"A demo video for the AI Synthesis AI022 Eurorack Harmonic Mixer.
The AI022 Harmonic Mixer Eurorack Module is a discreet mixer, using no Integrated circuit chips, and increasing gain will add harmonics to incoming audio.
It can be purchased as a module, or DIY Kit and PCB/Panel Set.
The Bias knob adjusts voltage of the circuit, and adjusts how well or poorly the transistors replicate incoming audio. Adjusting the bias will add or decrease harmonic distortion."
Update:
AI022 DIY Harmonic Mixer Eurorack Module Build Guide Video
Portland, OR, USA 4/12/2022 – AI Synthesis has released the AI022 Harmonic Mixer in both a built and guaranteed version, as well as in kit and PCB/Panel format.
The AI022 Harmonic CP3 Style Mixer is a discreet mixer using no ICs. As gain increases harmonics and analog warmth are added. As gain increases more, distortion and phasing is added, creating new waveforms from old ones.
The AI022 takes inspiration from the legendary Moog Modular CP3 style mixer, but updates it for eurorack and allows for user customization of the circuit. Many Moog Modular users attribute the CP3 mixer module to providing much of the warmth of the Moog Modular sound.
An exposed Bias knob allows abuse of the circuit, and allows for faithful replication of incoming audio, or radical analog wave shaping and distortion. It is also possible to use the Bias knob to adjust a +/- 5V signal into a 0/+ or 0/- signal.
It comes in both Silver Aluminum versions and Black PCB FR4 versions.
“In the year 2000, I was in college and obsessed with modular synths, but could barely afford to eat. I knew it was possible to build your own synth, but there wasn’t anyone, or anywhere to turn to for advice. In the past decade, much more information has been published online, and in 2013 I started down my path to DIY modular. Even with all of the information online, there still lacked a single, simple, comprehensive guide for those looking to build their own synthesizer. I want AI Synthesis to be that guide. Prior to building my own synth, I was a dreamer, after building my modular, I felt I had awoken. I want to help others do the same.”
-Abraham Ingle
Founder, AI Synthesis
In addition to providing step by step build instructions, schematics, and circuit explanations, the site also includes a guide for getting started in modular synthesis, and a series of DIY Guides, with information regarding how Resistors actually work, and how to integrate a $26 scope into your Eurorack system.
1. 7 Channel Mixer For My Modular Synth.
2. Medusa - Sound Effects for Modular Synths
3. Buffered Multi for Modular Synths. Powered by Arduino
4. Digital Delay Module - Powered by Arduino
5. Bleep - Modular Drum Synth - powered by Arduino
6. Solar - A Modular Synth, Powered by Arduino
7. Groove Box Modular Synth - Arduino Nano
8. Freaq FM Synth. My Take on the Awesome MeeBleeps Synth
9. Mutant Generative Synth - Powered by Arduino
1. AWM-3 Demo #1 : Eurorack analog wavefold mixer module introduction to wave shaping
"First video to introduce the AWM-3 16hp Eurorack modular wave-shaping mixer. An essential tool and utility combined that will give you real-time analog signal processing and the ability to produce new and unique sounds. The AWM-3 is a 16hp Eurorack modular synthesis wave-shaping / wave-folding mixer with added features of compression and multiple mix modes, including matrix mix outputs. This video shows the basic setup for wave-folding."
"The second demo for the AWM-3, a 16hp Eurorack modular synthesis wave-shaping / wave-folding mixer with added features of compression and multiple mix modes, including matrix mix outputs. In this video, we demonstrate the compressor feature."
3. AWM-3 Demo #3 : Eurorack analog wavefold mixer module LFO modulation to wave shaping
"The third demo for the AWM-3, a 16hp Eurorack modular synthesis wave-shaping / wave-folding mixer with added features of compression and multiple mix modes, including matrix mix outputs. This video shows one example of connection external modulation sources (LFOs in this case) and applying them to each wave-fold bias (CV input) for each wave-fold stage while in a triple-wave-fold configuration."
The AWM-3 is an all analog, real-time, complex wave-shaping (triple wave-folder) 3-channel mixer module with added features of compression and multiple mix modes including matrix mixes. The combination of multiple access points (outputs of various mixes), wave-folding, and compression allow for an extremely wide array of signal processing, including complex chorus-like sounds.
All three channels are identical and can operate independently. They can also be cascaded (connected in series) to obtain double and triple wave-folding. The compressor at the front-end of each channel allows for not only unique wave-shaping, but the ability to send asymmetrical wave-shaped signals through multiple wave-fold stages while preserving a better managed signal process.
With individual outputs for each channel, a master mix (and master level control), as well as three matrix mix outputs as: “MIX 1+2” (1 OUT + 2 OUT), “MIX 2+3” (2 OUT + 3 OUT), “MIX 1+3” (1 OUT + 3 OUT), the AWM-3 is wave-shaper, signal processor, and multi-mode mixer.
"In this video about BIAS 2 by Joranalogue Audio Design I showcase how the module operates and how you can use it for precision mixing, dividing or averaging, offsetting, amplification, scaling, etc. I added 2 pratical use cases to demonstrate BIAS 2s usefulness."
"Voltage control is the basic tenant of modular synthesis: parameters may be modulated by changing control voltages (CVs), simply by plugging in a patch cable. However, during patching it's common to encounter incompatible voltage ranges, with signal outputs and inputs having different amplitudes and sensitivities.
An indispensable utility module, Bias 2 provides a compact yet precise solution to quickly interface signals between modules within a Eurorack modular system, without interrupting your creativity.
Comprising of two independent sections, each with dual inputs and dual outputs, its carefully selected combination of normalised reference voltages and amplification/attenuation factors makes it a breeze to convert between the most common signal ranges: –5 to +5 V, 0 to +5 V and 0 to +10 V.
Precision comes standard on Bias 2, with meticulously engineered analogue signal paths providing absolutely transparent performance for any Eurorack signal: CV, audio or gates/triggers.
Beyond the voltage conversion application, Bias 2 is a true all-rounder, capable of functioning as a pair of dual input unity gain mixers, –6 and +6 dB audio gain stages or a multi-output fixed voltage source."
"The Earwig is a rectifying mixer. The core of each channel are two half wave rectifiers and one full wave rectifier. There is also gain, pre and post-rectifier bias and an inverter amp. 2 CV bias inputs are provided to modulate the signal. Each channel accepts audio and CV signals. Available at the store as a modular kit or fully assembled.
HOW IT WORKS
The input signal passes through a first stage of gain and bias. This stage is used to shape the signal at the next stage, the rectifier. The bias input is very useful to modulate the signal here and create changing patterns after the rectifier. The rectifier has 4 positions: bypass, positive wave inverted, negative wave inverted & full wave inverted. With the positive wave inverted position only the signal that stays above 0 volts passes to the other side. The result is inverted. At the 3rd position, only the negative signal, everything below 0, passes through. And again it’s inverted. At the last position the positive voltage keeps the same, and the negative is inverted, so if we input a sine wave the result is an “m” shaped wave. The result is inverted again.
After this stage there is an inverter switch, so we can keep the signal as it is or invert it.
Finally we have another bias stage. This stage let’s us to move the rectified signal again to the 0 point and modulate it. The channel output is connected here directly.
The mix pots attenuates the signal and mix it between the 2 channels, summing and subtracting the 2 channels.
It’s important to understand that the module is not AC coupled. This means that it works for audio and CV signals. So when an audio signal is rectified it will be centered in the 0V range. The second bias potentiometer is useful for achieve this.
When connecting a signal to the “BIAS” inputs it is useful to attenuate it previously to avoid saturating the amp. the module does not have attenuators."
New module and new maker. Additional details follow.
Sirius-Serpens Modular-Analog Low Pass filter with distortion Unboxing and first impression
Published on May 1, 2019 Dziam Bass
"Today we have Unboxing and a music demo in which Sirius from Serpens Modular Modular was used.
The advantage of this filter is definitely great design and the distrotion which is just amazing with a larger resonance resistance, but also Sirius filter uses similar to the Korg PolySix, Mono / Poly and the PPG Wave 2.0 what really gives a special character for sounds.
In this movie, up to 1:45 there is a sound from Clean Out, later a superior to Dirty Out, which also definitely affects the charmonics of this rich sound.
currently the module is available and it seems that it is one of those which you ''must have''.
In fact, this is only part of what Sirius can do, so more information about it can be found here : https://www.serpensmodular.com"
"The Sirius filter uses similar analog architecture found in a number of classic 80s synths such as the Korg PolySix, Mono/Poly and the PPG Wave 2.0. We've then tweaked the design to integrate a germanium diode distortion stage to give this traditionally smooth filter some real bite as well as extending the resonance range so that it goes into self oscillation. This can turn the Sirius into a ground shaking sine wave oscillator that can track pitch at 1v/oct via the frequency cv inputs. The Bias knob allows users to not only set the pitch tracking themselves but to also tune the filter resonance, meaning resonance pings can be easily tuned to the key of your song. Two outputs are also available - a 'dirty' which passes through the distortion stage, but also a 'clean' which bypasses the distortion if you're looking for a more traditional filtered sound or want to patch the filter back into itself for interesting results.
4 pole low pass filter with germanium diode based distortion.
Two individually attenuated CV inputs for both cutoff and resonance (four in total).
Two attenuated audio inputs for precise signal mixing.
Clean and dirty outputs allowing users to bypass distortion circuit and for self patching.
Sine wave oscillator with 1/v oct tracking via the fcv inputs.
Bias knob for resonance tuning and adjusting pitch tracking.
Labyrinth | Moog Demo Library
video uploads by Moog Music
User videos:
Playlist (use the player controls to skip around):
1. Perfect Circuit: Moog Semi-Modular Comparison 2024: Labyrinth, Mother-32, & More (feat. Sarah Belle Reid)
2. Sarah Belle Reid: Moog Labyrinth Semi-Modular Synth: Overview + Explorations
3. Loopop: Moog Labyrinth // A Synth that’s a Generative Idea Machine // 13 patch ideas, review & tutorial
4. mylarmelodies: Moog Labyrinth Demo: Explanation & Generative Techno Jams
5. Reverb: Exploring Generative Synthesis with the Moog Labyrinth
6. Jorb: Moog Labyrinth // Generative Synthesis At It's Best
7. SUTURE SOUND: A ton of Moog Labyrinth sounds (no talking)
8. Bonedo Synthesizers: MOOG Labyrinth Sound Demo (no talking) - Preset Sheets
9. Limbic Bits: MOOG Labyrinth Sound Demo (no talking): 6 Improvisations on the Labyrinth
10. Starsky Carr: Moog Labyrinth // 3 Minute Manual + Full Review & Demo
AN UNEXPECTED PATH FORWARD
Labyrinth introduces a classic West Coast sound into the Mother Ecosystem experience rich analog synthesizer history in both surprising and recognizable sonic textures. Two generative sequencers bring to life sounds that bloom over time, letting you control their evolution and scale, then play them off of each other for striking polymetric melodies.
With parallel analog signal paths, this adventurous instrument shines when adding color to the steady backdrop of a drum pattern or bassline.
GENERATIVE SEQUENCER
The beating heart of Labyrinth is a robust dual sequencer, which uses chance calculations to generate two unique eight-step paths which twist and curve around one another.
SONIC WANDERING
A parallel voice processing path with a voltage-controlled blending allows you to morph sounds over time.
VOLTAGE-CONTROLLED WAVEFOLDER
A fresh interpretation of the Moog sound via a voltage-controlled wavefolder. Two oscillators drive duophonic melodic counterpoints, metallic FM tones, and analog synthetic drums.
Moog's semi-modular lineup expands to include the Labyrinth, a generative synthesizer that brings you two parallel sequencers, two oscillators, and endless possibilities. Based around a core sine VCO and a triangle Mod VCO, these sound sources have independent level controls, as well as a Ring Mod and Noise level control that all feed a saturating mixer that can add a touch or grit. From the mixer, we have the switchable option to go into a voltage controllable wave folder then into a classic Moog filter, the opposite with our filter going into the wave folder, or have both of these run in parallel.
The heart of the Labyrinth is the sequencer section. A dual 8-step sequencer gives you interactive quantized melodies that can affect various parameters, based on the labeled trimmers. These sequencers send out both notes CV and triggers and with a Trig Mix you can get rhythmic interplay that is quite satisfying. Each sequencer has a Length settings and a Bit Shift when adjusts the position of activated steps. The Bit Flip and Corrupt parameters present gives you more randomness and serendipity allowing you to create evolving patterns.
As with all of their semi-modular synths, Moog gives you access to 32 patch point patchbay with 12 outputs and 20 inputs. This gives you the option to self-patch and integrate it into your existing Eurorack ecosystem. Moog's Labyrinth is the perfect expansion to your existing system or a great starting point as an entry to modular synthesis, especially for those who are looking to get expressive rhythmic patterns quickly.
LABYRINTH FEATURES
- Parallel generative analog synthesizer
- Two oscillators, a sine-based and triangle-based
- Switchable wave folder to filter, filter to wave folder, or parallel processing
- Diode-transistor hybrid wavefolder with smooth Fold and Bias control
- Morphable Low pass to Band pass 2-pole filter
- Adjustable decay time for both decay envelopes
- Blend Sequence 1 and Sequence 2 triggers for complex rhythms
- Each sequencers has options to adjust length, per-step adjustments, adjustable randomness (Corrupt), and shifting the pattern on-the-fly
Published on Jul 25, 2016 Endangered Audio Research Video
"The Spectravibe is an analog multi-effects unit made by hand in America by Endangered Audio Research using only the finest through-hole components.
Here is a demo of the prototype Spectravibe modulating a Korg Minilogue.
Only a few discounted pre-orders remain at the Century Sound Labs Reverb store - find them at www.reverb.com/shop/centurysoundlabs
If you miss out on the discounted pre-order, you'll have to pay full retail price and may face some delay in getting your unit as demand is already very high."
"The Endangered Audio Research Spectravibe is an all-analog multi-effect pedal that is about to become your pedalboard's new secret weapon. Based off the retired Gristleizer stompbox, the Spectravibe is a new evolution in modulation and distortion that is destined to become the pulsating heart of your rig.
In Trem mode, the Spectravibe acts like a tremolo and adjustable overdrive. Two wave shapes are provided: triangle and saw cover the most useful modulation needs. The frequency of the LFO ranges from 4 seconds to well into the audio band - much wider than any typical tremolo. Use the Depth knob to go from a slight warble to a total stutter, and use the Bias control to adjust the FET tube-style distortion. The Gain knob takes your tone from clean and subtle to in-your-face overdrive. In Trem mode, the Blend knob acts like an adjustable high-end air frequency booster. The two expression pedal controls for Speed and Depth allow you to keep
In Vibe mode, the Spectravibe is like vibrato or a Leslie simulator. The unique lush filter has an extended range that brings out the best of your bass, guitar, and keys. Use it on a send while mixing as a "secret weapon" EQ. Go from sweet and shimmery to a bubbly underwater sci-fi filter with the Depth knob, which controls the amount of frequency modulation. The Bias changes the filters center frequency and the Gain allows you to overdrive the filter. The Blend control will add back unfiltered signal that is essential for nailing a watery rotary speaker effect.
In both modes, you can bypass the internal LFO an inject your own modulation source. Use LFOs or envelopes from synthesizers for even more wild and unique effects.
The Spectravibe can be used purely as a versatile distortion box. Turning the Depth all the way down cuts off the modulation completely. The Bias, Gain, and Filter Mix can all be adjusted sans-tremolo for a wide palette of dirty tones. Add that to the high-level amp-driving output provided by the internal 18-volt circuitry, you can use the Level knob to rope in your guitar's preamp into your sound even more.
To use the Spectravibe as a Ring Modulator, set it to Trem mode and turn the frequency of the oscillator into the audio range. The Depth, Bias, Gain, and Blend knobs all interact in a way that make other Ring Mods seem stiff and unmusical. Plug in an expression pedal and you can control the pitch of the oscillator mid-solo. You can even use the Mod input to sync the Ring Mod with a synthesizer.
Great guitarists know about the parked wah tone trick - that is, using a wah-wah pedal as a band-selectable frequency controller. To do this with the Spectravibe, turn the Depth knob all the way down and sweep the Bias until you dial in the perfect tone. Turn the Blend knob all the way to the left to highlight the frequency band you want to boost. Once you've found it, start turning the Blend knob up to mix back in your original signal. Finally, use the Gain control to adjust the grittiness of the filter and the Level control for overall boost to get the perfect amount of bark. It's a tone tweaker's dream!
The Spectravibe runs off a normal 9-volt DC pedal adapter, but the circuitry inside boosts the voltage to +/- 9 DC for a total 18 volts. This is big: no special, expensive, and bulky adapters to keep track of, tons of headroom, and lots of gain. In fact, the Spectravibe has so much gain that you can use it as an interface between your guitar and a modular synthesizer. The switching supply Endangered Audio Research custom-designed for this pedal produces no audible whine that you'd find in cheap adapters. This means you can use any standard tip negative 9 volt supply!
With the versatility and analog tone this pedal provides, the Spectravibe will become the single most important pedal on your board - so important that you'll probably want two!"
"This is the fifth video about Audio Damage Eurorack Module Odio and IOS Stuff. In this video, I connected my iPad with Positive Grid BIAS FX App to the Audio Damage Odio Module. I want to show you how easy IOS Effects integrates into EuroRack Modular Synthesizers.
Odio is a 2-in 2-out USB audio interface that runs at modular audio levels, designed primarily for use with iOS devices such as the iPad and iPhone. Easily integrate iPad effects and instruments in to your modular rig for live performance or sketchpad recording, or use a Microsoft Surface Pro or netbook and a simple host to use VST plug-in effects as inserts in your modular."
Playlist: 1. analog craftsman Gristelizer std MU demo - "Demo of the ACGristle STD. MOTM 300 VCO direct into ACGristle. No other filters, EGs or VCAs used. All four waveforms (ramp, reverse ramp, triangle, square) shown in VCA and VCF mode. Modulation applied with MOTM 390 dual LFO. VOS sequencer used here and there."
2. analog craftsman 4x instrument interface demo - "Demo of the analog craftsman 4x Instrument interface module, used primarily for interfacing line level effects and pedals with modular synthesizers. MOTM 300 VCO in to 4X out to vintage Maestro Phaser back into the 4X and then out to an amplifier. MOTM 300 VCO shown first with just attenuation. Then out from the 4x into a Maestro Phaser pedal and back into the 4x with various levels of make-up gain"
3. analog craftsman ARCADE TT controlling a Buchla 200e - "Controlling the symmetry and high order of a Buchla 261e with ARCADE's X/Y axis."
4. analog craftsman ARCADE 5U FMing - "analog craftsman ARCADE 5U FMing a MOTM 300 VCO and 390 LFO (in audio range). Also channel 1 of ARCADE is controlling the cutoff frequency of a MOTM 490 VCF."
5. analog craftsman ARCADE 5U as a drum machine! - "Triggering a Tama TS206 analog drum rack with ARCADE channels 2 and 3. Channel 1 is gating the audio from a Buchla clone dual 258J with a Mattson quAD/ASR. The X axis of the joystick is controlling the cut off frequency of a Megaohm Delta VCF."
6. analog craftsman ARCADE 5U... The Works. - "ARCADE FMing a Buchla clone 258J dual VCO, gating a Mattson QuAD/ASR, and FMing a Megaohm Delta VCF. Featuring Bam Bam the dog and intern Dan in the background..."
7. analog craftsman on parade! - "EAS MS VCO -- acGRISTLE dlx -- acVOKS VCF Cutoff frequency of the acVOKS controlled by the X axis and channel 3 button of ARCADE."
8. acGRISTLE dlx bias input demo - "Using the bias input of the acGRISTLE dlx."
9. acGRISTLE dlx processing two VCOs - "Two VCO getting some treatment from acGRISTLE dlx."
10. acGRISTLE dlx faux delay with bias input - "Creating a delay-like effect sending a square wave LFO into the bias input."
11. acGRISTLE dlx gate input demo - "Feeding the gate input with an LFO."
12. acGRISTLE dlx frequency output - "Using the frequency output to control PWM on a VCO."
13. 258J dual VCO linear FM - "Custom 3U MOTM 258J VCOs FMing the piss out of each other. No other effects, filtering, etc. Just VCO(s) to amp. Starting with just FM then adding modulation of the waveshape."
They said it couldn't be done... but Team Cynthia went and figured it out anyway!
Cyndustries.Com announces
The Amazing New Zeroscillator!
A Liquid Smooth All Analog Through-Zero FM Oscillator for Modular Synthesizers. For the first time traditional digital FM synthesis is possible in an all analog signal path. http://www.cyndustries.com/
Features Include:
Through-zero Linear FM Operation. AC & DC Linear FM Inputs with 4-Quadrant Dynamic Depth VCA. Separate Outputs for All Traditional Waveforms. Voltage Controlled Bi-Phasic Waveform Morphing in Four-Phase Quadrature. Variable Synch. Precision Ten-Turn Tuning Knob Switchable Linear Bias Modulation Depth and Polarity LEDs. Unique Time Reversal Input!
What does all this mean? It means incredibly rich and alive sonic textures are now available to you! It means that brass, woodwinds, percussion and exotic electronic mayhem are just a knob-twist away without need of filtering or other spectral post-processing! It means a whole new, exciting way of synthesizing sound on your modular!
Advanced engineering and the very latest in exotic semiconductors enable the amazing Zeroscillator to create classic (digital) Linear FM Synthesis on your modular with reliable, all-analog ("Look Ma, no aliasing!") circuitry.
Physically, the Zeroscillator's design and build quality are stratospheric. The finest components are employed using high-quality 4-layer circuit boards, NKK Switches and Switchcraft connectors. All chips are in military-grade type gold sockets, and gold connectors are used internally for years of trouble-free maintainance.
Sonically, Zeroscillators produce crystaline FM textures without the assorted noises and grit of digital. Zeroscillators increase the sophistication of your music because each use is a delightful journey into undiscovered, exciting new dimensions!
Learn for yourself what the "Through-Zero" & "Dynamic Linear FM" buzz is all about using actual analog synthesizers. Sieze this opportunity to invigorate your music with this breakthrough in electronic technology by equipping yourself with exciting new Zeroscillators today!
"Epicycloid Engineering has two vacuum tube based modules and a dedicated power supply module for them. The Turbo Entubulator is a module that breaks out all of the functions of a 6AR8 tube to be voltage controlled and used with your other eurorack modules. This module can be used as a VCA, ring modulator, distortion/saturation effect, waveshaper and probably many other uses when patched in different ways.
The Voluptron is a four pole lowpass ladder filter, but with tubes instead of transistors.
Both of these modules receive 200V power from the Illuminox Prime module to make sure the tubes are running at full power.
The Turbo Entubulator is Epicycloid Engineering's flagship module: a tube breakout module that can produce effects ranging from simple VCA-like behavior all the way to gnarly tube distortion, wavefolding, and more. By providing direct, patchable access to the tube's pins, one can create a number of novel behaviors that all exploit the brilliant and peculiar nonlinearities of the included 6AR8 tube.
The Turbo Entubulator provides static and CV control of Deflector Bias and Offset as well as Grid Control and Screen voltages, allowing a number of patchable tube effects. Built-in cathode bias controls and automatic gain control help to reign in particular behaviors from tube distortion to nonlinear waveshaping.
The Turbo Entubulator requires connection to the Epicycloid Engineering Illumonix Prime power supply.
TURBO ENTUBULATOR FEATURES
Fully broken-out tube module for creating a variety of amplification, distortion, waveshaping, and completely novel effects
Compatible with 6AR8, 6JH8, and 6ME8 tubes
Can act as everything from a simple VCA or saturation effect to a complex nonlinear wavefolder
Dedicated controls for Deflector Bias, Deflector Offset, Control Grid, Screen Grid, Cathode Bias, AGC, and Transformer DC Blocking
Requires connection to Epicycloid Engineering Illuminox Prime power supply
EPICYCLOID ENGINEERING VOLUPTRON
Voluptron is Epicycloid Engineering's take on the traditional modular ladder filter: a complex, tube-based design with a thick, unparalleled sound. Voluptron offers up to five octaves of 1V/oct tracking, with resonance up to self-oscillation. Additionally, the input can be used as a gnarly overdrive—one which impacts the cutoff frequency at higher settings, creating dynamic filtering effects. If you love the sound of a Moog ladder filter but wish it would extend farther into the dredges of tube-based distortion and nonlinearity, Voluptron is the right choice for you.
Note: the Voluptron requires connection to the Epicycloid Engineering Illuminox Prime power supply.
VOLUPTRON FEATURES
Tube-based ladder filter with extreme sonic signature
4–5 octave cutoff frequency range at 1V/oct tracking
Resonance extends into self-oscillation
Includes three 6ES8 tubes, but is compatible with a wide variety more
Audio input with gain into distortion
Input level impacts cutoff frequency at higher gain settings, creating dynamic filtering effects
Requires connection to Epicycloid Engineering Illuminox Prime power supply
EPICYCLOID ENGINEERING ILLUMINOX PRIME
Illuminox Prime is a power supply module specially designed for Epicycloid Engineering's range of tube-based Eurorack modules, providing 200V of power to such modules as the Turbo Entubulator and Voluptron. Eliminating the various issues with running tube-based modules solely on a standard Eurorack supply, Illuminox prime provides all the power needed to keep those tubes nice and toasty in optimal operating condition.
Illuminox Prime is designed for use ONLY with Epicycloid's line of tube-based Eurorack modules. The required external 15VAC adapter is included with purchase.
ILLUMINOX PRIME FEATURES
Power supply specifically designed for Epicycloid Engineering's tube-based modules, including the Voluptron and Turbo Entubulator
Provides high voltages required for tube operation without adding strain to your standard Eurorack PSU
Includes 15VAC adapter with universal AC input
Been working on this for a while and it's finally at a point where I want to share it.
*Tresse* is a standalone polyphonic synthesizer built around Mutable Instruments' Plaits DSP code, running on an ESP32-S3 with a custom PCB. Three voices of polyphony, 38 synthesis engines, USB, DIN/TRS and Bluetooth MIDI, and perhaps Ableton Link and our upcoming stack (VMB) VÃ¥ld Modular Bus, expected to ship this summer, and which will a new wireless comms protocol with negligible latency, auto discovery and machine mesh capabilities (to be released soon). Also enough knobs and encoders to actually play the thing without menu-diving, and a battery for when you're bored outside of your studio.
*The core idea:* take the full Plaits engine library — all 24 algorithms — and make it polyphonic in a self-contained hardware instrument. Then keep going and add 14 more custom engines on top. There are hundreds of options similar to this in modular systems and i thought why not bring all these god-level creative tools to bedroom, desktop producers who don't have the money or the space (or will) to mingle in the modular space, and bring them one contained box with all they need.
What's inside
*ESP32-S3* doing all the DSP across both cores (voices 0+1 on Core 1, voice 2 on Core 0, parallel render) **PCM5102A DAC**, 24-bit output, 32kHz sample rate *4 pots + 4 rotary encoders* through CD74HC4067 mux and MCP23017 I2C expander *OLED display* (128×64) for patch info, engine select, preset browsing *USB MIDI + BLE MIDI* — works with everything, no adapter needed for wireless Custom PCB, all through-hole friendly
38 engines
The first 24 are straight from Plaits — East Coast, Phase Distortion, all three DX7 variants, Terrain, String/Chords, Chiptune, Wavetable, Speech, Swarm, Particle, the Rings modes, the three drum engines, etc.
Then 14 custom engines built from scratch:
*Karplus-Strong* — proper physical string modeling with excitation morphing (noise → impulse → tonal) *ByteBeat* — 8 classic formulas with pitch-tracked rate, gets wild *CZ Phase Distortion* — Casio CZ-style, three distortion shapes *Supersaw* — up to 7 detuned saws with PWM, the obvious one but it needed to exist *Formant* — vowel synthesis with 3 bandpass resonators, gender shift control *2-Op FM* — clean FM with 13 ratios and operator feedback *Wavefolder* — sine/tri/saw/square source into a proper folder with bias *Noise Drums* — SVF-based with pitch envelope, covers kicks through metallic hits *Modal Resonator* — 8 tuned bandpass partials, morphs from harmonic → bell → bar inharmonicity, with a bowed excitation mode *Sympathetic Strings* — 3 coupled Karplus delay lines with controllable coupling and interval ratios *Comb Resonator* — 4 parallel comb filters with spread control *Drawbars* — organ-style additive with 8 Hammond-ratio partials *Complex Oscillator* — FM into wavefolder, Buchla-adjacent territory *Grain Noise* — granular noise with smoothing, good for textures and pads
Controls
Three parameter layers accessible via toggle buttons:
*Normal* — Timbre, Morph, Harmonics, Color on pots; Attack, Decay, FM, LFO Depth on encoders *MOD* — Fold, Detune, Ring Mod, Chorus on pots; LFO destination/shape/speed/sync on encoders *SHIFT* — Filter Cutoff/Reso/Env/Type on pots; Portamento, Octave, Vibrato depth/speed on encoders
Hold both buttons → engine select overlay. Double-tap MOD → system menu (randomizer, MIDI config, play mode). Double-tap SHIFT → preset browser across three banks (own patches, generated, branches).
Play modes: Poly, Mono, and chord modes (Major, Minor, 7th, Sus4, Power, Octave).
The randomizer is one of my favorite things — it generates random patches with procedural names (stuff like "Velvet Moth" or "Iron Shard"), you scroll through them with the encoder, and save the ones you like to a generated preset bank. 512 slots each for generated and branch presets, 128 for your own.
What it sounds like
Honestly covers a lot of ground. The Plaits engines already span everything from classic analog to FM to physical modeling to noise, and the custom engines fill in some gaps I wanted — proper supersaw, real Karplus-Strong, the modal/sympathetic stuff for metallic and evolving tones, and the ByteBeat engine for when you want to go full chaos. The global FX chain (filter, wavefolder, ring mod, chorus) ties everything together.
The project should be available from April 2026, in kit or assembled units! Price to be discolsed once i have the final FINAL prototype, but shouldn't hurt the wallet.
This is a *VÃ¥ld Labs* project from Lisbon Portugal. Much more to come.
Would love to hear what people think, and happy to answer questions about the build or the DSP. Be aware that this is a pretty advenced prototype, but still a prototype"
"This is what happens when you decide to convert your Blacet modules to banana... you have to work out what to do with all the normallized connections hidden behind the panel inside switching jacks.
Not wanting, or having the panel space, to stick a load of switches in... I decided to turn this module into a real frakenstein (you see what I did there) 100% patch proggramable back to stock operation this mod also adds a bag of new features.
A CV output which gives 0 - 13.5V under control of the Bias pot, hey - you never know when you'll need 11Vs right!?!
Also a fifth input into the mixer section of the module!
In this video the Quad (Re)Mix is still half finished, I'm testing out the extra input function & the new Bias Out voltage. Simple Binary Zone sequence + Dual VCO PWM squeal & with a turn of the Bias pot; chunky Triangle wave riff! Thru some patching I have a crossfade between clean & distorted tones!
Check out the BananaFrac thread @ muffwigglers for more details / pics of other mutant systems;
"Grant Richter has given the world of modular synthesis so, so much.
I built the 2 Bit ADC from his Varilogic II core & its increased the power of my modular by a huge amount... I'll be bulding more, as well as the complete voltage controlled Logic module.... I mean VOLTAGE CONTROLLED LOGIC... there is no part of that which isn't made of 100% genius!"
Boredom + Double Kicks + Synths
"Ever wondered why metal & synths don't mix?
Well.... look no further!! I was just messing about with using wavefolding for clock multiplication & I thought this was too funny to go un-recorded... I thought it was hil-ar-i-ous.... I'll get me coat...."
"Klang Werk:
Klang Werk is a high quality balanced (or “ring”) modulator with a number of built in features making it more versatile than the usual synth module. It’s more like an effect box, although it is right at home in any modular system. Klang Werk includes a voltage controlled sine to complex waveform carrier generator, a signal preamp, a signal envelope follower, and an output mix control.
Time Machine:
A balanced modulator takes two signals (“signal” and “carrier”) and multiplies them together, producing their sum and difference frequencies. The original signals are removed from the output. The result is often used to produce bell like clang tones. The world of the equally tempered scale seems to vanish, to be replaced by an alien sonic landscape filled with moments of unearthly beauty and savage cacophony.
Genuine BBD Analog Delay Line Technology for that "retro" sound.
Delays From 10 mS to 2 Seconds!
Bi-Phase Regeneration for Killer Flanging
Voltage Control of Most Parameters:
Darkstar Module:
This reissue of the Dark Star uses the same basic circuit and updates the design with expanded control ranges and CV inputs for the Noise Clock, Noise Filter, VCO and PWM. Use it as a standalone sound generator or interface it with a modular system for some truly wild sounds!
With the interest in chaos theory and fractals in the past few years, this unit provides an excellent means to explore the effects of chaotic (noise) modulation. The results cover quite a wide range from the haunting to the apocalyptic...
"BIAS EXD Rockakukun(means "Mr.Hexagon" in japanese)
made by BIAS(ishibashi music store) in '80s Japan
very rare Japanese Simmons Clone Analog Drum Synthesizer Module
i'ts very hard to find even in Japan nowadays
very fat and wild analog synth sound!
EXD has 5sound slots, so you can use 5different sounds in same time
play with trigger drum pad or trigger signal from drum machine or modular synthesizer
all 5 slot has each own trigger input & audio output for individual mix and effect use
each slot has SENSE,OSC DECAY,NOISE DECAY, SWEEP,PITCH,BARANCE,VOLUME,PAN knobs
EXD has stereo output for internal stereo mix( and also has individual output)
EXD's sound is very fat and wild! I recommends it for IBM,techno,noise,experimental music etc.."
"DIRT is our new 4HP low-pass filter / effect for the Eurorack modular synth platform.
Inspired by one of our favorite 'noisy' filters, the DIRT is an unapologetic filter / effect that produces interesting and unique effects via the Bias knob, accessible from the front panel.
It's not a traditional filter; it's an effects module with filtering, ring mod effects, wave shaping and even outright brutal harmonic distortion.
DIRT likes to square things up a bit, so throw in a triangle, sawtooth, sine or other wave forms for different style effects. Even plugging a guitar (using an external amplification module) into the DIRT produces some great sounds and heavy distortion.
Controls:
- CUTOFF = Cutoff Frequency
- RESONANCE = Increase the Q!
- BIAS = Set the bias correctly or not, the choice is yours
Inputs/Outputs:
- CUTOFF CV IN = Voltage range changes depending on where CUTOFF knob is positioned. External attenuation will be needed for fine modulation.
- AUDIO IN = Audio Input
- AUDIO OUT = Audio Output
Portland, OR, USA 4/12/2022 – AI Synthesis has released the AI022 Harmonic Mixer in both a built and guaranteed version, as well as in kit and PCB/Panel format.
