, stereo, or quadraphonic audio is at your fingertips.

Filter and Combo Behaviour

When the filter behavior is set to COMBINED, every control of the cutoff frequency also affects the input VCA, reducing the signal amplitude and saturation as it approaches the lowest range. It can make organic decays with the ping circuit or tame the low range at high Q and Character settings.

Four Seminormalizations for Group Use

Four inputs have a cascaded seminormalization: audio inputs, VCA CV, V/oct, and Ping. Every signal patched to a filter will thus feed also those at its right, making simultaneous use even simpler. To remove a seminormalization, simply patch a dummy cable to the corresponding input.

Analog Mixing Stage and Group Outputs

Every filter output can be routed to an analogue mix bus that sums the four filters and outputs them in three combinations: all, 1+2, and 3+4. These outputs allow for versatile audio processing. Just like we did with FUMANA, we added a gentle shelving EQ for the higher frequencies of the All output to provide additional timbral variety.

CV Inputs with Attenuators

Besides the seminormalled inputs, every filter features additional CV inputs for cutoff frequency, Q, and Character, each with a dedicated attenuverter.

Notes: Eurorack version of 1010's superb Bluebox. Vast power in 30 HP, with the ability to mix, record and play back in mono and stereo, hook up to a computer over USB for stereo I/O and run effects, all with CV control.

Supplier's Notes:
The bluebox Eurorack edition is the new Eurorack mixer with effects and multichannel recording/playback based on the award-winning bluebox desktop mixer. With the Eurorack edition's USB-C EXT port, you can send 2 channels of audio to and from your computer. Plus, you can control up to 6 mix settings with the 6 CV inputs. Whether recording your Eurorack jams, using it to play stems as backing tracks, or a combination of both - bluebox Eurorack edition will rock your rack!

Connect your eurorack, sampler, drum machine, and synthesizer outputs to 12 mono, 3.5 mm inputs and map them to 12 mono tracks or 6 stereo tracks - all with independent control for recording and playback. Connect your computer to the USB C port to send and receive two channels of audio.

The bluebox Eurorack edition is the ultimate in compact mixing, effects, recording, and playback for Eurorack. Smack it in your rack and hit the road with a self-contained, electronic music powerhouse!

When you purchase a bluebox Eurorack edition, you will receive:

a bluebox Eurorack edition 30 HP Eurorack module
A microSD card with bluebox firmware and pre-loaded project files
two Eurorack power cables
a bluebox Eurorack edition Quick Start guide
two MIDI Adapters

Technical Specs

Dimensions & Power
30 HP
Module dimensions including knobs: 6" x 5"x 1.6"
Depth behind front panel with ribbon cable: 1.0"
Requires the +5V rail which may not be present
on some older racks.
Uses 500-850mA at +5V (depending
on screen brightness), 320 mA at +12V, and 82mA at -12V
Requires two power connections
Capabilities
12 mono tracks, 6 stereo tracks or something in between
Connect to TRS or USB C MIDI for beat syncing effects
Lots of headroom with support for Eurorack levels up to +/-5V inputs and outputs
3 effects: reverb, delay and compressor
Records and plays back 48k, 24-bit audio WAV files
4 band EQ per track
Durable aluminum faceplate
Stream 2 channels of audio in and out over USB C

Inputs and Outputs
12 mono 3.5 mm TS inputs
2 independently controlled 3.5 mm TS output pairs that can be used as 4 mono outputs
1 stereo 3.5 mm headphone output
6 CV Inputs
1 USB C MIDI Device port
1 TRS MIDI Input
1 TRS MIDI Output
1 USB C Ext jack for streaming audio
3.5" touch screen, 4 knobs, 8 navigation buttons and 3 transport buttons

Notes: Designed to integrate sound sources from outside Eurorack, Verbos's Real World Interface offers three channels including built-in microphones, preamps, envelope followers and a frequency detector.

Supplier's Notes:
The Real World Interface is a 3-channel external processing module intended for connecting with sound sources outside the system. The channels are oriented as vertical channel strips. The left and right channels have a built-in condenser microphone, preamp, envelope follower with variable decay and gate extractor. In addition to a preamp, envelope follower and gate extractor, the centre channel also has an Automatic Gain Control (fixed high ratio compressor), fundamental extractor (tracking lowpass filter), frequency detector and locked oscillator. Internal microphones are useful for introducing electro acoustic room sounds into the modular. Envelope followers can be used to have external signal levels effect parameters such as filter cutoff or level for building dynamics processors. Gate extraction allows external sounds such as metronomes, clicks, claps or room sounds to advance sequencers, trigger sounds or initiate other events. The Frequency Detector can extract the pitch of simple monophonic sounds but is also a semi chaotic CV source in the tradition of such modules since their introduction in the 1960's. The Locked Oscillator plays a sine wave at the same pitch as the input signal.

Size: 18HP

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


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

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

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

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

Notes: The Serge GTS is a complete redesign of the famous Serge Dual Universal Slope Generator (DUSG) by Serge himself - with a new core, optimized for speed and tracking. Like some of the clones it can be used for CV, but also provides exceptional audio performance: transient rise times as fast as 13us and a maximum cycle speed of 27kHz.

Some functions for which one Slope Generator can be used:

Function generator for linear, logarithmic, exponential, stepped etc. curves
Integrate an incoming signal
Sawtooth / Pulse oscillator
Add, subtract up to 4 signals
Max and Min function
VC Transient Envelope Generator
VC LFO
VC Portamento device, Envelope Follower (Detector), VC Pulse Delay (Monostable), Sub-Harmonic Series Generator (Divider), Audio Oscillator with variable waveform symmetry (saw to triangle), Non-Linear Audio Processor (low-fidelity VCF).
Serge GTS for eurorack:

Designed by Serge Tcherepnin 2021-2023
Increased audio range (up to >28kHz)
Tracks >5 octaves as a Sawtooth / Pulse oscillator
Temperature stabilized
Eurorack format (3U), 26 hp
Power consumption: 90mA @ +12V, 80mA @ -12V
(NEW) Skiff-friendly: < 25mm (1")

Notes: ***B-STOCK: Box opened, but product is in excellent condition and in perfect working order***


Designed to integrate sound sources from outside Eurorack, Verbos's Real World Interface offers three channels including built-in microphones, preamps, envelope followers and a frequency detector.

Supplier's Notes:
The Real World Interface is a 3-channel external processing module intended for connecting with sound sources outside the system. The channels are oriented as vertical channel strips. The left and right channels have a built-in condenser microphone, preamp, envelope follower with variable decay and gate extractor. In addition to a preamp, envelope follower and gate extractor, the centre channel also has an Automatic Gain Control (fixed high ratio compressor), fundamental extractor (tracking lowpass filter), frequency detector and locked oscillator. Internal microphones are useful for introducing electro acoustic room sounds into the modular. Envelope followers can be used to have external signal levels effect parameters such as filter cutoff or level for building dynamics processors. Gate extraction allows external sounds such as metronomes, clicks, claps or room sounds to advance sequencers, trigger sounds or initiate other events. The Frequency Detector can extract the pitch of simple monophonic sounds but is also a semi chaotic CV source in the tradition of such modules since their introduction in the 1960's. The Locked Oscillator plays a sine wave at the same pitch as the input signal.

Size: 18HP

Notes: ***B-STOCK: Box opened, light surface marks, product in perfect working condition ***


Inspired by Roland's TR-x0x sequencers, the Drum Sequencer brings that classic approach to Eurorack, offering a massive 16 trigger channels with gate and accent outputs, plus a CV/gate track for synths.

Supplier's notes:
X0X-style beat creation for modular systems - Erica's drum sequencer is based on the concepts of classic Roland TR rhythm composers. The module offers 16 trigger channels, twelve of which also feature accent outputs. Additionally, there is a CV and a gate track, meaning you can also notate a bass line or melody. The maximum pattern length is 64 steps. Extensive playback and random functions plus two LFOs help you with creating lively results. Large buttons provide a fantastic feel while programming patterns.

Notes: Building on the familiar dual VCO core arrangement of Carrier and Modulator, Mindphaser is a complex oscillator which departs from this bit of ancestral DNA with a modern toolkit focused on searing, phase-modulated leads, percussive basslines and other-worldly effects!

A diverse palette of intermodulation and harmonic experimentation is offered through the Modulation Bus, its unique Waveshaper and the dedicated Thru-zero Phase Modulation Bus. An intuitive interface provides colour-coded visual feedback and responsive indication while performing in dimly-lit environments.

Two precision analogue oscillator cores

Precision, wide-range V/oct ramp cores, each ranging from deep subsonic to supersonic frequencies (ramp cores, and not triangular, deliver the ideal waveforms for analogue phase accumulation in the TZ-PM Bus)
Each core generates fundamental waveshapes which interact and mangle one-another through the complex Modulation Bus and TZ-PM bus
Simultaneous waveform outputs for each base shape
Dedicated button to toggle between RAMP or SAW for each core, inverting the phase of the ramp output
V/oct, linear FM and exponential FM inputs which are all independent of the TZ-PM functionality. The Carrier's FM occurs inside the core itself, separate from the TZ-PM bus.
DC-coupled linear FM

Carrier

The heartbeat of Mindphaser, focused on audio-rate generation. Drives the WAVESHAPER and TZ-PM bus. This core's frequency range spans the audible spectrum.

- An external hard SYNC IN forcibly resets the core, useful for punchy sequences, percussive basslines and drum synthesis -- or to sync to another VCO.

- Coarse and fine controls conveniently span the audible spectrum. Ranges further with external CV.

Modulator

An extremely wide range oscillator, spanning from deep LFO frequencies all the way up to supersonic sound! Four base waveforms and diverse internal routing options form a versatile palette of modulations for the CARRIER to feed on.

- Activating hard SYNC on the Modulator locks its core to the Carrier's heartbeat. The effect can be dramatic. Try this while phase modulating!

- Octave RANGE switch lets you quickly flick up and down between octaves. All the way beyond audio-rate and LFO speed octaves. Perfect for experimenting with different PM sidebands and taming the wide frequency range of the Modulator.

- Manual PW (Pulse Width) control and dedicated CV input for PWM.

Waveshaper

This isn't a classic waveshaper! Developed anew from the ground up, this waveshaper is focused on deep harmonic experimentation and audio obliteration. Each waveshaper parameter is capable of being "turned up to 11".

FOLD up to 5 octaves above the fundamental Carrier frequency. A ceiling forms at maximum, imparting additional harmonics.

FEEDBACK the waveshaped and phase-modulated audio through a signal path internal to the waveshaper.

AMPLITUDE modulation spans thru-zero, allowing for full-range ring modulation effects with bipolar CV or audio signals.

CLIP the final stage of amplitude with the switch to introduce a last stage of harmonics before the complex signal exits through the final OUT.

Switchable inverting attenuators on each CV input, for quickly inverting the behaviour of your modulation. The indicator illuminates red to tell you the attenuator has been inverted.

Two distinct waveshaping modes

A press of the shape switch toggles Mindphaser between RAMPOID (green) and TRIANGULAR (yellow) waveshaping modes.

These modes have a remarkable effect on the behaviour of wavefolding and overall character of the final complex OUT, in addition to TZ-PM Bus character.

RAMPOID mode folds more asymmetrically, with raucous, buzzing harmonic artefacts as you sweep and introduce TZ-PM

TRIANGULAR mode folds more symmetric, splitting the complex sine wave at its peak centre of the waveform. TZ-PM character is less raucous, and more smooth.

TZ-PM Bus

Thru-zero phase modulation in the ANALOGUE realm! Unlike its digital counterpart, analogue TZ-PM has its own character we've come to expect from analogue circuitry!

A dedicated, voltage-controlled phase modulation bus completely separate from the Mod Bus
Modulator's SINE wave normalled to the PM SOURCE input
SOURCE input allows you to modulate phase with any signal you patch in
Dedicated voltage-controlled INDEX (amount)
Manual phase lets you zero in (or not!) on the base phase before introducing modulation
Independent of the Linear FM circuitry in the Carrier core

Mod Bus

The internal modulation powerhouse, normally fed by the Modulator core, but external signals are patchable as well.

Select from the PULSE, RAMP/SAW or SINE output of the MODULATOR, or inject your own SOURCE to the bus.

Voltage-controlled INDEX behaves like a macro control when combined with various amounts and polarities dialled in at each CV destination.

Internal sends include the Carrier's classic Linear FM, Amplitude, Feedback and TZ-PM Index, with variable amounts and polarities!

Modulator waveforms internally feeding the Mod Bus behave unipolarly, for predictable modulation of every Mod Bus destination, without external patching. By patching in one of the Modulator's bipolar waveform outputs manually (or any external signal), you can override this behaviour.

Dimensions
30 HP
24 mm deep

Current Draw
110 mA +12V
100 mA -12V

Notes: The Haible VC Resonator is an evolution of Jurgen Haible's Resonator which was inspired by the Polymoog Resonator. As Jurgen stated: The Polymoog, an early polyphonic synthesizer, featured a 3-band "Resonator" section that allows Formant-Filtering in addition to its dynamic Filters. Such a Resonator is a very useful feature for analogue synthesizers. Each of the three (now overlapping) filter bands has a control for frequency, signal gain, and emphasis (resonance). The VC Resonator now not only adds VC control for each band, but also extends the ranges whithin which each frequency band can be set - adjacent bands can now overlap or even cross over, for instance the LOW and MED bands can now be set (or moved!) so that the LOW center frequency is higher than the MED frequency.

Jurgen's original Resonator (like the Polymoog) had a switch to select one of 3 basic modes, i.e. only one mode could be used at a time. The Haible VC Resonator now provids the same 3 modes as separate outputs so they can be used simultanously, e.g. for further processing like crossfading.

Some details of the Haible VC Resonator:

Evolution of Jurgen Haible's design
Added Voltage Control for Filter bands
Extended range of each band (overlapping)
Three separate outputs
Burr-Brown op-amps and high-end VCAs
Eurorack (3U) format, 18 hp
Skiff-friendly: < 30mm deep
Power: appr. 60mA @ +12V and 60mA @ -12V

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


Record. Mangle. Destroy.

Nebulae is a granular sampler and DSP platform. Its phase vocoder audio engine provides elastic audio, which can be time stretched, granularized, and mangled to no end. With independent control over pitch and speed, and granular controls such as overlap, window, and density, finding new sonic territory is only a knob turn away. Nebulae can use live audio input, a recorded buffer, or audio files as the source material for its powerful audio manipulations. The live input buffer can record up to five minutes of stereo audio at 48kHz, 24 bit. In addition, up to 75 MB of stereo audio can be loaded simultaneously through the USB port. No naming convention or special formatting necessary; just plug and play.

Nebulae lives a double life as an open source DSP platform with an extensive library of off the shelf alternate instruments. You can turn the module into a lush reverb, spectral delay, or tape-style looper simply by loading a new file onto the flash drive. Do you want to tweak one aspect of an existing instrument, even the default functionality? No problem. No prior coding knowledge is necessary to tweak and refine existing firmware to your liking or start with one of our templates. Alternate firmware files can be written with Pure Data, Csound, SuperCollider, and even bare-bones C programs.

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


Up to eight voices of digitally synthesised drums, percussion and synth sounds from this versatile module, featuring virtual analogue models as well as FM and wavetable options.

Supplier's Notes:
Flame "Fire" percussion synth module

The module is a full 8-way polyphonic drum and percussion synthesizer. It offers different digital synthesis algorithms, which can be distributed over 8 channels. The sound engine delivers virtual analog sounds as well as different digital percussion sounds, which are generated with FM, wavetable or virtual analog synthesis. It is also possible to create sim- ple monophonic bass or synthesizer voices.

During development, particular attention was paid to direct and simple usability with regard to live operation. The hardware essentially consists of two parts (which are deli- vered together). On the one hand there is the basic module with all controls, the display, connections for MIDI, 2x CV inputs and 5 audio outputs.

There is also a separate XFIRE I/O extension with sockets for the 16 analog trigger/gate/CV inputs and 3 additional audio outputs. Both modules are connected via a 60cm long ribbon cable. In this way, the XFIRE module can be installed anywhere else in the rack. The base module is therefore only 22TE wide and can also work alone without the extension as a MIDI expander.

A maximum of 8 audio outputs are available. A stereo pair (outputs 7+8), plus 6 additio- nal individual direct outputs. All outputs are freely configurable. Two pages with settings for panorama and volume are available for the stereo main out.

There is a gate/trigger input and a configurable CV input for each channel. Two additio- nal programmable CV inputs can be used for further controls. Regardless of the analog connection, the module offers full MIDI functionality. Two MIDI inputs and a MIDI output/softthru allow integration into an external MIDI setup. The firmware can be upda- ted via MIDI Sysex. The created KIT data can also be saved or exchanged.

Notes: Combining the power of multi-oscillator wavetable synthesis with the percussive detail of sampled sounds, Pianophonic is a powerful hybrid synth engine featuring 8 voices of polyphony. Not limited to Piano sounds, the voice architecture of Pianophonic is extremely versatile and easy to use with the essential controls laid bare on the front panel, and the most significant CV inputs and outputs provided for full integration within eurorack patches.

Taking its inspiration from the wavetable/sampler keyboards of the 90s, Pianophonic revisits a lean and mean approach to digital sound creation but instead with 24bit 48Khz quality and fingertip control of the parameters that really matter.

With a built in SD card and an online re-synthesise utility, allowing users to create their own sound banks, the possibilities for sound exploration are limitless.

Notes: The Serge GTO is a newly designed, complex multi-functional module which can be patch programmed to provide various slew and sample functions both for audio and CV signals, but also act as a (dual) oscillator or filter or bitcrusher or ... It is one of the essential Serge modules. The GTO is an offspring of the famous Serge SSG.

The Smooth section will place a positive and negative slew on input voltage transitions for lag effects, voltage controlled portamento and for low frequency filter applications. In Cycle-mode (cycle jack patched to the input), the Smooth side “will oscillate yielding a voltage controlled triangle wave LFO. A high level into the HOLD input will enable the Smooth Function to be used as a track-and-hold circuit with voltage controlled slew rate.

The Stepped function can be used as a sample-and-hold with voltage controlled slew rate limiting. In Cycle mode, a pulse applied to the Sample input will generate complex staircase waveforms for control voltage applications and for use as audio signals.

Each side has a temperature-compensated 1V/Oct input for use as an oscillator with a frequency range of up to 20kHz (left) and 8kHz (right). Each side tracks over 5 or 6 octaves.

The Coupler is an internal comparator which compares the output levels of the Smooth and the Stepped Generators. This output is useful for generating complex control voltages or random voltages.

Dimensions:
18 HP
25 mm deep

Current draw:
45 mA +12V
40 mA -12V

Notes: ***B-STOCK: Box opened, product in excellent condition, no original internal packaging***


Intellijel has made the already awesome Thru Zero VCO Rubicon even better! In addition to the seven waveforms plus sub-oscillator of the first version, the second generation offers a new Warp stage, which generates a hybrid of complex pulse and other waves - you can even use external audio material. In order to keep results in the range of 10 Vpp, there is a wave folder called Squish. On top, the FM capabilities were expanded.

Notes: Cleverly designed melodic looping sequencer/sampler, offering four pattern banks each with 16 steps, aiming to bring 'DAW-style' workflows to Eurorack - sample reversing, pitch shifting, and so on.

Suppliers notes:
Torus is an overdub looper for harmonic playback. It offers four, 16-step pattern banks for sequencing as well as other sample manipulation techniques. It was designed to bring daw recording workflows (sample reversing, pitch shifting, sequencing, etc.) to eurorack cases.

Inputs:

A, B, C, D - buttons for choosing the current pattern. When combined with chain, these buttons can be used to sequence a pattern chain. Individual chains can be support 16 steps and are kept in sync with torus's global clock.

Chain - button for chaining behaviours. Chain + A, B, C, D can be used to sequence a pattern chain. Chain + record can be used to record multiple patterns in series and then chain playback. Chain + clear can be used to clear all recorded patterns. Chain + tap can be used to reset the current pattern when it contains recordings.

Mix - knob and CV used to blend between the input signal and the recorded pattern.

Record - button and gate in for turning on and off recording. When a pattern is not recorded, record will turn on and in sync with the clock. When a pattern is recorded, record will immediately turn on and off overdubbing.

Oct - buttons for octave shifting pattern buffer playback. Oct buttons can be used to clock divide/multiply an input clock signal.

Reverse - button and gate in for reversing buffer playback.

Harm - knob and CV for choosing harmonic pattern playback speeds. Playback speeds include both integer clock multipliers and perfect intervals.

Tap - button for tapping in tempos for the internal clock. Tap will repeat the current note when the current pattern contains recordings. Combine with chain to reset the entire pattern when the current pattern contains recordings.

Clear - button and gate in for clearing the current pattern. Combine with chain to clear all recorded patterns.

Clock - gate in for clock syncing

In L and in R - audio input, left will be converted to stereo if there is no right input.

Outputs:

Harm out - gate output mapping to harmonic playback resets. This gate output will range from 1-16x the clock out frequency depending on the harm knob/CV value.

Clock out - gate output for the global clock. The output gate frequency will be 0.25-4x the input clock speed based on the oct button state.

Reset - gate output when the current pattern has reset.

Out L and out R - audio output

100 mA +12V 40 mA -12V 0 mA 5V

16 HP 35mm deep

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


Collabing with YouTube sensation Andrew Huang, Endorphin.es offer up this impressive multipurpose processor module. Building blocks of stereo filtering, compression, reverb and more offer huge creative potential.

Supplier's Notes:
In collaboration with Andrew Huang, based on his modern music production techniques, Endorphin.es developed a creative audio processor with multiple blocks that can be moved around in order to achieve different flavours for sound design.

Processing unit without fixed structure: intuitively create astonishing and ephemeral timbres, from atmospheric rumbles to heavy or distorted textures.
Creative stereo effect processor with delay, reverb, filter and distortion with quickly explorable routing chain with single button press.
New generation ARM Cortex - M7 processor with 96 kHz 32 bit internal processing.
Lush hall and whooshing reverse reverbs with audio freeze and pre-delay.
Sidechain audio ducking envelope available both internally and externally with additional one knob single band compressor.
Tap delay with maximum delay time up to 2.5 seconds, external clock input with onboard clock divider and 1v/oct time control.
8x oversampled distortion algorithm.
Pre- and post - VCA, tone and volume controls with extra gain.

Power consumption
135 mA +12V
35 mA -12V
0 mA 5V

Dimensions
16 HP
26 mm deep with power ribbon cable connected.

Notes: Gross, gritty, and dark industrial-strength voice on a swappable oscillator platform. Pangolin approved.

Manis Iteritas Alia is a voice based on the architecture of Basimilus. It was designed to be grittier and more aggressive by using only sawtooth waves that are manipulated, modulated, and distorted through a rethought interface. Manis Iteritas Alia is fantastic for leads, basslines, drums, darkness, detuned swarminess, or pure mayhem. Plus, MIA's dedicated envelope output is a great modulation source for the rest of your patch.

MIA is available on Noise Engineering's 10HP Alia oscillator platform. Buy an Alia module and use the included USB cable to connect to the Noise Engineering Customer Portal to check out any other Alia firmware, free of charge, any time.

A portion of the proceeds of every Manis Iteritas Alia sold goes to pangolin conservation.

Width: 10HP
Depth: 22mm

Notes: Gross, gritty, and dark industrial-strength voice on a swappable oscillator platform. Pangolin approved.

Manis Iteritas Alia is a voice based on the architecture of Basimilus. It was designed to be grittier and more aggressive by using only sawtooth waves that are manipulated, modulated, and distorted through a rethought interface. Manis Iteritas Alia is fantastic for leads, basslines, drums, darkness, detuned swarminess, or pure mayhem. Plus, MIA's dedicated envelope output is a great modulation source for the rest of your patch.

MIA is available on Noise Engineering's 10HP Alia oscillator platform. Buy an Alia module and use the included USB cable to connect to the Noise Engineering Customer Portal to check out any other Alia firmware, free of charge, any time.

A portion of the proceeds of every Manis Iteritas Alia sold goes to pangolin conservation.

Width: 10HP
Depth: 22mm

Notes: Hybrid additive phase-modulation voice on a swappable oscillator platform

Debel Iteritas Alia is a hybrid additive phase-modulation voice inspired by classic and experimental synth sounds from across the decades. Three synthesis algorithms range from classic FM plucks and basses to all-out additive anarchy. DIA features a two-parameter envelope with a huge range of shapes and timing, making it easy to dial in the exact sound you want. With CV over every parameter, a dedicated envelope output, and an absolutely massive timbral range, Debel Iteritas Alia is a powerhouse synth voice in a compact package.

DIA is available on Noise Engineering's 10HP Alia oscillator platform. Buy an Alia module and use the included USB cable to connect to the Noise Engineering Customer Portal to check out any other Alia firmware, free of charge, any time.

Width: 10HP
Depth: 22mm

Notes: Mûmack is built from a temperature-stabilized analog source producing the three classic waveforms: triangle, saw, rectangle. This basic signal can be altered or enriched in several ways, which can be combined with each other, and associated with one VCA per mode.

Peak Compressor:
In the central position the signal is not modified. Turning the potentiometer to the right or to the left will compress the signal positively or negatively. It is this signal that will then feed Usual, Mûm and Hack. An LFO is dedicated to the compressor, controllable in speed and amplitude. A CV input with attenuator can also control the compressor.

USUAL:
The three waveforms are freely mixable, a CV input and a potentiometer can change the shape of the rectangle wave (PWM). The compressor intervening upstream, it can strongly influence the final form and the amplitude of USUAL. This produces complex analog waveforms, moving in time with the LFO or the CV input. The linear potentiometer makes it possible to mix the signal with the others, and to dose the volume of the direct output. The rotary potentiometer acts as an attenuator for the VCA input.

MÛM:
The Waveform potentiometer move the waveform of Mûm continuously from a attenuated triangle to a more pronounced triangle, then to a sinusoid and finally to a square wave. An LFO allows you to add a vibrato adjustable in speed and amplitude. The linear potentiometer makes it possible to mix the signal with the others, and to dose the volume of the direct output. The rotary potentiometer acts as an attenuator for the VCA input.

HACK:
Mûm's signal is taken up in a Wavefolder + compressor. Depending on the settings of the Peak compressor, and the three LFOs, we obtain complex, moving, organic waveforms. Again the linear potentiometer allows to mix the signal with the others, and to adjust the volume of the direct output. The rotary potentiometer acts as an attenuator for the VCA input.

ALL:
The three channel (Usual, Mûm, Hack) are mixed and brought together in a single output. The output volume is adjustable and a CV input with attenuator works like a VCA.

MIXER & VCA
The voltages produced by Mûmack, as is the case with many analog VCOs, can be high. The mixer allows them to be attenuated if necessary. Each of the three channels, and the product of the three, can be controlled by the VCA, with attenuator. The VCA is designed to add distortion at high values. The mixer is exponential for more subtle adjustments in low values.

Dimensions
30 HP
40 mm deep

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

Notes: Befaco's unique GameBoy-based effects module allows you to change effects by swapping cartridges, all with CV control over key parameters. Effects include Skuara's harsh fuzz, Instruo's micro phaser and much more.

Supplier's Notes:
A crazy idea with the support of a bunch of crazy people.

A Multi FX module based on game carts!

FxBoy is a multi-FX module designed in collaboration with several talented manufacturers.

This is an effect unit with CV control over the parameters and Dry/wet control, with a Built-in CV controllable four bands EQ.

Each effect is physically hosted in a hot-swappable game cart and designed by a different manufacturer: Touell Skouarn with Skuara a harsh fuzz with overdrive, Instruo with micro Phaser, a two-flavoured Phaser, Feedback modules with a vintage Flanger, XOR with FX-Girl, a digital double effect module: Delay + Granularizer, Making sound machines with an analogue Wave folder, Tesseract with a bit crusher and Befaco Trash distortion!

What have these crazy people put in their cartridges?

Trash

Trash is a harmonic distortion that combines both clipping and folding flavours. Modes A and B will select between aggressive and more aggressive flavours!

Flanger

Analogue Wavefolder

Eskuara

AVMA
AVMA by Tesseract Modular is a bipolar VCA with one switchable wavefolder stage followed by an analogue frequency reducer. The VCA gain is x2, it can be used with i5V oscillator signals at the CV input for ring modulation effect.
Micro Phaser

Three cascaded all-pass filters, a built-in LFO and a saturator in the feedback path.

The purpose for this cartridge is to completely f&%k your phase up!

Instruo - We make sounds with the things that we make to make sounds with.

Technical Specifications

CV control over all parameters and Dry/wet
CV controllable four-band EQ, routable post or pre-effect.
Hot swap for all carts.
Selector for two different flavours of each cart.
Open specifications to design your own carts

Specs

Current needs: +12V: 125mA, -12V: 100mA, 5v: 0mA
Width: 12 HP
Depth: 35 mm (including power connector)
Aluminium, heat-treated front panel.
Designed and assembled in Barcelona.

Notes: Originally designed as a percussion voice, the Incus Iteritas Alia also lends itself well to FM synth sounds, combining deep internal modulation with user-friendly front panel controls.

Supplier's Notes:
Alia is a 10HP oscillator platform much like the Versio and Legio platforms. Launched in 2023 with a reboot of the beloved Basimilus Iteritas and Manis Iteritas, along with a new oscillator, Debel Iteritas, Noise Engineering is back with three more firmwares for the platform.

Separate hardware is available for each module, and a customer with any Alia module can try any firmware for free by going to the Noise Engineering Customer Portal and connecting with the included USB cable.

Incus Iteritas Alia

FM-based wave-mangling additive voice for synthetic percussion and instruments on a swappable oscillator platform

Incus Iteritas Alia is a new member of the Iteritas family, hammering big and bold sounds into your patches. Incus started as a percussion voice, and evolved into so much more: create kicks for any genre, snares, and metallic hits, or go melodic and create FM plucks, analogue-style basslines, and so much more. Incus uses a combination of waveshaping, saturation, wavefolding, FM, and additive synthesis, plus a slew of internal modulation, all behind easy-to-use parameters perfect for jamming.

IIA is available on Noise Engineering's 10HP Alia oscillator platform. Buy an Alia module and use the included USB cable to connect to the Noise Engineering Customer Portal and check out any other Alia firmware, free of charge, any time.

Width: 10HP
Depth: 22mm

Notes: Alia is a 10HP oscillator platform much like the Versio and Legio platforms. Launched in 2023 with a reboot of the beloved Basimilus Iteritas and Manis Iteritas, along with a new oscillator, Debel Iteritas, Noise Engineering is back with three more firmwares for the platform.

Separate hardware is available for each module, and a customer with any Alia module can try any firmware for free by going to the Noise Engineering Customer Portal and connecting with the included USB cable.

Incus Iteritas Alia

FM-based wave-mangling additive voice for synthetic percussion and instruments on a swappable oscillator platform

Incus Iteritas Alia is a new member of the Iteritas family, hammering big and bold sounds into your patches. Incus started as a percussion voice, and evolved into so much more: create kicks for any genre, snares, and metallic hits, or go melodic and create FM plucks, analogue-style basslines, and so much more. Incus uses a combination of waveshaping, saturation, wavefolding, FM, and additive synthesis, plus a slew of internal modulation, all behind easy-to-use parameters perfect for jamming.

IIA is available on Noise Engineering's 10HP Alia oscillator platform. Buy an Alia module and use the included USB cable to connect to the Noise Engineering Customer Portal and check out any other Alia firmware, free of charge, any time.

Width: 10HP
Depth: 22mm

Notes: Alia is a 10HP oscillator platform much like the Versio and Legio platforms. Launched in 2023 with a reboot of the beloved Basimilus Iteritas and Manis Iteritas, along with a new oscillator, Debel Iteritas, Noise Engineering is back with three more firmwares for the platform.

Separate hardware is available for each module, and a customer with any Alia module can try any firmware for free by going to the Noise Engineering Customer Portal and connecting with the included USB cable.

Proudly digital oscillator inspired by the last millennium on a swappable oscillator platform.

Ataraxic Iteritas Alia is a voltage-controlled and proudly digital oscillator based roughly on the original Ataraxic Translatron. Now brought to the Alia platform and beefed up with a suboscillator and performable hold button, it's back and ready to make some killer basslines or glitchy madness. Sound starts with waveshaped bit tables that are amplitude modulated, folded, and distorted by the CV-controllable front panel controls. Ataraxic is ripe for sound design and exploration: a wide range of bright, digital timbres are readily available, and tuning below audio rates creates wonderfully unexpected textures. Guaranteed to make the fax machine jealous.

AIA is available on Noise Engineering's 10HP Alia oscillator platform. Buy an Alia module and use the included USB cable to connect to the Noise Engineering Customer Portal and check out any other Alia firmware, free of charge, any time.

Width: 10HP
Depth: 22mm

Notes: Alia is a 10HP oscillator platform much like the Versio and Legio platforms. Launched in 2023 with a reboot of the beloved Basimilus Iteritas and Manis Iteritas, along with a new oscillator, Debel Iteritas, Noise Engineering is back with three more firmwares for the platform.

Separate hardware is available for each module, and a customer with any Alia module can try any firmware for free by going to the Noise Engineering Customer Portal and connecting with the included USB cable.

Ataraxic Iteritas Alia

Proudly digital oscillator inspired by the last millennium on a swappable oscillator platform

Ataraxic Iteritas Alia is a voltage-controlled and proudly digital oscillator based roughly on the original Ataraxic Translatron. Now brought to the Alia platform and beefed up with a suboscillator and performable hold button, it's back and ready to make some killer basslines or glitchy madness. Sound starts with waveshaped bit tables that are amplitude modulated, folded, and distorted by the CV-controllable front panel controls. Ataraxic is ripe for sound design and exploration: a wide range of bright, digital timbres are readily available, and tuning below audio rates creates wonderfully unexpected textures. Guaranteed to make the fax machine jealous.

AIA is available on our 10HP Alia oscillator platform. Buy an Alia module and use the included USB cable to connect to the Noise Engineering Customer Portal and check out any other Alia firmware, free of charge, any time.

Width: 10HP
Depth: 22mm

Notes: Alia is a 10HP oscillator platform much like the Versio and Legio platforms. Launched in 2023 with a reboot of the beloved Basimilus Iteritas and Manis Iteritas, along with a new oscillator, Debel Iteritas, Noise Engineering is back with three more firmwares for the platform.

Separate hardware is available for each module, and a customer with any Alia module can try any firmware for free by going to the Noise Engineering Customer Portal and connecting with the included USB cable.

Cursus Iteritas Alia

Dynamically generated wavetable oscillator using orthogonal functions on a swappable oscillator platform

Cursus Iteritas Alia is Noise Engineering's take on a wavetable-inspired additive oscillator. Cursus creates sounds from a dynamically generated wavetable, then gives the user spectral controls to sculpt and modulate. Cursus has three different algorithms, based on different conceptualizations of frequency: Fourier, which uses sine waves; Daubechies, using wavelets; and Walsh mode, using the Walsh transform. All that math is hidden behind a set of friendly controls that produces an extremely wide variety of harmonic sounds, perfect for melodic sound design. Cursus has long been regarded as the gentlest Iteritas, but if you need some beef and extra low end, try mixing the suboscillator output into your patch.

CIA is available on Noise Engineering's 10HP Alia oscillator platform. Buy an Alia module and use the included USB cable to connect to the Noise Engineering Customer Portal and check out any other Alia firmware, free of charge, any time.

Width: 10HP
Depth: 22mm

Notes: Alia is a 10HP oscillator platform much like the Versio and Legio platforms. Launched in 2023 with a reboot of the beloved Basimilus Iteritas and Manis Iteritas, along with a new oscillator, Debel Iteritas, Noise Engineering is back with three more firmwares for the platform.

Separate hardware is available for each module, and a customer with any Alia module can try any firmware for free by going to the Noise Engineering Customer Portal and connecting with the included USB cable.

Cursus Iteritas Alia

Dynamically generated wavetable oscillator using orthogonal functions on a swappable oscillator platform

Cursus Iteritas Alia is Noise Engineering's take on a wavetable-inspired additive oscillator. Cursus creates sounds from a dynamically generated wavetable, then gives the user spectral controls to sculpt and modulate. Cursus has three different algorithms, based on different conceptualizations of frequency: Fourier, which uses sine waves; Daubechies, using wavelets; and Walsh mode, using the Walsh transform. All that math is hidden behind a set of friendly controls that produces an extremely wide variety of harmonic sounds, perfect for melodic sound design. Cursus has long been regarded as the gentlest Iteritas, but if you need some beef and extra low end, try mixing the suboscillator output into your patch.

CIA is available on Noise Engineering's 10HP Alia oscillator platform. Buy an Alia module and use the included USB cable to connect to the Noise Engineering Customer Portal and check out any other Alia firmware, free of charge, any time.

Width: 10HP
Depth: 22mm

Notes: VastWave is a complex analogue Oscillator with advanced waveshaping capabilities that invites new textural and harmonic exploration beyond subtractive synthesis principles.

Crossfading between harmonically rich folded waveforms and waveforms with Odd/Even harmonics, the VastWave waveshaper expands on the Principal Oscillator heritage, bringing an additional set of waveforms with Odd and Even harmonics and a pulse waveform derived from the Waveshaper's Final output stage.

Furthermore the linear FM input has a dedicated VCA for external FM amplitude modulation and an on board linear Glide delivers a more musical approach to this classic feature.

Features:

Voltage controlled complex waveshaping.
Triangle core.
FM input with voltage controlled amplitude for FM amplitude modulation.
On board linear Glide.
Voltage controlled Pulse-width modulation for Pulse and Final Pls waveforms.
Modern temperature and tuning stability.
High Frequency (VCO) or Low Frequency (LFO) operation.
External Timbre input with sine wave normalization if no external source is patched.
Attenuator/inverter knobs on all voltage controlled inputs.
Inverted or double Sawthooth waveform (selectable by jumper).


Specs:

Width: 16HP
Depth: 33mm
Power consumption: ###mA +12 / ###mA -12
Eurorack Format
Doepfer power connection

Notes: Neatly implemented performance mixer with four stereo channels. CV control of level and pan, two pre- or post-fader stereo send busses, quiet mutes and cueing via a front-panel headphone socket.

Supplier's Notes:
Four channel stereo production mixer

Mixer section

Each channel has the following:

Stereo or mono - Each channel can be treated as a stereo channel or a mono channel with two summed inputs.

CV inputs for both panning and level control

Two send buses - You can route each channel to one of two send buses. Each send bus is stereo. You can choose if you want the send to come before or after the level/panning controls.

Mute - The mute has both latching mute (up) and a momentary mute (down). The mute uses a capacitor to slow the turn off and on of the mute action. So it is mostly click-less, but you may find an occasional pop.

Cue bus - You can route each channel to the cue bus.

Mains Section

Two stereo sends outputs
Two stereo returns - which can also be used to directly insert into the main mix.
Main stereo outputs - level controlled with the slider and stereo VU meter.
Main mono output - summed output of the main L&R. If you are after an 8ch mono mix, you can use each channel in stereo mode, use the level control to control the level and then pan control to control the levels of the two channels.

Cue Section

1/4" Headphone jack along with level control
Fader control to listen to the main mix, cue mix, or an adjustable mix of the two.
Expandable

Bartenders can be cascaded to create 8ch, 12ch, or 16ch mixer. The main level is what is sent the main level control can act as a group control.

Barbacks can be added to add 2ch to your mix. Barbacks can also be cascaded enabling up to a 16ch mixer configuration.

Send-VCA can be added for CV control of the level of the send.

DVCA, Cast Iron, Mingles, and USB-2CH can all be connected with Dupont cables (aka female to female breadboard cables) via pin headers on the back of the modules. Connecting the in and out pins will send/receive the audio into the next module.

Width: 24hp
12V: 260mA
-12V: 225mA

Notes: Really smart integration of macro controls for Eurorack, based on the original design by Emblematic Systems. Assign settings to eight CV outputs then morph with the crossfader or record movements to manage presets or set up complex real-time modulation. Can also operate as Catalyst Sequencer.

Supplier's Notes:
The Catalyst Controller is a macro controller with eight precision CV outputs and a responsive crossfader to morph between scenes. A scene is a snapshot of up to eight CV outputs, like a modular preset. Traverse a "pathway" composed of multiple scenes using the crossfader or an external CV signal, or immediately jump using the scene buttons. Record CV and slider movements, and play recordings back via a button or external trigger.

Each output has sub-millivolt precision and a maximum range of -5V to +10V. Channels have an adjustable morphing curve, can be quantized to common scales, restricted to a particular voltage range, or set to output gates.

Whether used as a CV preset manager, seamless transition generator, chord sequencer, CV recorder, or experimental CV playground, the Catalyst Controller puts control of your modular at your fingertips.

The Catalyst Controller can also turn into a Catalyst Sequencer! Hold down a special button combination to change between controller and sequencer modes. If you end up liking the Sequencer more, you can even remove the double-sided faceplate, flip it over, and re-install with the Sequencer artwork visible.

Based on the original Catalyst module from Emblematic Systems.

Specifications:

Smooth, responsive crossfade morphs between scenes
Eight output channels, each can be CV or Gate
Arrange scenes into pathways of up to 64 scenes
Smooth, responsive crossfader morphs from scene to scene along the pathway
Set slew/lag to limit how fast scenes can change
Adjustable Morph time per output
Control crossfading with an external CV
Record and playback up to 20 seconds of CV and crossfader motion
CV outputs can be set to -5V to +10V maximum, or limited to +/-5V, +5V, +3V, or +1V
CV outputs can be unquantized (sub-1mV resolution), or Quantized to common scales
Randomization of channel values/gates
Copy/paste
Based on the original Catalyst from Emblematic Systems

Pairs with: 4ms Catalyst Sequencer

Notes: The Catalyst Sequencer combines a traditional clocked step-sequencer with an unconventional phase-based sequencer to produce a new paradigm in sequencing. Eight precision CV sequencer channels can be simultaneously driven by a clock, a phase CV, or scrubbed manually with the crossfader.

Each of the eight channels has its own sequence length, quantizer, transposition, clock divider, randomization, voltage range (max -5V to +10V), and selectable CV (precise 16-bit resolution) or Gate mode.

Phase-based sequencing is an advanced form of sequencing where each step is selected by CV. The Catalyst Sequencer has a smooth, responsive crossfader that scrubs the sequence, playing it forward or backwards to track your motions. Patching in a CV signal will do the same: a ramp-up CV plays the sequence forwards, a ramp-down plays it backwards, a triangle plays it ping-pong, and complex waveforms generate new interesting rhythmic and melodic patterns.

The Catalyst Sequencer can also turn into a Catalyst Controller! Hold down a special button combination to change between sequencer and macro controller modes. If you end up liking the Controller more, you can even remove the double-sided faceplate, flip it over, and re-install with the Controller artwork visible.

Based on the original Catalyst module from Emblematic Systems.

Pairs with: 4ms Catalyst Controller

Notes: Sixteen Seconds Delay vintage eurorack version, inspired by the original looping delay from 1983.

The device topology is the same as first digital delays from that era, with an all-analogue signal path, pre emphasis and de-emphasis, compression and expansion, antialias and reconstruction filtering and input output buffering and mixing.

Digital processing is limited only to analogue to digital conversion, memory management and storage and digital to analogue conversion, all in glorious eight bits.

There's also an analogue triangle Low Frequency Oscillator for modulating delay time/pitch Maximum delay time has been increased to 32 seconds, there are toggle switches for slow/fast speed/pitch , freeze function and reverse playback.

On board modular inputs for CV control of sample rate, infinite/freeze, reverse, slow/fast, reverse, delay line retrigger for sync and stutter experimentation.

Slider illuminated controls are delay time coarse, delay time fine, sweep rate and depth, feedback and mix.

Proudly hand built in Uruguay, by Maneco Labs also creators for the Grone Drone machine Eurorack, Tabletop and Pedal drone generators among others.

Notes: OCTOPUS is a powerhouse ART controller that takes MIDI in via the USB or DIN connector and outputs 8 ART channels with 8 velocity CV plus 8 drum triggers. Together with the ART oscillators the OCTOPUS provide unprecedented simplicity connecting the modular to your computer sequencers, hardware midi sequencers and keyboards. Each ART channel can play polyphonic notes, monophonic notes or create multi-channel polyphony using an internal voice manager. All together OCTOPUS can play more voices and notes from a single controller than ever was possible in modular. Using ART high speed control signals OCTOPUS can maintain low jitter for tight timing.

Please note, OCTOPUS is not a 1V/Oct midi to CV and should not be confused as one.

Size: 18HP - Depth: 40mm / 1.5"
Power: +12V 140mA / -12V 100mA

Notes: Skippy is a matrix and non-matrix polyrhythmic sequencer (linear and logarithmic) which offers four completely independent tracks with a very simple interface: one button per track, one function per screen, no sub-menus.

Possible saving of 64 configurations.

Internal connection with expander module (coming soon) and with Zazou, generative composition module (coming end of 2023).

Functions per track

- BPM (10 to 400)
- Number of steps (1 to 64)
- Linear or log
- Random function
- Chaotic function
- Direction: clockwise, counterclockwise, ping-pong, pause
- Number of steps before the start of the sequence
- Number of steps before the end of the sequence
- Gate duration

Specific algorithms

- Euclidean (Bjorklund)
- Matrix Patterns
- microtiming patterns
- matrix rotation

Clock

- External clock input or Reset
- Clock output
- 1/1, 1/4, etc.

Menus

- BPM
- STEP
- BEGIN
- END
- GATES
- PROBA
- CHAOS
- WAY
- SWING
- GAUSS
- EUCLID
- TILES
- POLYR
- JAZZY
- SPIN
- PAUSE
- RESET
- SYS: save, load, new, clk/rst, clk

Tech Specs

Width: 10 HP
Depth: 32 mm

Current Draw:
+12 V 0 mA
-12 V 0 mA

Notes: Four-channel arpeggiator with customizable patterns and CV control

Opp Ned is a four-channel arpeggiator designed for creating patterns that can be modified with CV. Opp Ned ships with 12 of Nosie Engineering's favourite arps, including tetrads, major, pentatonic major, minor third, and pentatonic minor, but you can edit and save custom arpeggios to twelve memory slots. Recall your custom arpeggios manually or with CV using the Ptn input. If you ever want to restore the factory arps, just head to the Noise Engineering Customer Portal.

The transpose input makes it easy to combine Opp Ned with external sequencers, too!

Arps have never been easier than with Opp Ned.

Features

Size and Power
8HP Eurorack
+12v: 60mA
-12v: 10mA

Opp from Norwegian Opp for "Up"
Ned from Norwegian Ned "down"
"Ups and downs"

What's in the box

Module
Power cable

*** Noise Engineering no longer include screws with newly packaged modules. Bulk screws are available for purchase. ***

Notes: ***B-STOCK: Box opened, but product is in excellent condition and in perfect working order***


Befaco's unique GameBoy-based effects module allows you to change effects by swapping cartridges, all with CV control over key parameters. Effects include Skuara's harsh fuzz, Instruo's micro phaser and much more.

Supplier's Notes:
A crazy idea with the support of a bunch of crazy people.

A Multi FX module based on game carts!

FxBoy is a multi-FX module designed in collaboration with several talented manufacturers.

This is an effect unit with CV control over the parameters and Dry/wet control, with a Built-in CV controllable four bands EQ.

Each effect is physically hosted in a hot-swappable game cart and designed by a different manufacturer: Touell Skouarn with Skuara a harsh fuzz with overdrive, Instruo with micro Phaser, a two-flavoured Phaser, Feedback modules with a vintage Flanger, XOR with FX-Girl, a digital double effect module: Delay + Granularizer, Making sound machines with an analogue Wave folder, Tesseract with a bit crusher and Befaco Trash distortion!

What have these crazy people put in their cartridges?

Trash

Trash is a harmonic distortion that combines both clipping and folding flavours. Modes A and B will select between aggressive and more aggressive flavours!

Flanger

Analogue Wavefolder

Eskuara

AVMA
AVMA by Tesseract Modular is a bipolar VCA with one switchable wavefolder stage followed by an analogue frequency reducer. The VCA gain is x2, it can be used with i5V oscillator signals at the CV input for ring modulation effect.
Micro Phaser

Three cascaded all-pass filters, a built-in LFO and a saturator in the feedback path.

The purpose for this cartridge is to completely f&%k your phase up!

Instruo - We make sounds with the things that we make to make sounds with.

Technical Specifications

CV control over all parameters and Dry/wet
CV controllable four-band EQ, routable post or pre-effect.
Hot swap for all carts.
Selector for two different flavours of each cart.
Open specifications to design your own carts

Specs

Current needs: +12V: 125mA, -12V: 100mA, 5v: 0mA
Width: 12 HP
Depth: 35 mm (including power connector)
Aluminium, heat-treated front panel.
Designed and assembled in Barcelona.

Notes: Really nice take on an arpeggiator module here. Four-channel design features editable arpeggio patterns, CV control and transposition. Real-time performance meets customisable melody generation.

Supplier's Notes:
Four-channel arpeggiator with customizable patterns and CV control

Opp Ned is a four-channel arpeggiator designed for creating patterns that can be modified with CV. Opp Ned ships with 12 of Noise Engineering's favourite arps, including tetrads, major, pentatonic major, minor third, and pentatonic minor, but you can edit and save custom arpeggios to twelve memory slots. Recall your custom arpeggios manually or with CV using the Ptn input. If you ever want to restore the factory arps, just head to the Noise Engineering Customer Portal.

The transpose input makes it easy to combine Opp Ned with external sequencers, too!

Arps have never been easier than with Opp Ned.

Features

Size and Power
8HP Eurorack
+12v: 60mA
-12v: 10mA

Opp from Norwegian Opp for "Up"
Ned from Norwegian Ned "down"
"Ups and downs"

What's in the box

Module
Power cable

*** Noise Engineering no longer include screws with newly packaged modules. Bulk screws are available for purchase. ***

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

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

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

Dimensions & consumption

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

Connectivity

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

Compatibility

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

Notes: Monolith is a pitch-shifter reverb inspired by west coast synthesis techniques. It utilizes a time-domain based FM algorithm that acts as a shimmer.

Inputs:

In L and In R - audio input, left will be converted to stereo if there is no right input
Blend - knob and CV for controlling the fade between the dry and FM audio signals
DJ filter - knob and CV for controlling the reverb delay line filtering
Wet - knob and CV for controlling the reverb decay
Mod - knob and CV for controlling the scale of FM modulation. Low mod values correspond with microtonal pitch regions. High mod values correspond with multiple octave shifts.
On - button and CV gate for toggling on/off FM modulation. When FM modulation is turned on/off, the FM modulator oscillator is reset.
Quant - button and CV gate for toggling on/off FM pitch quantization.
Freq and v/oct - knob and CV for controlling the frequency of the FM modulator oscillator. Also control reverb pre-delay.
Shape - knob and CV for controlling FM modulator oscillator shape. Shape wavetable transitions from sine wave (8 o'clock) to triangle wave (12 o'clock) to square wave (4 o'clock).
Clock - CV gate for tempo syncing modulator oscillator period.

Outputs:

Out L and out R - audio output
Gate - CV gate out that is period synced with the FM modulator oscillator

100 mA +12V 40 mA -12V
14 HP 35 mm deep

Notes: Stereo oscillator with wavemorphing, folding, and PM

"We may have just gotten the perfect Noise Engineering oscillator - in the most compact package possible." -- CDM Blog

Sinc Legio is a simple oscillator with some tricks up its proverbial sleeve. If you need some basic waveforms, Sinc has you covered - and it makes it easy to spice up those waveforms with phase modulation, wavefolding, or hard sync. Sinc pairs well with other oscillators in your system, too: hard-sync and stereo PM inputs make complex sounds easy to patch. Combine broad-ranging timbral parameters with a vintage-inspired chorus, and you're well on your way to stereo sound-design heaven in just 6 HP.

Sinc's multiple algorithms give a world of timbral possibility at the flip of a switch. Phase modulation, plucky FM, and bright and heavy modulation await. And on top of that, Noise Engineering have added a wavefolder to it. Shape and fold to your heart's content in Fold mode.

Not only is Sinc an incredible oscillator on its own, it's also part of the Legio platform. Use the included USB cable to connect to the Customer Portal and swap the firmware to any other Legio firmware, completely free, at any time. Let that sinc in!

6HP Eurorack
+12v: 140mA
-12v: 22mA
Sinc - from Latin: "treasure"

Legio - from Latin: "legion, army"

"A lot of treasure"

Notes: Stereo oscillator with wavemorphing, folding, and PM

"We may have just gotten the perfect Noise Engineering oscillator - in the most compact package possible." -- CDM Blog

Sinc Legio is a simple oscillator with some tricks up its proverbial sleeve. If you need some basic waveforms, Sinc has you covered - and it makes it easy to spice up those waveforms with phase modulation, wavefolding, or hard sync. Sinc pairs well with other oscillators in your system, too: hard-sync and stereo PM inputs make complex sounds easy to patch. Combine broad-ranging timbral parameters with a vintage-inspired chorus, and you're well on your way to stereo sound-design heaven in just 6 HP.

Sinc's multiple algorithms give a world of timbral possibility at the flip of a switch. Phase modulation, plucky FM, and bright and heavy modulation await. And on top of that, Noise Engineering have added a wavefolder to it. Shape and fold to your heart's content in Fold mode.

Not only is Sinc an incredible oscillator on its own, it's also part of the Legio platform. Use the included USB cable to connect to the Customer Portal and swap the firmware to any other Legio firmware, completely free, at any time. Let that sinc in!

Notes: A Juno-inspired oscillator module? We're flattered, but credit has to go to Roland for this one. Based on the Juno-106's digitally-controlled analogue oscillators, the Castor & Pollux modernises the 80s design with a built-in LFO and hard sync.

Supplier's Notes:
Twins that dance in and out of phase, never completely together but never fully apart, bound to each other in the infinite universe.

Castor & Pollux is a dual oscillator that echoes back to the legendary Roland Juno but shines with its own unique, massive voice. It contains two digitally-controlled analogue oscillators implemented using a faithfully modernized version of the original Juno 106 design. It builds on the classic '80s sounds of its inspiration by using the second oscillator and internal LFO to layer in thick detuned sounds and harmonically complex hard synced waveforms.

Castor & Pollux II brings a redesigned interface and moves individual waveform outputs to an included expansion. Both versions have the same features and use the same firmware.

14 HP
+12 V @ 100 mA, -12 V @ 35 mA
25 mm deep
2 separate oscillators
7 octave range
9 total outputs with waveform outputs and onboard mixers
Pitch CV input jacks (0 V to 6 V) and pitch knobs (-1 to +1 octave, configurable)
Pulse width CV input jacks and knobs
Hard sync
Hardware chorusing
Internal low-frequency oscillator (LFO)

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

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

Features

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

Integrate an incoming signal

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

Add, subtract and OR up to 4 signals

Generate analogue signals from digital information (Gate / Clock)

Generate digital information (Gate / Clock) from analog signals

Delay digital (Gate / Clock) information

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

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

Apply Lag, Slew or Portamento to control voltages

Change the depth of modulation and modulate backwards!

Combine up to 4 control signals to create more complex modulations

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

Initiating Musical events upon sensing motion in the system

Musical note division and / or Flam

Perfect for modulating the DPO and just about anything else

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

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

Notes: The Erica Synths Black Reverb is a versatile hi-fi stereo FX module with lots of unique features based on Erica Synths' custom DSP engine. The reverb sources are selectable Tape, BBD and "dirty BBD" digital; emulations with three modes, each - Room, Hall and Cathedral. Delicate room size control, feedback, feedback tone and stereo spin controls allow for designing extremely delicate reverberation effects. CV control over various parameters and the ability to save up to 10 presets will make this module an integral part of any performance rack.

Features:

Reverb based on Tape, BBD and digital delay lines
Three room sizes
Manual and triggered FREEZE with 1V/oct tracking
10 preset patches
CV control over size, feedback, tone, dry/wet mix and preset selection
Adjustable stereo spin

Specs:

Max audio input level before clipping 16Vptp
CV input range (full span) -5V - +5V
Sampling frequency 48kHz, 24bit
Audio codecs -108 dynamic range, -98dB THD+N
Power consumption 120mA@+12V, 39mA@-12V
Module width 12HP
Module depth 35mm

Notes: The Erica Synths Black Stereo Delay is a hi-fi stereo delay with a lot of unique features based on our custom DSP engine. Tape, BBD and digital delay emulations with three modes, each accompanied with delay time, feedback, feedback tone and stereo spread controls allow for designing extremely delicate effects. CV control over various parameters and the ability to save up to 10 presets will make this module an integral part of any performance rack. Delay effects are developed by Dutch company www.112db.com

Features

Tape, BBD and digital delay types
Three modes for each type
Tap and clock synchronization of delay time
10 preset patches
CV control over delay time, feedback, tone, dry/wet mix and preset selection
Adjustable stereo delay spread
The modules run on new Erica Synths DSP hardware and the effects are developed in collaboration with Dutch company 112.dB who make some of the most beautiful sounding effects.

Erica Black Series include high-end, unique functionality and superior quality modules. Only the best, highest-quality components are used, all inputs and outputs are protected against undesired overvoltage. Erica Black Series consist of range of modules that are needed to put together entire synth.

Technical specifications:

Max audio input level before clipping: 16Vptp
CV input range (full span): -5V - +5V
Sampling frequency: 48kHz, 24bit
Delay time: 3..3000ms
Audio codecs: -108 dynamic range, -98dB THD+N
Power consumption: 120mA@+12V, 39mA@-12V
Module width: 12HP
Module depth: 35mm