modular systems » Eurorack modules

The Pingable Envelope Generator or PEG is a dual digital envelope generator. The duration of one envelope cycle can be forced-to-fit between two "pings". This means that the envelope will perfectly fit into a rhythmical scheme!

Rotating Clock Divider Divide-by-1 to Divide-by-64, on 8 output jacks CV Rotate jack to shift divide-by amount on each jack CV Reset jack to reset/re-sync all jacks Optional break-out panels to expand functionality (MIDI, Auto-reset, selectable Divide-by range)

The breakout module for the Rotating Clock Divider has to be connected to the internal jumpers of the RCD and allows for switching the division factors, counting direction and automatic reset.

Unlike a clock divider, the Shuffling clock multiplier can output a multiplierd, accelerated clock! Three outputs carry a straigh clock, five outputs give you clock signal which can be influenced by the means of shuffling, pushing forward in time or skipping clocks. A CV at the rotate input can alter the multiplication factor of the eight outputs in realtime.

Expansion for the Shuffling Clock Multiplier offering additional possibilities to play with. To be connected with the SCM on the backside.

The VCA Matrix module by 4ms is a playable 4x4 matrix of 16 VCAs.

Four CV or audio inputs can be routed in any amount/combination to four outputs, using the 16 CV control jacks, Level knobs, and Mute buttons. Suitable as a 4x4 mixer, splitter, as well as dynamic signal router/processor.

Vactrol-based multimode filter based on a schematic by Nyle Steiner. Separate inputs for lowpass, bandpass and highpass.

Vactrol based combination of resonant 12dB lowpass filter and/or VCA. Inspired by the Buchla 292.

Very complex modular 12-stage phase shifter with separate in- and outputs for all phaser stages which allows eg. flexible feedback patching. The use of vactrols makes the A-101-3 sounds very soft.

Reproduction of the legendary british diode lowpass filter. Resonance is possible up to self-oscillation but the behavior changes with the cutoff-frequency.

18dB low pass filter based on a modified Moog cascade. Resonance goes up to self-oscillation. The module sounds similar to the TB-303.

Another filter that uses the circuitry of a classic. This time it´s the Oberheim SEM (Synthesizer Expander Module), that was used in the Four-Voice and Eight-Voice for instance. The filter has a saturated fat sound and especially in lowpass mode it growls in the bass range, very mighty and powerful. The very sensitive audio input allows distortion of the audio signal which forms the sound even more.

A-106-6 works with the Oberheim Xpander's filter topology and features it's sixteen filter types, arranged in two banks. Each filter tyes are available simultaneously at individual outputs. Besides the usual filter types with different slopes you'll also find combinations of differenty filter types and all-pass filters as well.

The module contains 26 very different filter types which can be combined each after the other. You can morph or switch between those filter chains manually, with contol voltage or with a clock signal. 15 filter types are known from the Oberheim Matrix 12 and there additional 21 new filter types.

The A-108 is a classic Moog lowpass filter with up to 48dB slope and a very soft and round sound. There are four lowpass outputs for 6, 12, 24, 48dB and also a banpass output.

The standard VCO provides two CV inputs for pitch, an octave switch, four waveforms with separate outputs, pulse width modulation and hard sync. After the pre-heating time the VCO is stable in a range of 3.5 octaves. A basic VCO "workhorse" without many gadgets.

Voltage controlled sampler module which can also be used as wavetable oscillator and simple digital effect device. Due to its audio resoultion of 8bit, the A-112´s sound is comparable to early samplers that are quite rough but can be distinctive and somewhat charming. In combination with the wavetabe oscillator function the A-112 makes up an interesting additional sound source for the modular system.

A sound source for generating subharmonic minor-chords like in the Trautonium. It contains four parallel frequency dividers with factor 1-24, which derive fixed partial frequencies - the so called subharmonics - out of the frequency of an external  master VCO. The module has 50 memory banks each for 4 mixtures, i.e. mixes of partial frequencies.

Two identical ring modulators in one module. Suits very well for creating metallic or bell-like sounds by multiplication of the frequencies of two sound sources.

Fourfold frequency divider for creating up to four suboctaves. Separate controls for the level of the original frequency, 1/2 frequency (1st sub octave), 1/4, 1/8 and 1/16. The output signals are symmetrical square waves.

Waveforms of the audio signal can be modified and distorted dynamicly with the A-116. You can attenuate the signal, clip and amplify it asymetrically in two parallel stages. Clipping and symetry can be also changed with a control voltage for a living sound.

The A-117 provides two units: a digital noise source with variable clock rate for noise and digital random as well as a nice 808-ish sound source with two or six oscillators for cowbell, hi hat or cymbal sounds.

Analog noise and random. White noise output and one out for colored noise with level controls for red and blue spectral amount. The same controls affect the amplitude of the random signal. Additionally there are controls for the speed and the overall amplitude of the random voltage.

Pre-amplifier for microphone- and line-signals and an envelope follower. If the signal exceeds a certain (adjustable) threshold a comparator outputs a gate signal which you can e.g. use to fire an envelope. But you can use the module also as a small active multiple.

The A-120 features the classic Moog low pass filter built around a transistor cascade It has a slope of 24dB per octaveand three three modulation inputs for controlling the cutoff frequency. Self-oscillation of the resonance is possible only above ca. 300Hz.

24dB low pass filter based on a Curtis filter circuit which is known from many polyphonic 1980s synthesizers. It features voltage control of cutoff frequency and resonance; self-oscillation is possible, too.

A multimode filter is based on a very special filter circuit used in the EPD Wasp, an English synthesizer of the late 1970ies. The sound is full of character, dirty, with an unstable resonance and a trend to distort. Who is in search of a very aggressive, sick filter definitely should take the A-124 into consideration.

A classic voltage controlled phase shifter, also called a phaser. It features as shift-CV input with attenuator, controls for volume of the audio signal, manual phase shift, resonance and wet/dry mix.

Three parallel, voltage controlled, resonant bandpass filters (each switchable to lowpass per jumper), each with an own LFO or CV input with attenuator. Separate outputs for each filter and a mixed output. Very well suitable for living filtering or as a formant filter with modulation (unlike A-104).

Fixed filterbank with a low pass, thirteen bandpass filters and one high pass. Each filter has a level control which even enables you to mute the specifical band.

The A-130 is a VCA with linear characteristic, thus primarily intended for controlling the level of CVs. It offers two signal inputs and a output with adjustable volume. amplification is set with a Gain control and two modulation inputs.

The A-131 is a VCA with a exponential characteristic and is intended for controlling the level of audio signals by voltages. Improved version since 2013

The A-132 is a simple module housing two identical low-cost VCA units with linear characteristic. The main purpose is controlling the intensity of control voltages but audio can be controlled if necessary.

The module A-132-2 is a quad VCA with a linear curve. Although it provides you with four inputs and four outputs you can control their level simultaneously only, with a potentiometer and control voltages.

Two identical VCAs whose characteristic can be selected between linear or exponential each, ie. they can process as well audio as CV signals. The VCAs don't have attenuators at the signal inputs but they can handle also very loud signals of 16Vpp amplitude (-8V to +8V) without distorting.

Four exponential VCAs on the most compact room. The VCAs don´t have attenuators at the signal inputs but they can handle also very loud signals of 16Vpp amplitude (-8V to +8V) without distorting.

The four VCAs can be cascaded so the very last output carries the sum of all 4 VCAs.

Two voltage controllable amplifiers which can amplify positively or inverted. As this module is a somewhat different VCA you can use it for AM sounds or even as a ring modulator!

This universal module enables you to pan one signal between two outputs, to crossfading two inputs to one output or a combination of both functions. You can process audio and control voltages.

Dual crossfader module for voltage controlled morphing between two audio or CV signals. By setting a jumper you can determine if the module will react asymmetrically to positive CVs (eg. ADSR) or symetrically to bi-directional CVs (eg. LFO). Both crossfaders can be controleld with one common CV.

Voltage controlled audio mixer. Four channels are mixed to one mono output. Volume of each channel can be modulated by a control voltage - like with four VCAs. Each channel has an attenuator on the audio- and CV-input as well as a gain control. A soft fade-over of 4 audio signals with only one control voltage is possible with the A-144 morphing controller.
The new version (since April 2013) is able to process DC signals, has individual outputs per channel and is only 18HP wide.

Distortion / Waveshaper module for dynamic distortion of audio signals with extended settings. The applications of this module are waveform modifications and distortion like clipping and waveshaping of audio signals and control voltages (e.g. LFO).

A well engineered, flexible wave multiplier module. Its primary use is a dynamic wave multiplication, distorting and folding waveforms, no matter if audio or control signals. All parameters except input volume can be modulated via control voltages.

The Wave Multiplier 2 takes a wave at the input and creates four phase-shifted copies of that signal at the output. Each of the four copies can be individually shifted in phase what creates living sound resembling four oscillators. This effect is called wave animation.

Linear mixer for mixing up to 4 signals to one output. Works best with CVs, but audio is possible, too. If there´s no jack in input 1, you can use the level control 1 as an offset control.

Logarithmic mixer for mixing up to 4 signals to one output. Works best with audio, but CVs are possible, too. If there´s no jack in input 1, you can use the level-control 1 as an offset control.

Four-channel mixer module which can add signals (positive amplification) or subtract (negative amplification) them from the output signal. Additionally there´s a polarizer at the output which controls the output signal. The module is intended for adding/subtracting control voltages, but interesting, discreet effects can be achieved with audio signals shifted in phase.

The A-138d primarily is used for crossfading between two modular signals. On the other hand you can used it for inserting stompboxes or other effects into your modular system.

A-138e ist a multifunctional module with four identical units for mixing and fading signals.

The A-138m is a 4x4 mix matrix where you can mix up to four incoming signals in all possible variations to four outgoing switches. The Signals can be audio and/or voltage controls.