This one is in via GreyScale aka plantssystem whose videos you have likely seen on the site.
"GreyScale is a compact, self‑contained MIDI sequencer built entirely around the Raspberry Pi Pico (RP2040).
Its minimal hardware footprint hides a surprisingly deep generative engine, combining Euclidean rhythm generation, step sequencing, probability control, and evolving melodic behavior.
The clean GreyScale UI provides immediate visual feedback — step activity, Euclid parameters, probability states — all rendered on a crisp LCD. A joystick and four dedicated buttons offer fast, tactile control, keeping the workflow musical and instrument‑like rather than menu‑driven.
GreyScale runs completely standalone with standard MIDI output, making it an ideal partner for hardware synths, desktop modules, or DAW setups.
Designed for spontaneity and long‑form generative performance, it encourages exploration and rewards experimentation.
A small instrument with a refined feel, GreyScale blends DIY charm with a polished, modern sequencing experience."
About this Pack
This updated sample pack is composed entirely with Serge Modular Synthesizers — systems known not for emulating instruments, but for redefining how sound is shaped.
Included are raw noise textures, slowly morphing drones, and intricate one-shots captured through extensive patching with Random*Source Eurorack modules and classic Paperface 50 series panels.
Each sound reflects the chaotic elegance of analog voltages in motion. You’ll hear modulations that escape grid-bound sequencing, and timbral behaviors that emerge from complex feedback, slewing, and intermodulation — the kind of detail digital systems rarely capture convincingly.
Why Serge Matters
Serge Modular was designed in the 1970s by Serge Tcherepnin. It was created as an open-ended tool for sonic experimentation. Influenced by cybernetics and avant-garde composition, this system rejects musical hierarchies and embraces uncertainty.
In Serge, control voltages and audio signals are treated as equals. The circuits invite exploration through feedback, cross-modulation, and unpredictable interactions. Every patch is a process of discovery rather than reproduction.
This makes Serge a powerful choice for artists seeking sounds that are not pre-shaped or confined by rules. The textures you will find in this pack are unstable, alive, and deeply human.
After sculpting sound in space with The 3B, The 3FX explores the creation of sound spaces capable of transcending all your instruments.
ARCHITECTURE
The heart of The 3FX is built around three fully independent effect voices, each based on a coherent 8-module architecture:
Two delays per voice, usable in series or in parallel An advanced, progressive feedback path up to controlled self-oscillation An analog 12 dB/octave multimode VCF (BP, LP, HP) to optionally process the audio spectrum, both on the delay lines and on the dry signal Independent levels for the dry signal and each delay line A panorama control to position the voice within the stereo field. The stereo input signal is distributed across the three voices: left / left + right / right. A mono signal is distributed across all three voices. Each voice can be used alone, stacked or combined with the others to create textures impossible to achieve with a conventional delay.
Check with dealers on the right for availability and price.
Playlist:
1. CITADEL ALCHEMIST & Kastle 2+Citadel DIY Kits & more NEWS from Bastl!
We built a fantasy world of magical music machines with the FX Wizard multi-effect, the Wave Bard sample player and the Alchemist synth that live in battery powered Kastle 2 format and the Citadel eurorack version. We are excited to not only announce the late arrival of the Citadel Alchemist Eurorack module to the party, but to let everyone know that all the instruments are now available as DIY kits and that we are partially open-sourcing it so the world we started could be expanded by many others."
2. Bastl CITADEL Alchemist - All Synth Modes preview
"A complete preview of Alchemist's Synth Modes with a quick preview of the Dual FX and a small jam."
Chapters:
00:00 Filter
00:44 FM
01:32 Supersaw
02:25 Hypersine
03:24 GlitchNoise
03:41 Dual FX
04:27 Small Jam and patching
3. Hello Alchemist ! Bastl Citadel synth engine rave to experimental - Stazma and Bastl Instruments
Alchemist is now EURORACK... into the CITADEL!!!!!
So here we go checking out how this synth engine will play out with his other citadel friend the Wave Bard in breakbeat torture mode.
Also a cool oportunity to play around the Diktaat from Mzourack to trigger both units in a performative way.
Citadel Alchemist is a patchable hybrid-synthesis based eurorack module that empowers you in discovering melodies and even harmonies despite being monophonic. Patch programmable sequencing via the control signals into the two PITCH MOD inputs opens up a world of melodic inspiration beyond classic arpeggios while staying in your preferred SCALE.
5 synthesis modes The Alchemist has a carefully tuned wide timbral range spanning across 5 synthesis modes (FILTER, FM, HYPERSINE, SUPERSAW and GLITCHNOISE) accessed by main TIMBRE sweep that is refined by the RATIO control.
The ENV macro knob affects different parts of the synth and sequencing engine to maximize musicality and it even lets you continually morph between the synthesis modes and access truly unique sounds. The timbral palette is further extended by the dual FX section which offers either a wide delay that will smear the arpeggios into echoed harmonies or a chorus-flanger-distortion-combfilter macro custom tuned for each synth mode. You can also access gliding rubber textures with the PITCH SLIDE macro that applies pitch envelope and portamento. You can customize its rhythms and scales with the web-based editor. Modulate anything All main parameters can be modulated and tightly sequenced by the surprisingly powerful CV and GATE pattern generator. Create groovy off-grid beats using the built-in LFO, which can be synced, reset, or left to run freely.
"Cric is a fully-analogue patchable synthesiser, designed to showcase our approach and attitude towards subtractive sound synthesis. It is not a clone or derivative of a pre-existing musical instrument, nor is it simply our Eurorack modules cased up in a box. Whilst some of Cric's functionality descends directly from our experience in designing modular synthesiser components, it has been designed as a fully fledged, standalone instrument, which can easily be introduced into an existing electronic music studio, or even form the heart of an entirely new set-up.
Rock solid voltage-controlled oscillators give the user both pitch precision and FM flexibility. A comprehensive filter section affords timbral sculpting from basic filtering to total transformation of incoming tones. Four cyclical function generators can be used as envelopes, LFOs or even audible VCOs. Pin matrix patching allows for the synthesiser to be configured as a standard triple-VCO subtractive synth, or a paraphonic synth, or a drum machine, or a noise box, and so the list goes on. Four inputs and outputs allow for audio processing, external CV control, feedback routing and more - there's even a microphone pre-amp on input 1. Steel casing, Mirrl -clad HIMACS end-cheeks and hand assembly and testing ensure a rugged and durable build quality.
Technical specifications:
Oscillators : Three SSI2131-based analogue VCOs in Recombination configuration, white noise generator Filter : SSI2164-based 18dB/octave state-mixable analogue VCF, with wave-folding, based on the Timbral Sculptor Dynamics : SSI2164-based VCAs present in DNA oscillators, filter section and as a standalone VCA Modulation : Sample and hold + four cyclical function generators offering AD and ASD envelope configuation, cycle mode, and slope and pulse sources Routing : 24 source x 32 destination active pin matrix allowing for splitting and summing of all signals I/O : Four DC-coupled inputs and outputs for multi-channel audio and CV use. Microphone pre-amplifier assigned to In 1. Headphone amplifier on Out 1 Dimensions : 550 x 310 x 80 mm, 5.3 kg Power : +12VDC (centre positive, 2.1mm barrel jack connector), 2.5A, PSU included"
CALGARY, Alberta – January 13, 2025 – iConnectivity today announces the highly anticipated follow-up to the industry-standard PlayAUDIO1U, the new PlayAUDIO2U. Building on a reputation of made-to-tour live performance solutions, the PlayAUDIO2U sets a new benchmark for professional touring rigs with a powerful 24 balanced XLR output configuration and four pristine, ultra-low noise microphone preamps. The PlayAUDIO2U interface maintains and improves upon iConnectivity's famous redundancy failover protection for touring musicians, production companies, and any live event where failure is not an option.
The PlayAUDIO2U introduces not only an expanded output count of 24 panel-reinforced XLR outs but also integrates versatile new concepts into iConnectivity's PlayAUDIO range. Four pristine, studio-quality inputs are perfect for injecting vocals, guitars, synths, and other instruments for live processing—all while enjoying iConnectivity's famous redundancy protection.
iConnectivity has always been known for robust MIDI integration. The PlayAUDIO2U is the first of iConnectivity's interfaces to feature built-in MIDI control via integrated control buttons on the front panel of the interface, allowing convenient, hands-on control of your performance.
The physical build of the PlayAUDIO2U might be its most revolutionary innovation, combining extensive inputs, outputs, and extreme MIDI connectivity into one rugged 2U rackable enclosure. All I/O ports are specially reinforced to withstand the rigors of daily touring—designed to be plugged directly into stage boxes and house sound systems every day. You can say goodbye to complex, fragile setups. Now building a reliable touring rig is as simple as installing a single PlayAUDIO2U in a rack.
"Make Noise Modular Synth Sample Pack: https://akihikomatsumoto.sellfy.store...
Unlock the unparalleled sonic potential of Make Noise with our exclusive sample pack.
Crafted entirely using their signature modules, this collection offers raw, experimental tones and complex textures that push the boundaries of sound design. Perfect for forward-thinking music producers looking to infuse their tracks with modular warmth, unpredictability, and depth."
"'I had a blast creating this patch on a giant Joranalogue eurorack system. I implemented a lot of small tricks, let me write out the main ones down here...'—Simon
Kickdrum --------------- Filter 8 is getting pinged by a clock pulse (generated with a looping Contour 1), routed through Warp 1. A second Contour 1 is used to modulate the frequency of Filter 8. A Step 8 being clocked with the same pulse from Contour 1 is modulating the exponent parameter on Warp 1 (controlling the amount of distortion/waveshaping). The pattern is 7 steps long. By adjusting the exp knob manually I have additional control over the distortion.
This granular chord resynthesizer takes your audio, slices it into grains, and reconstructs it into chords, clusters, and shifting harmonies. Paired with a shimmering reverb that adds glowing tails and angelic overtones, Granulita can turn even a single oscillator into something lush, cinematic, or beautifully haunted.
Granulita is part of the Versio platform, so once you’ve got your hands on this module, you can swap the firmware with any other Versio effect for free. Unpower the module, plug in the USB, and visit noiseengineering.us to make the swap.
Noise Engineering announces Granulita Versio, a granular chord resynthesizer and shimmering reverb.
Contact: kris@noiseengineering.us
Los Angeles, CA — Noise Engineering, known for their innovative platform modules, has released Granulita Versio, a granular chord resynthesizer and shimmering reverb.
Granulita Versio offers a simple solution to a complex modular problem. Chords, while beautiful, are difficult and resource-heavy to patch in a Eurorack system. Granulita solves this by generating harmonies for any input signal using a unique granular process. The Chord and Voice parameters allow the user to choose a chord and the note that follows the input signal.
The unquantized Pitch parameter adds an extra layer of harmonic options via transposition, detuning or vibrato.
For fans of granular processing, the Count and Length parameters will be familiar, Granulita can generate any number of grains from zero to 32, and grains can be 16 milliseconds to four seconds long. A modal trigger input and manual button add to the granular fun: freeze grains, sync their playback to an external clock or tap tempo, or use a trigger sequence to manually fire off grain playback.
No granular module would be complete without some atmospheric effects, so Granulita also adds the simple Verb parameter to add in some space. Below noon, small echoes put a patch in a realistic space – but turn up the parameter to add in shimmering octave overtones and feedback into infinity.
Part of the flexible Versio platform, Granulita will be available as an alternate firmware for all Versio owners, completely free, at the Noise Engineering firmware app. However, Granulita breaks the mold with a limited-edition hardware release: only 100 Granulita Versios with exclusive art will be produced, the perfect purchase for collectors or, perhaps, as a holiday gift for the granular enthusiast in your life.
Granulita Versio’s limited run starts December 11th at https://noiseengineering.us and at retailers globally.
Features ● Turn a monophonic signal into a full chord with ease ● Easily create gentle or ominous timbres from any input ● Modulate between 16 resynthesized chord shapes using the CV-controllable Chord and Voice parameters ● Use Count and Length to change the number and size of grains ● Add subtle atmosphere or shimmering, infinite reverb with the Verb parameter ● Create massive soundscapes or use external triggers to fire or freeze grains ● Play grains forwards, backwards, or in random directions
Availability and pricing: Granulita Versio: Limited run in stock. Shipping from Noise Engineering and retailers starting December 11th, 2025; MSRP US$393
"When the Cocoquantus2 first appeared, it didn’t just find an audience—it created one. Musicians, experimentalists, producers, and curious tinkerers fell in love with its organic chaos, character, and uncanny ability to turn accidents into art. It became a modern cult instrument because you couldn’t play it without forming a relationship with it.
Café Quantum continues that lineage with reverence—then boldly invents a new chapter.
At its core, Café Quantum preserves the tactile immediacy and playful unpredictability of the Coco ecosystem. But surrounding that familiar heart are entirely new tools designed to make the instrument feel more alive, more intelligent, and more expressive.
One of the biggest leaps is the open-source programmable engine. For the first time, players can write their own behaviors—little sonic personalities— at the Cafe modules, one for each side, and the Quantum module can carry them out by patching points. Whether it’s generative patches, evolving modulation, rhythmic structures, or strange autonomous rituals, the instrument becomes a creative partner. And thanks to the dedicated banana sockets, these behaviors integrate directly into the patch ecosystem. The Cafe module becomes a blank page for your imagination, shaped as far as your coding skills can carry you
The preamp has grown up too. Now it features a Norton gain character and adds a VCA input, making external dynamics, sidechaining, and voltage-controlled level manipulation feel effortless. On top of the newly redesigned preamp features you still have the envelope follower that opens the door to all sorts of expressive interactions between incoming audio and internal modulation.
Then comes the new magic trick: A radio-based gestural controller sits atop the entire system, allowing 4 hands-free modulation reminiscent of a theremin. Move in space, and the instrument responds—pitch, delay time, grain density, feedback paths, whatever you choose. It transforms performance from knob-twisting to full-body expression."
"Over the last month, we have been recording videos for our Instagram channel. Here is a compilation of some of the clips!
In the video, the A-121-S stereo filter is mainly used as an end-of-chain filter. In combination with the A-149-4 quad random voltage source, it is possible to add modulation to the stereo field.
The feedback path was often patched in the clips, for example with a bandpass filter that had high resonance. This can lead to some pretty crazy sounds, as you can hear!
Another interesting thing to try is playing really high or low notes. Some of these the BBD is unable to track, which results in some quite nice glitches.
The A-188-9 and A-188-1 BBD combo offers a wide range of sound possibilities and often produces happy accidents. It's totally worth trying!
Questions? Let us know!
Module A-188-9 is a so-called high speed VCO that tracks prefectly to the 1V/oct scale in the frequency range of about 15kHz ... 500 kHz. The main application is the exact drive of BBD modules (A-188-1/2) to generate sounds realized by means of the so-called Karplus-Strong synthesis. But even in cooperation with other modules featuring high speed inputs (e.g. digital noise, delay, frequency divider) the A-188-9 makes sense. In principle, the module is made of a precision audio VCO followed by a PLL (phase locked loop) unit that multiplies the frequency of the audio VCO by 32. Thus the module can be used also as an audio VCO as it features the standard waveforms sawtooth, triangle and rectangle with adjustable pulse width."
For a long time now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?"
But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic. Oddment has evolved too. Starting from one quirky product idea, in 3 years we have grown and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many.
So with much consternation, we have decided to drop the name groc. When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1.
This is the first in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off half of the encoders that control the granular synthesis engine - the PLAYHEADS function. Here you can control the level, starting point, tuning (aka pitch adjustment) and playback speed for up to 4 different granular playheads. The auxiliary functions available on the touch screen introduce random variability in different ways.
2. ODD-1 Overview: Grains
This is the second in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the second half of encoders that control the granular synthesis engine - the GRAINS function. Here you can control the size, spacing, left-right placement, and grain window shape. Each control also has a related function, introducing grain size variability, spacing jitter, binaural scatter, and a front-back bias for the window shape. The auxiliary functions available on the touch screen control a bandpass filter that can be randomized per grain and adjust whether grain size is regulated in the source sample or in the output signal, which can have a big impact on sound characteristics.
3. ODD-1 Overview: 03 Envelopes & Time Path
This is the third in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the ENVELOPES function. Here you can control the note amplitude envelope and timing, access 3 envelopes that can be used as modulation sources, and use our unique TIME PATH feature to dynamically adapt the playback speed.
4. ODD-1 Overview 04: Sample
This is the fourth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the SAMPLE function. Here you can choose a sample from the factory library or user-uploaded samples, control the playback mode and the section available for granulation, play and hold notes, set loop points and interact with pitch, tempo and channel information of the sample. We also show the auto pitch and tempo alignment features.
5. ODD-1 Overview 05: LFOs, Macros, Patching
This is the fifth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the LFOs, Macros and how to create modulation connections. There are 4 LFOs, 3 Envelopes, 4 Macros (assignable knobs), 4 Control inputs and MIDI information that can all act as modulation sources. Any parameter on the device is a parameter destination. Unlimited connections are made by holding down a destination parameter and then pressing or twisting a modulation source.
6. ODD-1 Overview 06: Filters, Saturation, Echoes
This is the sixth in a series of videos to show all of the ODD-1's functions in more detail. In this one we show off the Filters, Saturation and Echoes modules. Two filters and two saturation modules per voice, both with multiple types of processing and modulatable parameters, allow for transformation beyond the granular engine. Two echoes sections with filtering and distortion in the feedback loop and fully modulatable parameters make ODD1 worthwhile just as a modular effects rack!
7. ODD-1 Overview: 07 Layers
This is the seventh in a series of videos to show all of the ODD-1's functions in more detail. In this one we show the dual Layer functionality. Essentially the entire system is duplicated so the ODD-1 is like having a dual modular systems, each with a polyphonic granular engine feeding two filters and two non-linear processors per voice, with 3 envelopes, 1 time path, 4 LFOs, 4 Macros and a independent modulation matrix per layer. In these examples we also remind that granular can easily do subtractive-style synthesis when using a basic waveform as the source sample.
8. ODD-1 Overview 08: Reverb & System
The final video in our eight-part series on the ODD-1's functions focuses on the upper-left row where we have global volume, system-level reverb and can work with banks of patches.
The reverb is a classic matrix-style parametric reverb. Think of it like a whole set of interacting delay units with slowly modulating delay times. Ok now that you have that in mind, that's it, that's what it is. It sounds sweet.
If two layers of modulating, granular goodness with a fantastic reverb on top wasn't enough, how do banks of patches to store every twist and connection sound?
And from their newsletter:
What’s in a name?
For a while now we have tried to live by the words of the great Michael Bolton from the movie Office Space, "why should I change when he's the one who sucks?"
But language evolves, and unfortunately, the word “grok” has taken on associations that are problematic.
Oddment has evolved too. Starting from one quirky product idea, we have grown in three years and are now ready for manufacturing and fulfillment of this product, with ambition to make it the first among many. And with much consternation, we have decided to drop the name groc.
When we thought about a new name, we thought that what we have is a little unusual, perhaps a little outside the norm...you might even call it, the ODD-1.
And we plan to keep that off-beat attitude. We hope that brightly-colored friends, ODD-2 and ODD-3, will be along to join ODD-1 after not too long.
Build Updates
We have a lot of exciting progress to report since the last time I wrote. Hop over to our YouTube channel to check out a build update video and some in-depth functionality demos.
We debugged and fixed several problems with the circuit board including the power-up, line input and output, and noise on the control signal inputs.
We got several bids from contract manufacturers in the U.S. and around the world and selected Soldered, based in the E.U. They came highly recommended, and we think their experience will be a huge asset as we go into production.
We worked with Martyna Alexander to tweak the graphic design of the front and back panel. We are thrilled with the updates, including our new company and product logos.
We have first iterations of our custom firmware, enabling full functionality of the device and full USB connectivity to a host computer.
We have completed first versions of the software that include all audio, MIDI and system functionality we intend to support for the release. After many months of playing and testing we re-organized a few functions to expand both the number of concurrent grain “playheads”, and to support banks of patches intended for convenient switching and management in live performance.
@Ableton Move
Eurorack Modular:
Dust of Time
DNIPRO Krait
@NoiseEngineering Manis Iteritas
@Befacosynth Oneiroi
@intellijel 62hp Palette case + 1u modules
Live visuals using Just the Two of Us from Archive.org under a video microscope with live video feedback & @entropyandsons Recursion Studio
Video processed live through Resolume Avenue
Recorded with Rodecaster Video
WARP is a high-quality multi-purpose audio processing unit, able to add might and magic to almost any instrument. It contains 15 different effects that can be divided into three types:
Spatial effects — ranging from traditional reverbs to granular, experimental algorithms, with pitch-shifting, reverse and micro-loops. Most of the spatial effects feature extremely long decay times, all the way to infinity. With feedback ratios above 1 you can drive the algorithm into self-oscillation for creating endless, rich, lively soundscapes out of almost any sound. To keep the sound under control with reasonable headroom and tonal aesthetic, all the generative algorithms include dedicated modules to automatically control sound levels. Special effects — such as flanger, sample rate/bit reduction, vintage tape simulation. All special effects include unusual functions giving them a unique SOMA flavor. Dynamic effects and filters — compressors, distortions, filters. All the effects in this category can be applied to submixes, e.g. a rhythm section group, or even to the whole mix – so one can conventionally call them master effects. All the effects in this category also have their unique extended features, SOMA-style. All of that makes WARP a great unit for spatial processing of any acoustic or electronic instruments — guitar, vocals, strings, synthesizers etc., — as well as processing drums or complete mixes. WARP uses top-class audio chains and AD/DA-converters, same as those found in the best professional audio-interfaces made by APOGEE, FOCUSRITE, LEXICON, ECHOAUDIO, LINE 6, NOVATION. This prevents sound deterioration, even in such demanding situations as processing a complete mix. WARP has stereo inputs and outputs, compatible with both balanced and non-balanced connections. All of the sound processing is digital, including the MIX control. The AD/DA resolution is 24bit/48KHz. The internal digital processing resolution is 32bit IEEE.
WARP has a simple, intuitive interface, with instant direct access to all functions — perfect for playing live. Every processing parameter has a dedicated CV input, controllable via Eurorack systems and any CV source.
"Erica Synths - Fusion System in excellent condition
She’s a real screamer! Available for purchase on our used reverb page. Interested in trading in your gear for store credit? Shoot us an email! #synth #eurorack #modularsynth"
"Fusion System MK1 in excellent condition. This system has been fully tested. all modules function as expected and the modules all sound incredible!
Comes in an Erica Synths powered skiff with original PSU.
Erica Synths Fusion Drone System is here for those, who want to explore the dark territories of the sound, where only few have stepped in.
Vacuum tube based Erica Synths Fusion Series modules are the basis for this system, while Black Modulator and Black Envelope Generator add plenty of modulation and noise generation possibilities. It has 43 patchpoints for extensive experiments in sound design, all analogue signal and CV path to create the drones of massive power. Want a solid bassline with great 1V/oct tracking? Use CV/Gate sequencer or keyboard and you have it! Erica Synths Fusion Drone System brings distinct and powerful sound into eurorack.
Fusion Drone System includes:
Fusion VCO – Two double triodes in bistable latch connection act as suboscillators: -1 and -2 octaves with plenty of mixing opportunities for amazing sonic results. External audio signal can replace internal VCO.
Fusion Ringmodulator V2 – Germanium diodes enrich the sound by adding extra harmonic content meanwhile vacuum tube adds evilish overdrive to audio and carrier signals.
Fusion VCF V2 – Each side of the double triode drives signal between 2nd and 3rd stage of the filter, while germanium diodes are used to limit the output signal.
Black Modulator – a fully analogue modulation and noise source. Black 8-Multi – an advanced replacement for stackable patch-cables – it is active buffered multiple with signal status LEDs.
Fusion VCA V2 – a Russian miniature pentode 1Ж24B with power consumption comparable to an LED. Black EG – the ultimate control over envelopes in your modular system.
Fusion Delay/Flanger/Vintage Ensemble – a distinct multifunctional analogue effects module that combines BBD chip based effects with an adjustable tube overdrive in the delay output and a feedback path for extra thickness of the sound.
"Please welcome a new member of the Xaoc Devices Eurorack modules family. Zlin [zlin] is a small utility module (only 3HP!) that can act as an audio signal and CV cross-fader, a linear VCA with drone control, a ducking VCA, or a feedback controller. It is a tool perfect for any modular environment - a missing piece of the puzzle greatly enhancing the creative potential of any system. Use it to construct unusual waveforms, simulate classic subtractive-style dynamic timbre shaping without the need for any filters, or simply morph between rich signals.
As Zlin is DC-coupled and built around a modern high-quality dual VCA chip, it delivers a wide dynamic range with low noise and distortion. A slider potentiometer with an illuminated LED provides visual feedback of the module’s state. An auxiliary jack with three selectable functions adds further flexibility for creative patching.
Main features:
width 3HP
depth 32mm (including cable bracket)
+25mA/-15mA
voltage and manually controlled cross-fader
linear, DC-coupled VCA with drone and duck functions
feedback controller
visual indication of mix ratio
AUX jack for patching tricks
@Ableton Move
Eurorack Modular:
Dust of Time
DNIPRO Krait
@NoiseEngineering Manis Iteritas
@Befacosynth Oneiroi
@intellijel 62hp Palette case + 1u modules
Live visuals using Just the Two of Us from Archive.org under a video microscope with live video feedback.
Video processed live through Resolume Avenue
Recorded with Rodecaster Video
"Emerging from the Joranalogue labs are two exciting new additions to our ever-growing series of fully analogue Eurorack modules. Let's dig into this dynamic duo.
First up: like a sample and hold with a master's degree, Walk 4 combines four analogue accumulators with a clock generator, four white noise sources and an auto reset to create a 10 HP voltage stepping, arpeggiating and random walking juggernaut.
With full voltage control and independent value and trigger inputs for each accumulator, there’s always more stochastic patching to explore ahead. And if you need a reliable master clock source with a huge range, 1 volt per octave tracking and external reset—that’s covered, too.
Meanwhile, its partner Warp 1 is a new breed of analogue waveshaper, based on a precise mathematical relationship between input and output, governed by a variable power function.
From subtle timbral colouring to wild hyperbolic distortion, it provides a level of control that’s unprecedented in waveshapers, combining meaningful parameters, clear LED indication, complete voltage control and DC to supersonic operation.
Friend of the brand BRiES already went and made a couple of excellent overview videos—be sure to check them out below. And, if you want to be among the very first people to patch these modules up, drop by our booth at Machina Bristronica in Bristol (UK), on Saturday the 27th or Sunday the 28th of September!"
"In this video we’ll break down how common types of modulation for sound synthesis work, how to make the most of them creatively and musically. We’ll do so while demoing the new Triple Mod DIY module from Thonk. Whether it’s creating multi-phonic layered patches needed multiple envelopes, understanding how a Turing Machine works and performing with it, understanding and making Sample & Hold melodic, creating chain reactions with EOC ‘end of cycle’ triggers … there’s lots in this video applicable to LOTS of other modules."
"Channeling the spirit of John Cage, with the aid of ADDAC’s Servo module, a cheap radio, and a looper.
FURTHER NOTES: • feedback on the Disting stereo delay is set to 28, just below the 100% level (32), so that sounds eventually fade out. The transience of sound - and the futility of trying to capture it through recording - was a theme in Cage’s writing. • analog radio itself now seems to be fading away; several countries have already dropped FM. This kind of piece may not be possible soon. • to ensure intervals of silence (rests), Cage specified AM band, which had fewer stations. I opted here for FM, for the warmer sound, reduced static, and closer spacing of stations. • finding a radio that would work was a challenge. It had to be analog, with a headphone jack, and a simple frequency dial (1:1 ratio as Servo cannot go beyond 270 degrees). And the dial cap had to be removable. The only one I could find with all this was Studebaker Portable AM/FM Radio SB2002: https://studebakerhifi.com/collection... • To fit the Servo’s arm to the tuner dial, I needed an adapter (a coupler from my son’s old Meccano set fit perfectly!) My earlier video about ADDAC’s Servo: • When modules grow limbs: ADDAC's Servo [posted here]
SOURCES John Cage, Silence (1961) Andrea Valle and Amedeo Casella, 'Imaginary Landscape No. 4: study and annotation of the score,' Proceedings of the XXI CIM-Colloquio di Informatica Musicale (2016) Alana Pagnutti, Reception: The Radio-works of Robert Rauschenberg and John Cage (Smith+Brown, 2016) 'Bedlam on Radio Row,' New York Times, May 25, 1930, 144"
