"Parapulse is a Eurorack noise generator with an integrated filter and frequency modulation. From crisp white noise to warm pink noise, it opens up a wide range of textures, atmospheric layers, and organic impulses.
From icy fog and cosmic dust to Geiger counter clicks, paranormal intergalactic tones, and fine vinyl crackle, *Parapulse* puts noise in motion.
In this demo video, Parapulse is used together with the Bode Frequency Shifter for sound manipulation. CV control is also provided by the [Orpho Voltglider (https://www.orpho.de/voltglider/) and a CV joystick.
More information at [www.orpho.de](https://www.orpho.de)"
Googlish (original German below):
The Parapulse Noise Generator—equipped with an integrated filter, frequency modulation, and the ability to transition seamlessly from white to pink noise—offers a rich palette of soundscapes for experimental musicians and sound designers. The module provides a wide variety of noise types, ranging from crisp, high-frequency white noise to soft, deep pink noise, making it ideal for generating atmospheric textures or serving as a foundation for percussive elements and effects. The built-in filter allows users to precisely shape the frequency content of the noise, enabling the creation of both subtle timbres and dramatic effects. Frequency modulation further expands the sonic spectrum by facilitating dynamic shifts and modulations within the noise, resulting in complex sonic textures. The seamless adjustment between noise colors—free of audible steps or interruptions—offers a unique level of flexibility and control that would not be possible with a conventional white noise generator.
Original German:
Der Parapulse Noise-Generator, ausgestattet mit einem integrierten Filter, Frequenzmodulation und der Möglichkeit, nahtlos von weißem zu rosa Rauschen zu wechseln, bietet eine reiche Palette an Soundlandschaften für experimentelle Musiker und Sounddesigner. Das Modul bietet eine Vielzahl von Rauscharten, von klarem, hochfrequentem weißem Rauschen bis hin zu weichem, tiefem rosa Rauschen, ideal für die Erzeugung atmosphärischer Texturen oder als Grundlage für perkussive Elemente und Effekte. Das eingebaute Filter ermöglicht es dem Benutzer, die Frequenzanteile des Rauschens präzise zu formen, um sowohl subtile Klangfarben als auch dramatische Effekte zu erzielen. Die Frequenzmodulation erweitert das klangliche Spektrum zusätzlich, indem sie dynamische Veränderungen und Modulationen im Rauschen ermöglicht, was zu komplexen Klangtexturen führt. Die nahtlose Einstellung zwischen den Rauschfarben ohne hörbare Schritte oder Unterbrechungen bietet eine einzigartige Flexibilität und Kontrolle, was mit einem herkömmlichen White-Noise-Generator so nicht möglich wäre.
"Eddy is a three channel stereo CV controlled mixer with sidechaineable compression and distortion, designed as a compact submixer. It also has normalized feedback paths for more experimental tone shaping, no input mixing, and percussion synthesis workflows.
The Cascade expander allows access to the individual VCA outputs for use as a triple stereo VCA as well as access to the feedback filter outputs and simultaneous clean, compressed, and distorted bus outputs for additional mixing and processing options."
00:00 Intro
01:02 Mixing/VCA basics
02:20 Sidechaining
02:50 Feedback and percussion patching
04:33 Gain amounts and headers
04:45 Cascade expander
06:00 Using as compressed drum submixer
09:16 Jamming hard
12:00 Jamming even harder
Eddy & Cascade - Triple stereo VCA and feedback machine
"New Schlappi Engineering module alert!!!!
Welcome Eddy and it's expander, Cascade.
Eddy is a three channels stereo VCA and mixer, with normaled tuned feedback paths, mute and phase invertion switches, compressor and distortion modes and more.
The Cascade expander allows you to tap different outputs of the circuit individualy for parallel processing or feedback patches."
00:00 Intro
01:14 Hello Eddy
04:25 Eddy panel
05:51 Cascade panel
06:22 It's a drum module!
08:57 No input mixing
11:09 Patching with Cascade
14:37 Simple waveform mixing
18:18 Optional levels
19:20 Drum machine time
25:35 Breakbeat time!
30:30 End talk
"Nyquist Nightmare by Modular 4 the Masses
12hp Wacky FM Synthesizer designed to emulate the sounds of scanning radio frequencies and more!"
Modular for the Masses
Nyquist Nightmare
Audio Mangling Modulator/Demodulator
This module is a modulator/demodulator. The top four knobs interact with each other to take a signal and mangle it beyond all recognition, or if you're patient and lucky, let the signal come through mostly unchanged.
What is going on there? you ask. The input is used to frequency-modulate a VCO that can oscillate beyond anybody's hearing range. The resulting (possibly ultrasonic) signal frequency-modulates a second identical VCO. This leads to the kind of signal degradation you might expect from an AM radio transmission. Or a short wave signal fighting its way through a hurricane.
The rest of the knobs control filtering; high-pass to remove the truly ground-shaking rumbles the top for knobs can generate, and resonant low-pass to get the harsh high pitches out of the signal, and emphasize (for example) the frequency range of human speech, if you want to pass old movie dialogue through this.
Also included are a wet/dry control (while prototyping this module I would sometimes spend minutes looking for the perfect knob settings to allow a signal through just to realize the signal source had stopped playing), a CV input for the low-pass filter with an attenuator knob, and a effect volume knob.
Some fun things to try:
with zero input, try to get a modem sound!
connect a simple waveform and massage the top four knobs to fold the wave in surprising ways
David Lynch. Put David Lynch through this.
turn the resonance of the low-pass VCF up and use this as a VCO (not 1V/oct, I'm afraid
Turn both "Carrier" knobs all the way down, so the VCOs are stalled, and listen to the signal bash its way through
"Listen the new Radical Frequencies Dual Retro VCO playing an arpeggio , showing all waveforms and making Pulse with modulation and Hard Sync between the vcos . It goes through the RF Mixer and then to Diode Dream Vcf as it suits this oscillator perfectly! #eurorack #modularsynth #radicalfrequenciesmodular #dualretrovco #drvco #diodedreamvcf #analogsynth"
"Handmade Dual VCO of discrete core capable of internal FM cross modulations - Hard sync and Ring Modulator
• Analog discrete saw core oscillators with Saw, Pulse, Triangle and Ring Modulation wave outputs.The sound is warm and fat, emphasizing odd harmonics for this big retro sound. My purpose here is to approach the sound of classic synths from 70s, that we all loved. • The SAW wave produces rich bass frequencies, sweet mids and smooth highs but overall, it is still well balanced across the full frequency range. The Triangle wave is almost perfect in shape with no buzzy hum sound. The pulse wave can produce that chorus-like phasing effect, when using an LFO to modulate the PWM input and does so in a very unique way, as it changes the phase of the signal as well. • Two identical VCOs : VCO ALPHA and VCO BETA, with the ability of hard sync as each VCO syncs internally with the other. Using the attenuator knob for SYNC, you can go from zero to soft sync(11-12 o’clock) to hard sync when the knob is fully CW. For syncing you just need to turn CW, the sync knob of the VCO you want to be the slave. Don’t open both the sync knobs at the same time unless you want to make some weird sounds. • There are external sync inputs for each VCO as well. External oscillators can be used as masters, just feed the output of the oscillator of your preference, into the sync input or either ALPHA or BETA. Just remember to feed a saw or a square wave, into the SYNC input. This is very important in order to sync the oscillator. A ramp wave it will not sync at all! (The RF DPVCO for example is a ramp out VCO and if you want to use it as master you must invert the signal first.) • Both ALPHA and BETA track 5 octaves accurately, tempco resistors are attached to the tuning ICs CA3046 on both VCOs. Separate voltage regulators for each oscillator can achieve the best sounding results without drift or bleed pitch, between VCOs. • Both VCOs go from a relative fast LFO range with the coarse tuning knob fully CCW, up to high frequency oscillation. • Octave Switches of 3 positions: 1 octave down - , zero , 1 octave up +, are available and make patching, fast and intuitive. • There are internal normalisations for exponential as well as linear FM and both have independent EXP FM and LIN FM, attenuators. • You can select the wave for the internal FM buss via the front panel switches .Options are Triangle and SAW. The internal FM wave, is independent per VCO as well. • There are also internal normalisations for PWM, where each VCO modulates the pulse width, of the other and both use the triangle waveform. • There is a PW offset, per VCO - negative phase pulse width at CCW to + positive phase at CW and 50-50 duty cycle square wave, in the middle of the knob. • Ring Modulation section is a separate feature where X and Y inputs are internally connected with the VCOs as well. It has 2 inputs, X and Ψ and one out, RM. The inputs are internally connected to the internal FM buss switch of triangle - saw selector. VCO ALPHA is internally connected into Ψ input and VCO BETA, into X input. You can feed the RM inputs any wave you desire from other VCOs as well . • An external patch cable breaks the normalisation of all internal connections, via input jacks. (EXP FM, LIN FM, PWM, SYNC, X Ψ)
• Important note about tuning : The vcos need at least 30 minutes warm up before using it for good tracking. Also when you have to tune the vcos it’s better the octave switches to be in the middle position and all the fm and sync knobs must be closed (CCW)
• Large range of sounds with countless sweet spots - ultra stable tuning for FM sounds by using the FM and SYNC knobs simultaneously - fat basses, classic leads and drones. Feed the DRVCO into a good filter and you will enjoy it as it was meant to be! The VCF that I suggest is the RF Diode Dream VCF as it is a ladder filter and suits it perfectly! Of course any other filter of your taste can be used with great results."
"Here we have SUMP PUMP from Robots Are Red (with circuit design from Setonix Synth). It's a 6HP stereo Eurorack noise gate that can also invert its behaviour into a compressor and with the 'floor' control it can also be an expander. We've 3 umbrella sections in the video with compression, noise gate and sidechain ducking techniques. Check out the patches and let us know which is your favourite. There's also an exclusive run down of the dirty bass patch on / divkid"
*TIMING INDEX // CHAPTERS*
00:00 Intro & previews
01:00 What are we doing & feature run down
PATCHES // COMPRESSION
03:17 Setting up compression on beats
06:05 Adding excitement to thick distorted bass with expansion
08:17 Reshaping chords with compression
PATCHES // NOISE GATE
10:00 From basic to creative noise gates
13:56 “Beat density” with floor control (thanks to RAR for the idea!)
PATCHES // DUCKING & SIDECHAIN
17:48 Big dumb bass ducking - good fun & how to set it up
19:34 Creatively duck ambient FX - I love this mixing/production trick
It's a noise gate, it's a noise suppressor, it's a compressor, it's an expander, it's stereo.
The Specs and Stats:
Width: 6hp - Attack and Release knob for envelope(s)
- Threshold for suppression/compression (0V - ~8V)
- Floor controls the amount of suppression/compression from -100dB to Unity and even up to +10dB for expanding the louds louder or make the quiets a bit louder.
- Level controls your overall output level
- Gate/Comp switch: When in "Gate" mode, whenever the input falls BELOW the threshold level, the envelope will engage towards the floor setting. When in "Comp" mode, the envelope will trigger when the input rises ABOVE the threshold setting.
-Stereo inputs and outputs. The envelope follower is assigned to the Left input, so the L input can also be used as a sidechain input for a mono signal (into In-R).
- Engage input. This is a gate input for manually engaging the envelope.
- Threshold CV input. This offsets from your knob position.
- Floor CV input. This also offsets from your knob position.
- Duck CV Input. This is an envelope follower input that applies and inverted envelope to the level of the signal. Send a simple pulse or trigger, an actual kick, an envelope, or anything else into this to duck your signal.
-Envelope Output. The envelope Output does not follow the "floor" settings and always outputs a full voltage envelope.
Special thanks to SetonixSynth and many others for really helping make this module a reality.
Pokey — Passive CV Performance Switch & Router (6HP) Pokey is a passive Eurorack module designed for expressive switching, routing, and mixing of two signals — whether audio or CV. At its core, Pokey is a hands-on performance tool: • Smooth manual crossfading between two inputs • Voltage-controlled switching and blending via CV or trigger • Works equally well with audio and control signals Because it’s fully passive, it requires no power and integrates easily into any system. What You Can Do With It • 🎛 Manual performance mixing — Blend two oscillators, textures, or modulation sources by hand. • ⚡ CV-controlled switching — Animate transitions using envelopes, LFOs, or triggers. • 🥁 Lo-fi “Lopez gate” style drum shaping — Use triggers to rhythmically open audio sources for percussive effects. • 🔀 Creative signal routing — Build evolving audio paths or modulation networks in compact systems. Specs • Width: 6HP • Passive design (no power required) • Skiff-friendly depth • Audio & CV compatible Pokey is simple in concept but powerful in practice — perfect for small performance systems and modular setups where space and immediacy matter.
"A sporadic dis-jointed video about the new FT (Feed Through) Auto muting expander for the LO-FI uTape Scrubber MicroCassette Looper Eurorack module....."
1. GTE (Gestural Time Extractor) | Make Noise
2. GTE module overview
3. Channel Index Translation with GTE
Press release follows:
Make Noise is very excited to announce the latest module for the New Universal Synthesizer System, the Gestural Time Extractor (GTE)!
The Gestural Time Extractor (GTE) is an analog pulse extractor and Channel Index Translator for the New Universal Synthesizer System or any Eurorack modular system.
From the motion of the signal at the Span input, GTE derives up to eight individual channel pulses, as well as a GTE pulse stream representing the speed of motion of the input signal, and two gate outputs representing activity at the even and odd channels.
The Space parameter determines the threshold proximity of the channels to each other and thereby also the sensitivity and reactivity of the GTE and other outputs.
When the Clock input is in use, the GTE’s output channel will only change upon reception of a trigger or gate, allowing for changes to easily be synchronized with other existing events in the system.
With all controls set to starter min-max positions, the GTE also operates as a Channel Index Translator for PoliMATHS and other New Universal Synthesizer System modules that generate Channel Index signals, allowing the accurate derivation of individual channel gates from activity at the respective channels of the source module.
The GTE can be used to generate repeatable and controllable rhythm and timing information from any analog synthesizer signal, whether arbitrary or targeted, and is also useful for individual voice timing signal generation within a multi-voice N.U.S.S. system.
Extract rhythms, clocks and pulse streams from any control voltage source Opens up the patch programmability of the N.U.S.S. Synchronize GTE to any clock source with the Clock input Use GTE to synchronize any event in your system with Activations from PoliMATHS and MultiWAVE - regardless of Span mode Compact and powerful analog module Pairs well with MATHS, PoliMATHS or Jumbler
Width: 8 hp Max Depth (incl. power cable): 29 mm Power: 25 mA @+12V 2 mA @-12V MSRP: $179
"Truchets is an alternative firmware for Marbles, written by Dylan B. It leaves the original Marbles intact, but adds a Grids inspired mode - which adds tons of features compared to the original Grids. It's a) amazing and b) brilliant so if you often use Marbles as your primary source of randomness, you're going to love this.
The QUAID GIGASLOPE is a four-channel multi-mode modulator, with each channel outputting a variable staged slope that can act as a complex envelope, flexible LFO, or step sequence.
Each slope can contain up to 13 stages, which may be independent or overlap with other stages. Slopes can be triggered or run freely, with both manual and CV control over each stage’s level, duration, and curve. The output range of each slope can be set and optionally quantised to musical scales. Trigger outputs are available at the end of each stage and at the completion of a slope.
The QUAID GIGASLOPE builds on our earlier Megaslope module, expanding the idea of a hands-on, menu-free, jam-friendly complex modulator. With four channels, it easily covers standard envelope duties, quantised sequencing, and LFO tasks, while its design also encourages more experimental use through overlapping slopes, self-modulation and cross-channel interaction, leading to more distinctive, unexpected, and improvised results.
Feature List
Quad multimode modulator with complex Envelope, LFO and Step Sequencer modes.
13 modulation stages shared or split between slopes.
Per stage dedicated Level, Time and Curve controls.
Per slope Quantiser with 19 different scales.
Selectable output ranges of ±5V, 0-5V or 0-2.5V.
Assignable ‘EOC’ (End of Cycle) or ‘EOS’ (End of Stage) trigger outputs.
4 freely assignable CV inputs.
AXON CV expander support for 4 additional CV inputs.
Fun, performance oriented interface, well suited for happy accidents.
All states preserved accross power cycles.
USB-C for quick and easy ‘drag and drop’ firmware updates
Chapters: 0:00 - Intro
0:53 - Frequency Control
1:48 - FM Index, Ratio & Lock
3:36 - Wave Control
4:55 - Chord Control
6:15 - Trig In & Decay Control
7:03 - End Jam
8:30 - Outro
The FMco is a compact FM synthesis based VCO and voice. It features our own original 2-operator FM synthesis DSP implementation inspired by our ‘Akemie’ modules but tuned for more immediate use and a more modern sound.
It includes both manual and voltage control over FM Index, Ratio and a selection of classic operator waveforms for a wide palette of FM sounds from a simple set of controls. A built-in decay envelope is routed to both FM depth and output level, allowing the FMco to function as a full synth voice when triggered. The FMco also includes CV-controlled four-voice chords, an encoder-based tuning system for easy accurate pitch control, and a stereo-widened output, delivering a large amount of FM synthesis all in just 8HP.
Feature List
2 Operator FM synthesizer voice with direct and voltage controlled parameters.
Easy, quick and accurate tuning via an encoder control.
FM Index offset with direct and CV control with attenuverter.
8 Operator wave shapes with direct and CV control with attenuator.
Ratio control with lock switch for both free and precise operator ratios.
Trigger input for simple built in decay envelope internally connected to Index level and output VCA level.
Direct and voltage controlable chord mode with inversion and up to 4 voices.
Left and Right outputs with stereo widening effect.
USB-C for quick and easy ‘drag and drop’ firmware updates.
Introducing two new Xaoc Devices products: Kamieniec II and its Allpass Expansion sidekick. Kamieniec II is an updated and extended revision of Kamieniec - our analog module inspired by a range of classic phaser effect units from the 1970s. We aimed to preserve the classic sound while making Kamieniec versatile enough to shine with any modular sound source. The newly released module shares the basic specifications with its predecessor: 4 and 6-stage outputs, built in triangle LFO (with a separate output in the true modular spirit), manual resonance control (up to extremely high values), and spicy feedback routing modes. On the other hand, Kamieniec II is a truly new beast with redesigned circuitry and new features, such as voltage control over resonance, a third feedback mode, and an LFO reset input. We have retained the chaining feature and we are glad to say Kamieniec II is fully compatible with the original Kamieniec, so you can easily mix and match both generations of the module should you develop a craving for more stages.
Want even more stages without sacrificing precious HP in your case? We've got you covered. Enter the Allpass Expansion - an optional circuit board installed at the back of Kamieniec II. It adds up to 16 sweepable stages for a total of 22 (!), making Kamieniec II one of the most multidimensional and versatile analog phasers available in Eurorack.
"Musical exploration of new eurorack filter by Crazy Chicken Modular - SHRIMPY."
Shrimpy is a fully analog multimode voltage-controlled filter with three simultaneous audio outputs: low-pass, band-pass, and high-pass. It was designed with a strong focus on character rather than neutrality.
The resonance is voiced to emphasize midrange frequencies, giving the filter a present, expressive tone that cuts through a mix. At higher settings, it becomes vivid and assertive without collapsing into thinness.
At the heart of Shrimpy lies an unusual distortion chain integrated directly into the filter core. This distortion adds a pleasant crunch, enriching the sound. When pushed further, it can turn glitchy and rustling, introducing rough textures and unstable edges that make the filter feel alive. It should be noted that the distortion sound characteristics will depend on the Shrimpy settings and the input signal, since distortion occurs in the filter core itself, rather than at its input or output.
All parameters are fully voltage-controllable:
Cutoff frequency (with and without attenuator)
Resonance
Distortion amount
This makes Shrimpy a flexible yet opinionated sound processing tool, well suited for experimental patches, aggressive basses, textured leads, drones, and evolving soundscapes."
"MOD3 is an open-source, multi-purpose actuator driver.
I use MOD3 to drive an electromagnet to control ferrofluid.
It is synchronized with the kick trigger signal.
"Burg is a great way to start with modular synthesis and plugging in patchcables ;) It provides you with all necessary tools to start your modular journey now. It is a standalone synth voice, complex multi FX processor, controller for external gear or all at once. The perfect companion to any setup, if you already have modular stuff, wanna connect with instruments or other gear. It can work for many different musical approaches and creative processes, it bridges between the analog modular world and external gear. The unique combination of circuits let you customize your desired sound in all analogue ways.
18 individual and characterful modules allow you to explore beautiful and weird interactions. You can easily create dynamic melodies, harmonic drones, weird noises and outer space sound effects. If you plug-in an instrument, a microphone, your favorite tunes or the internal sounds, it is easy to modulate any signal with a crispy filter (wasp-style), a wavefolder, some heavy distortion and a double delay to glitch your mind away. With 55 patching points in total, possible combinations are almost endless. The intuitive touchpad interface gives easy control over multiple CV and gate signals at the same time and is the main modulation source of the Burg system.
Two light dependent controllers guarantee a unique behavior and can be modified easily according to your needs or for experiments. Also other modules can be modified by exchanging components on the back plate, so customizing the frequency range of the oscillators/LFOs or shaping your individual clipping distortion with different types of diodes is possible.
There are two power bus connectors on the backplate so Burg can be used as a power supply for other eurorack modules as well. The internal power supply can be powered with USB-C (barrel jack) from 9V to 18V (center positive) and can work as a power supply for small modular racks using a flying bus cable."
"The Frequency Shifter (red) is a powerful and experimental analogue processor. This standalone design springs from my Quadrature Sine and its Frequency Shifter Expander modular designs – all wrapped up with circuitry & features to allow it to fit snugly into more regular studio processing roles.It will transform your audio streams in otherworldly ways – clangorous, tonal, phased, stereofication and swoosh.
Check with dealers on the right on pricing and availability.
"This is your official introduction to the Neutral Labs Luna - a new lunetta-style “groovebox” desktop & eurorack compatible synth. It’s patch programmable, letting you both create tones and rhythms from 5 oscillators (2 with step sequencers inside), logic and pattern generators, all at the same time. Three 'LPG's take the raw tones and let you gate and filter them. 13 effects in 2 blocks effect and shape sounds further.
Enormous thanks to Martin at Neutral Labs for commissioning me to make a vid of this. The world needs more shift registers. Note: I used my own red Tiptop Audio Stackcables in the video, but the desktop module comes with 12 braided patch cables."
Neutral Labs Luna – the first serious Lunetta synthesizer
"Join us for an exploration of what Lunetta Synthesizers are, what the new Luna from Neutral Labs is and why you should care.
The short answer is that it’s an interesting series of raw digital building blocks from a sonic sculptor (Stanley Lunetta) with lots of modern quality of life features that allow you to approach timbre as rhythm, rhythm as timbre then round that out with low pass gates and FX.
More info at https://neutral-labs.com"
*TIMING INDEX // CHAPTERS*
INTRO 00:00 Hello & previews 02:13 What is a Lunetta synthesizer? 02:54 What is Luna? 04:07 Luna feature run down 06:14 How this video is a bit different
PATCHES & SOUNDS 07:05 Comb filter drones for dark industrial soundtracks 07:55 Hypnotic drones & dual oscillator lead lines 11:20 Bouncing bass & low end swells 11:55 New rhythms from AND & XOR logic 16:05 Fireside crackles & sputtering motorbike engines 16:35 Characterful lo fi LPGs & FX for modular synth voices 19:04 Ambient gritty echoes for happy synth blips 19:29 Shift register rhythms - gate delayed musical canons for your rhythms 23:25 Metallic bass hits & interactive rhythms 23:56 Modulation ‘hooks’ from binary counter clock dividing 26:39 Experimental expressive noise wrangling 27:05 Binary counter sub octaves & external modulation of filter FX 29:12 Alien critters clashing into ambient space 29:48 Monstrous sounds from multiplexing 33:13 Metallic synthesis & bell like tones & swells 33:49 Metallic synthesis for cymbals + dynamic LPG modulation
"Logic, Unbound. Meet Luna. The first serious Lunetta synthesizer.
Look beyond clean waveforms and predictable polyphony. Luna will take you back to a time when digital didn’t mean perfect. It meant raw. Inspired by the subterranean DIY culture of the 70s and 80s, Luna is a love letter to the Lunetta machines of old: Living, breathing organisms built from CMOS logic chips. But where those machines were fragile experiments, Luna is a weaponized instrument of sonic confusion.
The Nervous System Exposed. True to the Neutral Labs philosophy, we don’t believe in hiding the magic behind an opaque face plate. Luna features exposed CMOS inputs and outputs right on the front panel. You're not just patching cables, you are rewiring the brain of the synthesizer itself. Combine signals, bend logic, and physically intervene in the computation to create sounds that shouldn't exist.
Rhythm is Timbre. Timbre is Rhythm. In the world of Luna, there is no difference between a sequencer and an oscillator. The same digital pulse that drives a bass line can be accelerated into a screeching lead or folded into a metallic drone.
5 oscillators provide the raw material. A chaotic array of logic blocks (XOR, NOT, AND, shift registers, counters, multiplexer) will chew up those signals and spit out complex, evolving mathematical noise.
Taming the Digital Mess. Raw logic can be harsh. To turn this binary chaos into music, Luna feeds its digital soul through 3 organic low-pass gates. These analog circuits impart a natural decay and percussive punch to the madness, transforming mathematical errors into bongos, plucks, and thumping basslines.
Drench it in Atmosphere. Once you’ve constructed your signal, destroy it again. Luna comes equipped with a suite of effects — distortion, delay, reverb, chorus, bitcrusher, phaser and more — to smear your logic into a wash of ambient bliss or gritty industrial texture.
5 oscillators logic gates (2 XOR, 2 NOT, 2 AND) 5 logic blocks (5-step ring counter,4-bit binary counter, 2 shift registers, 4-channel multiplexer) 3 touchpads that generate logic signals 3 channels for audio manipulation (low-pass gates with adjustable decay and switchable trigger mode, gain, tilt EQ) 13 audio effects that can be freely assigned to 2 effect slots running in series (drive, delay, reverb, 6 filter types, bitcrusher, phaser, chorus, comb filter) CV control for effects and 2 oscillators MIDI control over 2 oscillators, all 3 low-pass gates, and 3 logic outputs (MIDI TRS A socket) 2 sequencers with up to 64 steps, syncable to clock or MIDI audio output is headphone compatible available as a desktop synth or 42 HP Eurorack module (desktop version comes with a 12-pack of black/gold braided patch cables) See more videos and photos on Instagram.
Note: For sustainability reasons, the desktop version does not come with a USB power supply, just a USB-A to USB-C cable. You will need a 5V supply, such as a phone charger, power bank or laptop.
Note: The desktop version has a Eurorack power header and can be placed into a Eurorack. The desktop case however has 5V USB power and no Eurorack rails, you cannot use it as a 42 HP rack without modifications."
