"Isobar's new module Serratus features 9 comb filters and 9 mutations, which combined with deep sound sculpting parameters, provide completely unparalleled sonic exploration. Make drones, noisy blasts, and even demented choirs with this beast of a module. Required viewing for fans of the Vhikk X, Befaco Oneiroi, or noise, industrial, and dark techno of all kinds."
A matrix of resonant delay bodies and mutations. Serratus weaves nine comb algorithms against nine distortion, saturation, and mutation processes, with each intersection morphable in real time. Chaos and generative modulation treat the whole system as a living organism, while independent routing places filter, distortion, and reverb before, inside, or after the feedback loop, sculpting everything from string plucks and resonant percussion to frozen spectral drones and chaotic self-generating textures.
"MELT is a four-pole analogue low-pass filter module for Eurorack. Designed with a variable
character and an extensive feature set, MELT is the ideal final stage for a traditional synth
voice!
Pair MELT with your favourite oscillator plus a few modulation sources, and you have the
foundation of a complete monophonic synthesizer.
The unique CORE TEMPERATURE control lets you adjust the character from soft to truly wild!"
"MELT analogue low-pass + band-pass filter with character...
An analogue filter module for Eurorack systems with an extensive feature set that makes MELT ideal as the final stage in a traditional synth voice: Pair it with an oscillator plus a few basic modulation sources, and you have the foundation of a complete monophonic synthesizer. MELT's low-pass and band-pass outputs can be used in parallel for a wide variety of tones, and the unique CORE TEMPERATURE control adjusts the character from mellow to truly wild.
'Modulate the modulation' using the built-in VCA in the FM1 cutoff CV path. A sequenced or stepped random CV modulating envelope depth here can add interesting dynamic motion to a bass line, for instance.
"As we'd expect from Joranalogue, they take inspiration from classic, seemingly simple functions and turn them into musical and technically impressive devices. Flow 3 is a compact filter that builds upon on the idea of an auto wah, it's a filter with 'auto dynamics'. There's on board modulation, that can modulate itself or your modular system, stave variable filter outputs, CV over everything and an easy to play with layout in 6HP."
Update: Press release follows:
Joranalogue Audio Design announces availability of Flow 3 auto-dynamic filter module for Eurorack that sounds bigger than it looks
STEKENE, BELGIUM: having made its impressive-sounding debut during a showcase at SUPERBOOTH26, May 7-9, FEZ-Berlin, Germany, high-quality Eurorack music synthesiser modules-maker Joranalogue Audio Design is proud to announce availability of Flow 3 — an auto-dynamic filter that sounds bigger than it looks, thanks to the novel variation on the classic state variable filter topology that lies behind its compact 6 HP panel — as of August 25…
Firstly, Flow 3’s core integrator saturation of its simultaneous — low-pass (LP2), attenuates frequencies above the filter frequency (or cutoff) at -12 dB/octave and self-oscillates at a phase of 180°; bandpass (BP2), selects a band of frequencies around the filter frequency (but below and above that the attenuation slope is -6 dB) and self-oscillates at a phase of 90°; and high-pass (HP2), attenuates frequencies below the filter frequency at -12 dB/octave and self-oscillates at a phase of 0° — outputs provide for a sound that is clean yet distinctive.
RESONANCE response is exceptionally smooth — it, too, can easily reach self-oscillation (at higher feedback levels), the temperature compensation and exact calibration effectively transforming Flow 3 into a reliable quadrature sine/cosine VCO (Voltage-Controlled Oscillator) with tight pitch tracking.
The ace up Flow 3’s sleeve, however, lies in its auto-dynamic nature — helpfully highlighted by the non-erasable AUTO DYNAMIC FILTER graphic positioned across that compact, clean-cut 6 HP panel. After all, it is a filter that can modulate itself, achieved by a combined DECAY generator/envelope follower circuit controlling the filter frequency over an adjustable range; either fire decay envelopes from external triggers, or flip it to AUTO mode to follow along with the incoming signal’s amplitude envelope (or both, simultaneously).
Saying all that, then, creating heavy-hitting analogue kick drum sounds becomes a breeze, but, with a bit of patching, Flow 3 can even be used as a spectrum splitter (or crossover), cleanly separating the full audio range into low and high portions, for dual-band signal processing — perfectly possible thanks to the Linkwitz-Riley filter response at minimum resonance.
Ultimately, users of Flow 3 can clearly get carried away as the Eurorack module concerned creatively takes the old auto-filter concept to new voltage-controlled heights, hearing for themselves exactly what the fuss was all about at that impressive-sounding SUPERBOOTH26 showcase!
Coming complete with a 16-to-10-pin Eurorack power cable, two black M3 x 6 mm hex screws, two black nylon washers, and a hex key, Flow 3 is available as a 6 HP module — measuring 128.5 mm (H) x 30 mm (W) x 52 mm (D) with a +12 V: 45 mA/-12 V: 45 mA maximum current draw, reverse polarity (MOSFET) power protection, 100 kΩ impedance inputs and 0 Ω (compensated) impedance outputs — through Joranalogue Audio Design’s growing global network of authorised dealers at a MSRP (Manufacturer’s Suggested Retail Price) of €215.00 EUR or $225.00 USD.
"Updated version of Divine CMOS. Wonderful module for harmonically rich sounds or use as a complex CV patter and gate generator. Thought the LEDs were superbright purple but turned out to be a mild light blue."
"This module has been thru a few cycles. The original idea for the design is from an article in Electronotes EN#98 by Lester Ludwig, spectacularly titled ‘A Square-wave Frequency-division Sub-octave Cross-product Module, it’s relationship with Lie algebra, and other related processes’ or more simply known as The Cross Product Module.
The frequencies of two VCO signals are separately divided by /2, /4, /8 & /16 ratios. The corresponding divisions are ANDed together and the results, along with all the raw divided frequencies are mixed together in various ways. You end up with a very harmonically thick, animated sound.
I did a full bloat CMOS (Ludwig’s design was TTL) version for a 4U panel back in 2008 or so, but changed the AND gates to XOR gates for a more ring-modulated effect. Then a minimal, slimmed down eurorack version, called Divine CMOS. This just used the XOR’d signal and outputted a signal determined by the pots.
After some requests for an expanded version, I re-visited the design.
"Not the most exciting name, I simply wanted a 4HP sawtooth VCO to sit next to the Spectrum Shaper.
It is based on the Utility VCO in Electronotes EN67, which was based on designs by R. Tenny (Electronic Design 11/10/75), J.L. Brice (Wireless World (6/76) and others.
It tracks very nicely, turn the CV pot to max for 1V/oct, ranges from approx 10Hz to over 100kHz and supplies 10Vp-p sawtooth and square waves.
The Sync is the hardest of hard syncs around. I left out the capacitor usually used to turn sync signals into a pulse, so if you feed a gate or slow CV signal into Sync the VCO simply stops, think of it is a bonus VCA. Of course, if you use an audio rate sync signal, it works as normal.
It is a pretty easy build. not many parts. Do not mix up the BCM847 and BCM857 dual transistors, see the build notes for where to install a 1k tempco."
1. Bard Synths: Oscar (dry)
2. Bard Synths: Oscar --- SEOK Drips (filter)
3. Bard Synthesizers: Oscar --- SEOK: Drips, TouellSkouarn: Kemmeskan
4. Bard Synthesizers: Oscar --- TouellSkouarn: Amplaer Red Eletrek
5. Bard Synthesizers: Oscar --- Bard Synthgesizers: Vacuform (frq mod)
6. Bard Synthesizers: Oscar --- Bard Synthesizers: Vacuform (Ping)
7. Bard Synthesizers: Oscar --- Bard Synthesizers: Vacuform (Ping)
"Oscar is unique take on an oscillator, providing the very best of both semiconductor and thermionic worlds, namely - good pitch tracking and distinctive vacuum tube / transformer sound. Nothing you have heard before.
The oscillator in its sawtooth core is equipped with Thyratron tube (TG1B). Sync threshold can be controlled with the MOD AMT dial.
Second tube (6F12P) is utilized in a novel waveshaper for Soft Pulse (Triangle-like) and Hard Pulse (square-wave like) waveforms - with the transformer feedback. Waveform shape and harmonic content is frequency dependent. This topology gives the user choice of 6 waveforms, in which 4 of them can be voltage-controlled.
Features ◯ Vacuum tube oscillator module utilizing 6F12P(6Ф12П) and TG1B(ТГ1B) tubes in high voltage operation
◯ Fine and coarse pitch tuning
◯ Voltage-controlled pulse shape
◯ Two V/oct inputs plus one FM Input
◯ Hard sync (variable threshold)
◯ Two waveform outputs
◯ Transformer-based pulse shaper
◯ Pitch tracking: +-8 cents accuracy across 6 octaves
"This module is a set of passive logic gates – two OR gates and two AND gates.
Signals will pass through the OR gates whenever a voltage is applied to any of their Inputs.
Signals will pass through the AND gates whenever a voltage is applied to both of their Inputs at the same time.
These are both designed to be used with trigger or gate signals presented to their Inputs, but may also give interesting results when other CV (or indeed audio) is applied. Experiment to find out what works best for you!
As with all Scrapcode Modular products, Inputs are signified by silver jack nuts, while Outputs are red.
Most Outputs are normalled to the Input of another gate, as signified by the small arrows, meaning that their signal will automatically be passed on when no patch cable is inserted to the corresponding Input.
NB: Due to the passive nature of this module, there is some inevitable voltage drop as signals pass through it, and therefore other modules with particularly sensitive inputs may not register signals processed by ORAND.
For more information please see the Quickstart Guide on the Manuals and DIY Instructions page."
Scrapcode is also running a 15% off summer sale until the end of August - details on the website.
The SH5-VCF Eurorack filter is back baby! Revision 2 has all the phat, but none of the chaff. What's different than version 1? What's the same? How to use it, and oh - how does it sound? Let's go!
0:00 | Intro
0:23 | SO WHAT'S DIFFERENT NOW? WHAT's THE SAME AS BEFORE?
1:08 | Audio Demo #1 - Bass Res thing
1:22 | VCF/BPF INPUT/OUTPUT BEHAVIOR
2:00 | Audio Demo #2 - Crazy Dual Bandpass Res Bass
2:31 | USING A STEREO MIXER WITH SH5-VCF
3:41 | Audio Demo #3 - Overdrive
4:49 | 2 CV MODULATIONS FOR VCF CUTOFF FREQUENCY
5:35 | Audio Demo #4 - Noisy Mod
"Today I am proud to show off the new TAU 2026 phaser edition from JHaible x Random*Source for Eurorack. Obviously the core 'Pipe' sound didn't change because it needs to remain faithful to its history and heritage. It's not supposed to sound different from the previous R*S version. But it does. This is because the TAU '26 features two inputs and two CV inputs instead of one. Also the inverted (-) V/OCT is dropped. Visually, the panel now matches the Serge Modular line so it neatly blends in with your Serge 3U gear.
So is it a 20 pole- or an 18 pole phaser? Is it even important? No. What's truly important is the PIPE configuration of 20 transistors in a classic ladder topology. Your input will actually flow through the circuitry like air in a tube and I think it's absolutely stunning when you run noise through it. However, when you bring a lush pad, the TAU will redefine 'lush' into a pseudo stereo swirl that doesn't make you seasick.
When you crank up the feedback and hit it with some trigger 'stick' or chain, the TAU will make remarkable percussion. The Tau is also available in 4U. It's still a Haible, but it carries the 'Serge Modular' branding and comes with an extra mixing panel.
00:00 Introduction and history
02:55 Using the TAU on a synth voice + noise
05:37 TAU phasing on the Serge Medusa
07:45 TAU and triggers (w. MakeNoise Resynthesizer)
09:21 Non-competitive compare with XAOC Kamieniec V1
10:16 TAU on Plaits
13:44 A trip down Memory Lane w. Mellotron Micro"
Introduction - 00:00
Not Things - 00:11
SignalFunctionSet and Shortwave Labs - 02:59
Eternal Eclipse - 07:56
No Such and CV Funk - 11:21
Forsitan - 14:56
LydD and JW - 18:28
Misc - 21:02
This 8HP module contains three reverse sigmoid chaos circuits, these are the same as those used in 1U reverse Sigmoid and How’s the Serenity.
This version exists because not everybody has 1U and How’s the Serenity is quite large and more focused on very slow CV generation. This version is limited to 0805 capacitors to set the timing. Tayda sell 22uF caps and you could stack these to get to 44uF easily enough. Generally, a lot of fun can be had using 1uF, 470n and 220n caps.
The syncing between the stages works very nicely with this module as the frequency ranges are closer together than How’s the Serenity, so they have a more obvious effect upon each other.
Please note if you install caps less than 470n, the 62k on that section needs to be changed to 68k. This prevents the circuit locking into a periodic orbit after CV is applied.
The caps for each section must be the same. So you will see three pads marked C1, install the same value cap in all three.
The LEDs should be very bright to shine thru the panel, a low value for RL helps too, say 2k2 or 3k3 which you are installing elsewhere on the PCB anyway. The panel renders below do not show the LEDs but they are there.
Thank you to Victory Nguyen for performing, Justin Benjamin for the good camera work (all bad camera work should be attributed to me), and Greg Dixon for some of the excellent sound design demos."
"Run a burn in test! Enjoy 10 minutes of the uninterrupted test - an important step in the QA process. This runs for a minimum of five hours per board.
Proper eurorack LED ring pot feedback.
And all 3060 of these LEDs pictured passed :)
Music credit to @adamwonak on IG - "abstract" from 202606 on Bandcamp now."
ECHOA STEREO DUAL DELAY AND REVERB PROCESSOR
Four delay lines total — two per stereo channel. Morph delay into reverb from first principles, from clean digital delay to smeared, textured reflections. Route the four lines in series, parallel, isolation, or spectrally. Presets, parameter lock on every pot, character engines, and more.
TIME Delay time from 1 ms to 16 seconds, up to four taps per delay line, configurable for your sound design. Feedback up to and past unity, and a dry/wet mix per channel. Freeze delay buffers, set tempo with tap on the line buttons, or patch a clock and lock each line to a musical division. Linear or logarithmic time taper options: a full featured, clean delay line.
SPACE Bend echoes into reverb. Diffusion sweeps a four-stage Schroeder all-pass network from discrete repeats to a wash. Bloom grows short, fixed loops into long modulated plate and hall tails. Damping is bipolar from noon — counter-clockwise darkens the tail, clockwise thins and brightens it.
ENGINE Degrade each line's voice across with four engines — digital, BBD, tape, vinyl. Saturation, bandwidth limiting, compander, wow and flutter, hiss, crackle, digital glitches. Depth scales from bit-pristine bypass, to a gentle touch of character, to destruction.
CONFIGURABLE FOR PERFORMANCE ROUTING Parallel, series, mono, or spectral delay-line topologies.
CV MAPPING Per-CV destination, with attenuverters on every input.
"I'm still learning how to use this thing but here are some excerpts from a patch with Tinkle and FM OP via Product wavefolder both fed into the Spectrum Shaper."
via nonlinear circuits
"36 channel voltage controlled comb filter aka string filter.
This module has some history. In 2018, I was part of a team putting on a show with CellF at the Todays Art festival in Den Haag. I popped down to Rotterdam to visit Dennis (aka Mono-Poly) and his studio of vintage lab gear. Dennis had an incredible patch going centred around a Bruel & Kjaer 36 channel Spectrum Shaper. Listen to his album Testlab to hear how it sounds. I just knew I had to make something like it one day. This type of filter is often called a ‘String filter’, used to emulate stringed instruments tho don’t feel limited by that.
Fast forward to 2026, I read an AES paper by R. Burhans describing his 36 channel comb filter. It reminded me there were some designs in Electronotes, so I looked them up and discovered they were both inspired by and heavily influenced by Burhans, particularly in terms of the comb filter frequencies and spacing. One was a 40 channel version by Ian Fritz using transistor based filters. He had an interesting mod, originally suggested by Lester Ludwig, where each set of 6 filters had a feedback pot. Some screenshots from these articles are at the end of this build guide. The relevant Electronotes issues 107, 115 and 116 can be found online.
The Bernie Hutchins design used 39 regular op amp based filters, along with Ian’s feedback per 6 filters mod and added an inverter so the feedback could be positive or negative (so, centre off). Negative feedback ‘flattens’ the peaks somewhat and smears the sound, positive feedback makes the peaks narrower and higher (if tuned for it, you can make them self-oscillate, see notes). Bernie also added a noise gate on the output, summing 39 channels is always going to be noisy.
"Here's an absolutely MEGA guide to creative and musical uses of quantizers in Eurorack which is our demo of Ziggurat from Acid Rain Technology. Ziggurat is packed full of smart and easy to use features across its 4 channels of quantizing, some features I've not seen on anything else before (hats off to Acid Rain!) but there's lots of patches widely applicable to any quantizer options you may have. I also hope to instill the message that quantizers are super fun even when you have already quantized sources."
via Acid Rain Technology
A melodic playground for your eurorack system
Ziggurat is a 4 channel quantizer designed to turn any combination of control voltage and gate signals into inspiring and unexpected melodies. Ziggurat provides a fresh way to explore harmonic relationships - wandering through different combinations of note masks, input signals, ranges and offsets until the music catches your ear - at which point all settings on the module can be easily saved for later reference
Update: videos just released and added above. Note the playlist is in the order released by Synthesizers.com.
Playlist:
1. Meet the Q210 Complex Noise | Synthesizers.com Newest Module
2. A Quick Overview of the Q210 Complex Noise
3. Using Q210 Complex Noise To Clock Q173 Gate Math
4. Q210 Complex Noise Random Gate Discussion
5. A quick Q210 Complex Noise Patch
6. Another Q210 Complex Noise Patch
7. Changing speed of Random Gates on Q210 Complex Noise
8. CHAOS OUTPUT on the Q210 COMPLEX NOISE
via Synthesizers.com
"This is Synthesizers.com's first new module in two years, and we're excited to share it with you: the Q210 Complex Noise.
The Q210 Complex Noise is noisemaker's playground. Though capable of standard white noise fare, the Q210 can help provide you with decidedly boundary pushing timbres, not usually found in your typical 5U module.
Beyond noise, the Q210 is also comfortable generating random gates, which when routed to VCAS or drum sounds, can help launch your next ambient composition into science fiction territory.
Depending on how you approach the module, the Q210 can be a tame texture ready to mix in with a completed track. However if you push it, the Q210 can become the basis of an entire soundscape, especially when paired with filters, VCAS, and envelopes. Sounds both dramatic and explosive are quite easy to conjure."
