"At ADDAC we’re always interested in simple effective solutions for sonic expression, as a by product of a new product development we came up with a simple solution for pedal users.
A special large knob that can replace any pedal knob and allows easy feet control.
This knob is tall enough so that it towers above the remaining pedal knobs, fitting in very tight spaces.
At the same time creates enough clearance so that it’s accessible without obstruction and easier to find with your toe.
The side grooves create friction against the shoe.
"At ADDAC we’re always interested in simple effective solutions for sonic expression, as a by product of a new product development we came up with a simple solution for pedal users.
A special large knob that can replace any pedal knob and allows easy feet control.
This knob is tall enough so that it towers above the remaining pedal knobs, fitting in very tight spaces.
At the same time creates enough clearance so that it’s accessible without obstruction and easier to find with your toe.
The side grooves create friction against the shoe.
"The ADDAC816 Percussion VCA by ADDAC System is a voltage controlled amplifier featuring an integrated AD envelope with a fast attack and adjustable decay, perfect for creating precise and dynamic percussive sounds!"
0:00 Intro
0:24 Envelope gain
1:08 Decay knob and time switch
2:05 Envelope input behavior
2:33 VCA input
2:46 Patch 1
4:02 Patch 2
5:05 Patch 3
"While deep in its soul there’s a standard VCA with exponential response that can be used as such, in its heart pulses an AD envelope with a sharp attack and a variable decay internally connected to the VCA control input. When it opens its mouth it can whisper in your ear but don’t let this soft demeanor fool you, if driven to the extreme it will show its teeth and gnarly bite and chew on your cochleas with all its might.
The AD envelope has a fixed short Attack, just enough to avoid the typical “click” that happens when using a Gate signal to control a VCA, while the envelope Decay can be controlled via its knob or voltage controlled using the CV input and attenuverter.
We named it Percussion VCA as most percussion intruments have sharp attacks with variable decays just as its AD Envelope however it can be used for any purpose where a VCA is needed including for CV signals due to it’s DC coupled signal path.
Furthermore it also allows to be driven from a simple Gate signal while controlling its decay. This way it’s easy to plug a noise source, vco or any audio and turn that source into a percussive element."
"This is ADDAC607 by ADDAC System, a mono 3 band Crossover featuring 4 pole, 12db Sallen-Key active filters and volume controls for each band!"
0:00 Intro
0:17 Inputs
0:32 Mono sum out and gain controls
1:02 Low range band
1:22 High range band
1:48 Mid range band
2:40 Equalization
3:38 Pairing it with an envelope follower
"Commonly audio Crossovers split an audio signal into several frequency ranges so that each resulting signal is adequate for the speaker drivers they are connected to, usually low range is sent to the big woofers, mid range to smaller woofers and high range to the tweeters.
Here we introduce our ADDAC607,a mono 3 band Crossover featuring 4 pole, 12db Sallen-Key active filters and volume controls for each band. Although ADDAC607 operates in Mono (for Stereo signals two modules can be used) there are 2 audio inputs that allow an easy way for Stereo to Mono summing. The [MONO SUM OUT] carries this summed signal. This output is pre-gain and can also be use as a buffered Thru output.
The possibility to split the signal into different bands makes possible several usefull processes, as examples: - Independently process specific frequency ranges like adding delay only on the high range band - Split a signal to feed 3 compressors for multiple band compression - By controlling the [GAIN] knobs they can act as “kill” switches in DJ mixers to remove a whole band from the mix
This module is also a great companion for our ADDAC220 Dual Envelope Follower+ allowing to extract the dynamics from any signal in a focused frequency range allowing to, as an example, separate a kick drum from a snare.
There are three switches to select the bands operating ranges: 2KHz, 4KHz and 8KHz for the high range 370Hz, 620Hz and 1KHz for the low range
The three [GAIN] controls set the volume for each band. At noon they are unity gain, fully CW they are x2 amplifiers."
"What do rising sea-levels sound like? How might we listen to the temperature of the oceans? What rhythms can we hear in the increased frequency of intense hurricanes/cylones? Can we imagine mounting CO2 emissions as a crescendo of dissonance?
This piece uses a data sonification module (Loud Numbers) to translate spreadsheets of climate-change data into MIDI cc values. An interface (CV.OCD) then converts the MIDI to voltages to control my modular system. ADDAC’s Swell Physics’ CV inputs for swell size, agitation, offset, etc. are ideal for modelling the complex, unpredictable effect of rising sea levels, sea temperatures, and storm intensity, on ocean waves. Meanwhile, Disting EX’s 'spectral freeze' algorithm is processing ocean-related songs.
Despite the fixed data on the spreadsheets, this patch generates different sonic results each time it is played – thanks to the chaotic behavior of Swell Physics. I am planning a longer, ~30 minutes version for a public performance, with video visualization/projection of the data.
Category 3+ storms: Tropical Meteorology Project, Department of Atmospheric Science, Colorado State University (calculated from National Hurricane Center, the Central Pacific Hurricane Center and the Joint Typhoon Warning Center), https://tropical.atmos.colostate.edu/...
Global Average Absolute Sea Level Change, 1880-2023: United States Environmental Protection Agency (data soures: CSIRO, NOAA), https://www.epa.gov/climate-indicator...
"The ADDAC220 is an analog/digital hybrid stereo/dual envelope follower designed for better dynamic range analysis!"
0:00 Intro 0:16 Audio gain 0:28 Clip LEDs 0:36 Attack and decay 0:49 Log Exp control and envelope gain 1:00 Offset 1:08 Gate out and threshold control 1:21 CV, inverted CV and average outputs 1:35 Stereo / Dual mono switch 1:47 Dynamic range 2:03 Off, dynamic and romalized mode 2:45 Auto-wah 3:53 CV and inverted CV outs together 4:30 Effect processing 5:27 Beat detection 6:24 Gate behaviour
"This is our new Stereo Envelope Follower, an analog/digital hybrid for better dynamic range analysis. The incoming audio signal gain can be set with the [GAIN] control, the signal is then fully rectified and passed through an analog envelope follower with a fixed short attack and decay.
This analog signal is then sent into a 12bit ADC (analog to digital converter) of an MCU (microcontroller unit) from here on the signal is processed digitally. Whenever the ADC detects clipping the [CLIP] led will turn On.
The digitized signal is then passed through a Savitsky-Golay filter for noise reduction smoothing the incoming signal. Next the signal is slewed using the [ATTACK] and [DECAY] controls. The MCU keeps a history of the last sampling points and detects the minimum and maximum values of the signal which reflect the current dynamic range and maps the signal minimum and maximum amplitude to 0V and the maximum voltage detected. Avoiding the discharge of the analog envelope capacitor.
This new mapped signal is then processed via the [RESPONSE CURVE] control balacing the response like one would with a standard AD envelope with LOG/EXP control. The [ENV. GAIN] attenuverter control goes up to x2 amplification and sets the attenuation / amplification factor of the output range, the red led monitors this level. The led uses pwm control for faster response and better visualization of the output signal across the full output range.
Finally the [OFFSET] allows to displace the signal’s voltage up or down.
The [THRESHOLD] control sets the level to compare to the output signal and turns the [GATE] output On when the signal is above the threshold. The [GATE LED] show the output state. The [CV OUT] carries the Envelope signal (0 to +10V) while the [INV. CV] Output carries an inversion of the signal (-10V to 0v). The [AVG. OUT] outputs the average of both Left and Right CVs (0 to +10V) while the [INV. AVG.] outputs the inverted average signal (-10V to 0v). The [STEREO / DUAL MONO] switch allows to use the left channel controls to operate the right channel for stereo operation or keep them independent in dual mono. In Stereo mode only the Right channel gain will be independent.
"Addac sent me over their latest module: the Stochastic Voltage Generator. It inspired me to delve into the eccentric history of stochastic (or aleatory or chance) music, from Mozart to Marcel Duchamp, John Cage, Morton Feldman, and Iannis Xenakis -- and from Buchla, Moog, and Arp to Eurorack.
The accompanying patch is inspired by Feldman's graphic scores (especially the early "Projections" scores). David Cline's detailed book, The Graph Music of Morton Feldman (Cambridge University Press, 2016), was crucial to understanding Feldman's scores and his complicated relationship to indeterminacy."
Controlled chaos : ADDAC 511 - Stochastic Voltage Generator
"This is ADDAC511 by ADDAC System, a fully fledged 4 channel voltage generator capable of all things random, with quantization, probability, distribution, interpolation, time control, clock, states and a 32 step sequencer!"
0:00 Intro 0:26 Overview 1:10 Main screen and buttons 1:36 Channel selection, holds and mutes 2:40 States and their secondary functions 4:51 Voltage screen 6:50 Probability screen 7:38 Quantization screen 9:19 Voltage distribution screen 10:32 Gate out screen 11:52 Smooth screen 13:50 Lock screen 16:26 Time screen 17:24 Time divisions screen 18:15 Clock screen 20:08 CV and logic screen 21:28 Presets screen 21:50 Menu screen 22:40 Patch 1 24:25 Patch 2 25:57 Patch 3
Check with dealers on the right for availability.
"At ADDAC System we love all sources of unpredictability be it by randomness or signal complexity. This module greatly expands on the principles of our ADDAC501 Complex Random from 2013.
This is a fully fledged 4 channel voltage generator capable of all things random, with quantization, probability, distribution, interpolation, time control, clock, states and a 32 step sequencer.
The module panel features a screen for parameter editing, and each button offers access to a single page of changeable parameters. This allows for a fast and fluid workflow across all settings so users can focus on their music. The combination of two encoders along with push buttons allow swift navigation and editing across all pages and their respective settings.
FEATURES
4 independent channels with bipolar CV / Gate outputs and Clock Input that allow all things random.
Each channel can be set to generate either continuous Voltages, Envelopes or as a Quantizer.
Controls over Voltage Range, Quantization with custom scales, Probability, Distribution curves and Smoothing, plus time and bpm ranges, time distribution curves and several clock sources.
A 32 step sequencer per channel that can work completely independent or in sync.
Mutes and Holds per channel.
3 States per channel allow very fast settings changes, from smooth to drastic transitions.
8 Assignable CV inputs and 4 Gate inputs can be internally mapped to any setting of any channel.
3 configurable Logic / clock outputs allows complex logic events comparing different ins & outs or as clock outputs.
Average CV output of all 4 CV outputs. Easy VCO tuning available in the Menu.
Calibration and mapping of all 4 CV outputs is also allowed through the Menu"
"I don't often publish pure jams like this, but I've been asked quite a few times bout that so I decided to set all things up and do an ambient work.
this jam features :
Bastl Pizza
Bastl Waver
Bastl Neo Trinity
Doepfer A-124-2 Filter
Doepfer A-140 2
Michigan Synth Work Monsoon
QU-Bit Data Bender
ALM Cizzle
ALM MFX
XAOC Zagrzeb
An yet to be released module from an european maker
ADDAC SYSTEM Case"
"Exploring the new-ish module from Addac: Swell Physics. A brief explanation of the module, followed by two patches. Both rely heavily on stereo, so headphones recommended.
1:41 Ocean Bloom
5:09 White Squall
Addac sent me this module, but had no say over the content of this video.
Source for info on Gerstner: J. B. Zirker, The Science of Ocean Waves: Ripples, Tsunamis, and Stormy Seas (Johns Hopkins University Press, 2013) – very accessible, highly recommended!"
"This is ADDAC310 by ADDAC System, a creative and fun approach to modulation which lets you use your breath to interact with your modular synth!"
0:00 Intro
0:13 Melodica pipe and sensor
0:35 The demo starts
0:45 Attack and decay
1:03 Gain
1:21 Offset
1:45 Response
2:08 Hold
2:32 Inverted CV outputs
3:09 Gate outputs and threshold
3:22 Gate output follow modes
3:42 Gate output hold modes
4:03 Patch example"
"This module expands our line of expressive controls, it follows the heritage of wind/breath controllers with one major diference: the pipe has no air escape creating pressure inside the tube controlled by the user’s mouth. For a seasoned woodwind or brass musician this working principle may sound unorthodox, however this way pressure can be controlled for longer without the need to breath in or learning circular breathing techniques. It’s relatively easy to control the pressure in your mouth while still breathing through the nose.
The module is provided with a standard melodica pipe which connects to an air filter (providing a receptacle for condensation to form and isolate the sensor) and lastly connects to the module frontpanel.
The signal captured by the sensor is then sent to two independent sections with exactly the same functions as seen in the signal flow diagram below.
As an example the two sections can be used with diferent settings to independently control the VCA and VCF of any standard analog voice patch.
PIPE
We’re using a standard Melodica pipe into an air filter that will keep condensation away from the sensor. The air filter is then connected to the frontpanel sensor input using a silicone tube.
SENSOR CALIBRATION
[RESPONSE] is the main control to calibrate the pressure curve, the knob goes from exponential to logarithmic with linear at 12 o’clock. Exponential will be more reactive to high pressures, logarithmic to lower pressures.
HOLD FUNCTION
This feature allows to hold the current voltage value with the hold is engaged (button led on), the state can be changed either by the push button in a latching manner (push to change state) or via the gate input in a momentary manner (hold on while gate is on)
"ADDAC813 Stereo Mixer+5 features 5 stereo channels, 4 of them with attenuators, a mono send/return path for parallel processing plus stereo and mono outputs. Th mono send/return path allows for easy integration of mono effects in a stereo chain!"
0:00 Intro
0:08 Main features
0:30 Pre-fader mono effects loop
1:02 Granular freeze
1:17 Line or synth level
2:06 Mono filter on stereo drums
2:54 Mono filter on plucked strings
3:52 Mono distortion on stereo VCO
"ADDAC813 is a straight forward stereo mixer. Featuring 5 stereo channels, 4 of them with attenuators, a mono send/return path for parallel processing plus stereo and mono outputs
Four channels with stereo input and gain knob. Fifth channel with stereo input without gain knob, which are the prefered inputs to cascade several ADDAC813s when more channels are needed. Master Output controls the level of the Inputs mix. Two leds monitor the inputs mix.
Mono Send / Return return path allows for easy integration of mono effects in a stereo chain. Plug your favorite module through it (filter, bbd delay, spring reverb...) or any mono pedal.
The Return Gain works in parallel with the Master Output, just like regular wet / dry controls. The send output can be configured to be line or synth level via a jumper in the back.
Stereo output sums the Inputs Mix with the Return signal. The Mono output is the sum of Left and Right outputs
Effect Pedals Using the send output at Line level, the user can connect the send output directly into mono effect pedals and have the pedals output connected directly into the return input without the need of an attenuator/amplifier module."
"The ADDAC508 Swell Physics by ADDAC System is a CV generator based on the simulation of a physical system: ocean swells!
0:00 Intro 0:08 Design concept 0:56 Let's start 1:25 Unipolar and bipolar switch 1:39 Connecting the outputs 1:51 Swell size 2:42 Agitation 3:24 Spread 3:31 Mode A - scrolling 4:14 Mode B - evolving 4:52 Sim. speed 5:55 Output gain 6:05 Clipping the waveform 6:11 Clipping modes 6:18 Fold mode 6:31 Thru mode 6:50 Limit mode 7:14 Offset 7:29 Gate outputs 7:35 Gate 1 less than 2 7:50 Gate 3 greater than 4 8:18 Average output 8:53 Offset and output gain CV IN switch"
"Following our ADDC503 Marble Physics here is a new simulation of a physical system. This time imagine a small area in the middle of the ocean, in this area we place 4 equally spaced buoys anchored to the bottom in such a system that we can control the spacing between the buoys. Imagine we can control the elements and agitate the waters at will which in turn will make the buoys move up and down as the water surface moves.
Finally imagine the buoys would wirelessly transmit their absolute height directly to your module outputs where they would be mapped to a voltage signal.
We use a Gerstner Wave as the motor behind the two-dimensional wave generation. In fluid dynamics a Gerstner Wave is described as “a progressive wave of permanent form on the surface of an incompressible fluid of infinite depth”. Gerstner waves are often used in computer graphics to simulate any type of water surface, if you’ve seen any animation film or computer game with water surfaces in it most probably it features a Gerstner wave generating it."
"ADDAC309 CV to Expression allows a simple and straightforward connection between your modular synth and effects pedals that features expression pedal TRS inputs!"
"ADDAC309 CV to Expression allows a simple and straight forward connection between modular and effect pedals that features expression pedal TRS inputs.
Instead of using an expression pedal into the effects pedal the user can use this module in between a CV source and the Effects pedal to be controlled.
This is a great way to control the available parame- ters on the effects pedals straight from a CV source.
ADDAC309 features 2 channels each with a CV Input with attenuator and a 1/4’ jack output.
This is a passive module, the power needed for operation is taken from the pedal power instead of the modular frame, this allows for perfect matching of the pedal’s operating voltage which can range from 3.3v to 9v."
Introducing a limited edition re-release of this iconic electronic instrument in a modular format.
This limited edition of 75 units is a tribute to the pioneering work of Dutch musician and instrument maker Michel Waiswisz (1949 - 2008), who first invented the Cracklebox with Geert Hamelberg in the late 1960s.
The Cracklebox was a small, handheld device designed as a way to explore new sonic territories. It was one of the first electronic musical instruments to use circuit bending techniques in the creation of electronic music. It allowed musicians to manipulate and control electronic circuits in real-time, creating a wide range of unique and experimental sounds. He used a circuit from a toy piano as the basis for the instrument, and then added a series of touch-sensitive pads that were connected to the circuit. When a player touched one of the pads, the circuit would be completed, producing a crackling sound.
The Cracklebox was probably the first commercialy available portable selfpowered alternative 'keyboard' analog electronic instrument with inbuilt loudspeaker. In the 1970s about 4000 Crackleboxes were built and sold by STEIM in Amsterdam.
Nowadays many people refer to the The Cracklebox as the archetype of 'glitch' or 'circuit bending'.
In the decades since its invention, the Cracklebox has continued to be an important and influential instrument in the world of electronic music. It is still in use today, and is considered a classic example of the potential of electronic music to create unique and innovative sounds.
This Eurorack recreation includes a 9v battery, swappable through the frontpanel, this allows to isolate the current flowing through the user's fingers from the Eurorack frame PSU, protecting the user from undesired electrical shocks. We also removed the internal speaker and used a transformer instead to isolate the output signal.
The output generated can be used as an audio, as a gate or a cv signal, when using it as a cv source, due to the specific qualities of the signal, users may want to send it through other modules as slews, sample and holds, quantizers to tame/control it's peculiar cv output.
Controls: - The module features an on/off switch to turn off the 9v battery (remember to turn it off when you turn off your Eurorack system). - A Power Starve knob, reduces the 9v voltage feeding the circuitry changing it's overall timbre/pitch - An Output Gain knob to control the output volume. - A Boost switch to add more presence to the signal.
Tech Specs: 12HP 5.5 cm deep 20mA +12V 20mA -12V 9v battery required
"ADDAC107 Acid Source by ADDAC System is a full synth voice particularly suited for acid style music, as well as nice distorted leads and basslines! =)"
0:00 Intro
0:29 VCO
0:59 VCF
2:19 Input gain and VCA decay
3:38 Max resonance
4:14 Saw + input gain
4:40 Triangle + input gain
5:38 Slower attack
6:20 Accent input
7:10 Kicks and sweeps
"We started this module with the idea of developing a complex drum source however, somewhere along the process, we noticed how much better it performed as a synth voice and simply embraced this lucky accident.
It features a VCO with a [FREQUENCY] and [FINE TUNE] knob plus a dedicated CV Input and Attenuator knob (tunable over 4 octaves).
The VCO waveform output is achieved by selecting either a Triangle or Saw through a switch. the selected waveform can then be mixed/balanced against the square wave. The resulting mix is then sent to the Filter.
The Filter features a [CUTOFF] and [RESO] resonance knob plus a Cutoff CV Input and Attenuverter knob.
A 3 position switch is used to select the filter type: Highpass, Bandpass or Lowpass.
The resulting output is then sent to the VCA.
The VCA features an Input with [INPUT GAIN] knob which at maximum can amplify the incoming signal by a factor of 2.
This is a very important control, it accepts any signal Trigger, Gate or CV. Whatever input is plugged in the signal is then fed through an AD with a very short attack and controllable decay through the [VCA DECAY] knob plus the CV Input and Attenuverter knob. The resulting slewed signal is then used to control the VCA gain.
This signal is also sent to the CV OUTPUT as well as the LED monitor.
The Accent input adds to the Input signal creating a different amplitude output
The CV OUTPUT is normalled to the Frequency and Cutoff inputs.
This module will also be available as a full DIY kit."
