MATRIXSYNTH: Studio Electronics Eurorack Modules

Tuesday, June 08, 2021

Studio Electronics Eurorack Modules



via these NOISEBUG Listings

"What's nice about our OSCILLATION stunner (according to Tim) "is that the waveforms are DC-coupled [components connected directly together without any coupling capacitors], so they keep their shape even at sub-Hz speeds. The outputs are also buffered, so the amplitude is independent of the load they are driving. The waveform levels on some modern eurorack OSCs are often all different, and they vary depending if they go into the mixer or directly to the filter!" Coupling the circuitry without capacitors in-line gives the go-ahead for the full spectrum of frequencies to do their thing, and ensures near identical response over the years—audiophile, transistor-protecting signal path stuff here. You should see these beauts on the scope: a Class-A ballet of balance and proportion, only drawing modest current, rather evenly from plus and minus."



"If you've heard the SEM filter in our Boomstar desktop () you also know that this 12 dB favorite is "capable of lighter, more subtle tones than the other three models. This isn't to suggest the filter's Low Pass mode can't cater for fat and punchy, because it can." - Paul Nagle, Looking for deeply gratifying tonal variance and this emotional warmth? Try —our friend Fred Falke's favorite—it can reach into your head and heart, and stay as long as desired. Thank you Lord Tom Oberheim for this marvelous design/template from which we were able to work our very own Studio Electronics eurorack filter enchantments—we do like to hit our SEM a bit harder though ;)"


"The 4075 filter is a discrete, voltage controlled, 24/db/oct cascaded transconductance low-pass filter, employing six pairs of hand-matched transistors. In its lowest FREQUENCY setting it shaves off higher frequency harmonics; its RESONANCE or “Q” circuit pushes those harmonics past the self-oscillation boiling point, projecting a thumpy, thrashing squeal, with explosive low to mid-range power and depth. The design is actually pulled from the four-pole ARP 4072 (better: more parts and trims), sans the 12kHz design flaw which hamstrung the original’s high end. The 4075 name has stuck—no sense correcting our little misnomer misstep now.

Our 4075 filter is the most requested of the Boomstar filter models, perhaps owing to its uniqueness. Has there ever been a better match for a square wave? It weaves dreams with “glidey,” 70s basslines, is a natural in the lead department, and feels as if a temper tantrum simmers a mere micron beneath its veneer of faux respectability. Aggressive and articulate, this fresh ARP can snap punishing kick drum sounds out as well as color with bright, edgy, stringy tones for essential arpeggiations.

Potentiometer Potential Three attenuverter and four attenuation pots control the FREQUENCY, RESONANCE, FREQ CV 1, RESO CV, FREQ CV 2, INPUT and OUTPUT, delivering smooth, detailed and complex expression.

Switch it Up Classic Minimoog FULL and HALF strength filter frequency keyboard/voltage tracking for rounder low end with brilliant highs.

Patch it Up Seven patch points: 1 V/O, FREQ CV 1, FREQ CV 2, RESO CV, INPUT and 2x OUTPUT direct the deepest manipulation."


"The 5089 filter is a voltage controlled, discrete analog, 24 db/oct transistor ladder, low-pass filter, employing hand-matched transistors. Our ladder low-pass filter—a subtractive analog sound synthesis foundation—in its lowest FREQUENCY setting removes, or cuts off higher frequency harmonics; its RESONANCE or Q circuit emphasizes those harmonics to the point of “squealy,” giddy self-oscillation, tracking the keyboard in its FULL setting quite nicely if seeking an alternative sine wave.

Our 5089 has the roundest, slickest tone of all the Boomstar's filters. Go easy on it, and round, creamy buttery flavors wrap the oscillators in earthy warmth; smash it and a meaty, satisfying overdrive—a maximum harvest of vintage 1960s and 1970s organic‑sounding, second‑order harmonic distortion fill the plate. Every setting is balanced and bountiful. Looking for traditional R ’n B baselines and leads? Focus here on the rich saturation of this benchmark filter and its symmetrical cascades of generation-stretching timbres. All Boomstar Modular filters are hand-built in the U. S. Pick-and-Place all the way.

Potentiometer Potential Three attenuverter and four attenuation pots control the FREQUENCY, RESONANCE, FREQ CV 1, RESO CV, FREQ CV 2, INPUT and OUTPUT, delivering smooth, detailed, and complex expression. Switch it Up Classic Minimoog FULL and HALF strength filter frequency keyboard/voltage tracking for rounder low end with brilliant highs.

Patch it Up Seven patch points: 1 V/O, FREQ CV 1, FREQ CV 2, RESO CV, INPUT and 2x OUTPUT direct the deepest manipulation."


"The MIDI 3 is Pittsbutgh Modular's third generation extremely full-featured MIDI to CV converter, optimized by Tim Caswell for the Boomstar Modular system. It includes a complete set of mono and duophonic midi response modes, assignable CC and dedicated velocity outputs, a feature rich clock source with tap tempo, midi and external gate clock dividers, and multiple arpeggiator responses. This module is deep.

A MIDI to CV module converts standard midi note messages into the analog control voltages used by modular and other analog synthesizers. This allows the synthesizer to be controlled by a midi keyboard, sequencer, or DAW. The two CV outputs on the MIDI 3 can be used to control the pitch of an oscillator, cutoff frequency of a filter, or any other function that requires a control voltage signal. The set of Gate outputs on the MIDI 3 can be used to trigger envelope generators or other modules expecting a gate or clock source.

The MIDI 3's Three Distinct Performance Modes Monophonic - Monophonic mode is ideal when using a modular as a single voice synthesizer patch. Channel 2 Gate and CV outputs mirror the outputs of Channel 1. Monophonic mode has several keyboard responses to choose from. Last note priority, low note priority, and high note priority. Each response is available with and without gate retriggering.

Duophonic - The module uses the two sets of Gate and CV outputs to allow two notes to be played simultaneously. The first midi note is sent to Channel 1 Gate and CV outputs and the second is sent to Channel 2 Gate and CV outputs. Duophonic mode has three keyboard response modes to choose from. Unused channel and new note priority, unused channel and low note priority, and split keyboard priority. Duophonic mode is perfect when working with a two voice modular synthesizer patch.

Arpeggiator - The module includes a robust arpeggiator mode with multiple mono and duophonic responses to choose from. Available responses are monophonic response as played, double triggered monophonic response as played, random monophonic response, random monophonic with a random Channel 2 gate, and random duophonic response with dual random gates. The arpeggiator can be clocked using tap tempo, midi clock, or external gate.

The MIDI 3 Module's Three Clock Modes Internal Clock - The internal MIDI 3 clock utilizes the tap tempo button to modify the rate of the internal clock. The internal clock is used to clock the arpeggiator and is also output to the CLOCK jack.

External Midi Clock - The external midi clock responds to midi start/stop messages and midi tempo from an external midi clock source. The external midi clock is used to clock the arpeggiator and is also output to the CLOCK jack. In external midi clock mode, the tap tempo button cycles through five available clock divisions.
External Gate Clock - The external gate clock responds to gate signals patched into the CLOCK jack. The external gate clock is used to clock the arpeggiator. In external gate clock mode, the tap tempo button cycles through six available clock divisions.

Additional Features of the MIDI 3 Assignable Midi Channel - Can be assigned to respond to all channels or any individual midi channel.
Assignable Pitch Bend Range - The range of pitch bend can be set to +/- 2 notes, +/- 5th, +/- 1 octave, +/- 2 octaves.
Control Change Output - CC response of 0-5v.
Assignable Control Change Channel Assign - Assign the midi CC channel the MIDI 3 responds to.
Velocity Output - Velocity response of 0-5v based on active note."


"Basic but indispensable through-hole synthesizers necessities designed (there's that word again) and assembled in-house. Augment efficiency and expressiveness starting with our handy R (Router) and ascending to its larger and more complex ATTENULAG companion—solidly entertaining to sleep-depriving voltage controlled switching, gliding, combining and amplitude limiting begins here:

Multi-purpose heavy lifter. The attenuators reduce level, audio or CV, when switch is set to off. With the switch up the audio/signal passes through at full level. The inputs are linked together: patching into channel 1 drives both attenuators; patching into channel 2 breaks the link. Experimentation with key tracking to create alternative tunings, or interaction with audio inputs that don't afford attenuation—does good things. The two lag circuits provide a handy CV mult/hub for oscillator and filter tracking (perfect for CV-ing up our module with its switchable one in/three out structure for both attenuation and slewing—x2) and are linked together: if you patch into channel 1 only, the outputs of both channels are driven (just like the attenuation circuit); patching into channel 2 breaks the link and they become two separate CV mult/lag circuits—envelopes look out."


"SHAPERS is a dual four stage envelope generator with independently adjustable ATTACK, DECAY, SUSTAIN, and RELEASE stages. Our Pittsbutgh Modular hybrid ADSR smooths the shape of the incoming gates and triggers to produce a more expressive instrument, just like its antecedent. The ADSR output can be used to control the amplitude of an oscillator, the cutoff frequency of a filter or any other function on a module that accepts control voltages.

The functionality of SHAPERS is easy enough: the incoming gate or trigger signal passes through each of the four stages to output an envelope. When the ADSR module receives a gate or trigger signal, the ATTACK determines the amount of time needed for the envelope generator to reach the peak output voltage and move on to the decay stage. DECAY sets the amount of time needed to transition to the level set by the sustain knob. The SUSTAIN level is maintained as long as the incoming gate remains on or high. Once the incoming gate goes low or off, the release stage takes over. The RELEASE knob sets the time needed to close the envelope and return the ADSR output to 0 volts.

SHAPERS envelopes can respond lightening fast or demonstate the patience of a saint, especially in the LONG RANGE 1 and 2 settings. INV 1 makes topsy-turvy time fun with the inverting of the ADSR 1, and the LED indicators provide a useful visual assist.

Potentiometer Potential Eight attenuation pots control the ATTACK (x2), DECAY (x2), SUSTAIN (x2), RELEASE (x2), delivering smooth, detailed, and complex expression.

Switch it Up SHORT and LONG range time settings for both ADSRs.

Patch it Up Five patch points: IN 1, OUT 1, INV 1, IN 2, and OUT 2 connect and direct the deepest manipulation."


"The amplifier (AMP) is a 2 stage Class A discrete design using 3 pairs of hand matched transistors. Envelope is usually applied to ST1/1. ST1/2 goes thru an attenuverter and can be used for envelope or modulation. ST2/1 goes to the 2nd stage, and is typically used for volume control. ST2/2 goes thru an attenuverter and is typically used for modulation.

The AMP, the 5089, and the 3003 are Class A circuits. They draw more current from the +12 rail than from the -12 volt rail. If the system power supply is under-sized, hum or buzz may be heard. In that case, larger filter capacitors and/or a larger power transformer will be needed. The 4075 draws equally from both rails, and is more immune to hum. Like our filters Boomstar Modular AMPs are hand-built entirely in the U. S. of A—just ask Rachael Herbison!

Potentiometer Potential Two attenuverters and two attenuation pots control the INPUT, ST1 CV2, ST2 CV2, and OUTPUT, delivering smooth, detailed, and complex expression.

Switch it Up Uber useful continuous hypnotic DRONE for endless sustain/release, and DRIVE—the overdrive circuit from the Boomstar desktop—for last stage energy, bite, soft clipping, and gonzo '70's era "Distortion +" crunchy fuzz.

Patch it Up Six patch points: INPUT, ST1 CV1, ST1 CV2, ST2 CV1, ST2 CV2, OUTPUT direct the deepest manipulation."


"SCI FI is an ingeniously vintage-circuit-inspired original—jump cut to to see just how much fun can be wrung out of it!

As the reader might already know, ring modulation is a signal-processing electronic function: an implementation of amplitude modulation or frequency mixing, performed by multiplying two signals. This beloved other-worldly, warm, and at times clangorous coloring dates at least as far back to Bode's Melochord of 1947 technology, which was ultimately licensed to Robert Moog in the early 1960s. Of course analog maestros Don Buchla, and Lord Tom Oberheim made their indelible marks, with circuitry culminating—to our ears—in the brilliantly rhythmic, and wildly expressive Yamaha CS-80 Ringmod's sonic alchemy and "Electone" informed controls.

Back at the Modstar Ranch: The SCI FI's outputted ring-modulated signal is the sum and difference of the frequencies present in each waveform—a signal rich in partials—often producing a haunting, bell-like, metallic, and sometimes softly grinding, understated modulation awash in harmonic and non-harmonic tones. S.E. brought its own brand of dynamic -flavored Ringmod to the world in 2002.

SCI FI is getting better all the time with its companion LFO FREQ (low frequency oscillator), true analog PINK, and digital WHITE noise, S & H—a true sample and hold generator, with RANGE control, and LAG generator—a slew limiter which craftily smooths out changes in audio or modulation signals: higher values = smoother signal flowing. This module is every bit as creamy sounding as it is electrically charged: the higher frequencies coat the sound with a sparkling quality one wouldn't naturally expect, but it is a welcome sound indeed.

Potentiometer Potential Six attenuation pots: RING MOD, LFO FREQ, WHITE, PINK, RANGE, and LAG.

Patch it Up Seven patch points: RM X IN, RM Y IN, GATE, SOURCE, RM OUT, WHITE, PINK, and S & H OUT."


"LEVELS is a versatile, low-noise six channel summing mixer/attenuator for audio and CV, re-designed by Tim Caswell, which can be used rather effectively in a variety of ways: 6 in 1 out, or two separate mixers: 4 in 1 out, and 2 in 1 out, e. g., when only jacked-in to MIX 5/6 output all input channels pass through; utilizing the 1-4 OUT removes channels 1-4 from the MIX 5/6 output. Handy indeed.

The pots are wired with a logarithmic volume curve that is tuned for use with audio but it will work splendidly with CV as well. Pressing LEVELS into service as a wave-shaper by patching all of the individual waveform outs (sub, sine, tri, saw, ramp, square) into CHANNEL inputs 1-6, makes for vivid beguiling shapes—a morphable hybrid waveform of your innermost sound designs. Consider pairing the two Modstar modules when building your system.

Potentiometer Potential Six attenuation pots control CHANNEL 1, CHANNEL 2, CHANNEL 3, CHANNEL 4, CHANNEL 5, and CHANNEL 6.

Patch it Up Eight patch points: CH1 IN, CH 2 IN, CH 3 IN, CH 4 IN, CH 5 IN, CH 6 IN, 1-4 OUT, MIX/5-6."


"Two audio or CV routers—bidirectional—despite what the nomenclature states. Bring a signal in and switch between two desirable destinations. Center off switch. Great for instantaneous audio or CV effects: flip your wilson between polar opposites, or subtly nebulous contrasts with your fingers... mainly.

Two Switches 1-2, 1-2

Six Patch Points OUT 1, OUT 2, IN A (top), IN B, OUT 1, OUT 2 (bottom).

All Controls and Patch Points OUT 1 – Output #1.
OUT 2 – Output #2.
IN A – Input A.
1-2 (IN A) – Switch between output 1 and 2.
1-2 (IN B) – Switch between output 1 and 2.
IN B – Input B.
OUT 1 – Output #1.
OUT 2 – Output #2."


XYZ R

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