Pico LFO/S&H, Pico Mixer and PSU Input Module now shipping; New Graphic VCO firmware update features ‘drum’ mode’Riga, Latvia, July 8, 2019 — Erica Synths announces three new Eurorack modules, available immediately. The new modules include two Pico units — an LFO/S&H and Mixer — as well as a new power supply unit (PSU) input module. Additionally, the company announced a firmware update to its Graphic VCO, which adds significant new features requested by customers and also includes minor bug fixes. Pico LFO/S&H Pico LFO/S&H is full analogue modulations source — including both LFO and Sample and Hold — providing a new dimension of controlled randomness to your modular setup in a small package. Pico LFO/S&HFeatures of the Pico LFO/S&H include: Full analogue circuitLFO with triangle and square wave outputsHighly stable S&H circuit based on AS1100CK2 ICInput and output protection against over-voltageProtection against reverse PSU connection Pico MixerPico Mixer Meantime, Pico Mixer is simple 3 channel DC coupled mixer intended to mix audio signals and CV signals in order to obtain more complex modulations. The unit may also serve as a CV and audio attenuator. The Pico Mixer Features:3 inputsDiode protection against over-voltagePSU Input ModulePSU Input Module If you would like to use rack ears to mount an Erica Synths 84HP enclosure in a studio rack, you may want to access the PSU connection from the front of the case rather than the top side. Then the 4HP PSU connection module is a solution for this.Recommended retail pricing for each new module is as follows: Pico LFO S&H – 80 EUR (VAT excl.)Pico Mixer – 50 EUR (VAT excl.)PSU Input Module – 15 EUR (VAT excl.)Graphic VCO firmware 1.1New Graphic VCO firmware update Erica Synths also announces the Graphic VCO firmware 1.1, available by following simple steps here and using the Erica Synths firmware updater app. By updating the firmware, users will be able to access the following new features and upgrades: DRUM mode (allows to use GVCO as a drum voice)Fine tuningCalibrationMinor bug fixes
New Black Stereo Delay is full of unique features and soundRiga, Latvia, June 13, 2019 — Tape and digital modes of delay, hold with overdub and delicate delay time and feedback control — in combination with CV and trigger control over various parameters — make the new Black Stereo Delay module from Erica Synths not only a great effects unit for your modular system, but also an instrument on it’s own.
Black Stereo Delay is a hi-fi stereo delay based on Erica Synths’ own custom DSP engine. It includes several different digital and ping-pong modes of delay, hold with overdub and feedback control and other features making it a versatile addition to almost any rack. Black Stereo Delay’s features include: Stereo delay with adjustable delay timeTape, digital and ping-pong delay modesTap and clock synchronization of delay timeReverse delay modeHold mode (samples up to 40” of audio) with Add (overdub) featureTrigger control over Hold, Add and ReverseCV control over delay time, dry/wet mix and feedbackFeedback path soft limiting compressionAdd to hold soft limiting compressionAdjustable stereo delay spreadFirmware update via audio bootloaderBlack Stereo Delay is available now and priced at € 310.00. For more information, please visit the Erica Synths Black Stereo Delay product page. ABOUT ERICA SYNTHS Erica Synths team of visionaries, engineers and musicians have been working hard to bring you modules and instruments that will set your modular system apart from mass in terms of how it sounds, looks and functions.
Prism is a multidimensional signal processor that creates a framework for the spectral metamorphosis of any input signal. This stereo audio buffer can be navigated through on 3 axis, each of which provides a different sonic journey through its array of time based controls. The X and Z planes are home to a flexible delay line capable of long clocked delays, slapback echo, or comb filtered vocoder-esque timbres. On the Y axis is the decimate control. This sets the audio fidelity of the buffer by manipulating the sample rate and bit depth of the output. A state variable filter with configurable low pass, high pass, and band pass outputs can be enabled at the beginning or end of the signal chain providing yet another dimension of spectral transformation. And thanks to its digital architecture, the current buffer contents can be locked in place with the Freeze control, creating glitch and beat repeat effects which can be synced to an external clock source. The Prism blurs the lines between DSP effect, filter, and looper and transcends into a new realm of uncharted audio processing.
Multidimensional signal processor
Stereo inputs and outputs
Flexible delay line providing long delays, and comb filtering
Bit depth and sample rate manipulation
State variable filter with LPF, HPF, and BPF
Freeze control locks buffer in place for glitch and beat repeat effects
Doepfer dives deeper into industry-standard Eurorack small-format modular system with quirky quintet of polyphonic modules
GRAEFELFING, GERMANY: having made musical waves during a show-stopping showcase of prototypes closer to home at SUPERBOOTH18 in Berlin, Germany, esteemed electronic musical device designer Doepfer is proud to globally announce availability of its A-111-4 Quad VCO, A-105-4 Quad Poly SSI VCF, A-132-8 Octal Poly VCA, A-141-4 Quad Poly VCADSR, and A-190-5 Polyphonic USB/Midi to CV/Gate Interface — a quirky quintet of polyphonic modules that sees the trailblazing company diving deeper into the now-industry-standard Eurorack small-format modular system standard that it initiated and popularised with its ever-expanding A-100 ANALOG MODULAR SYSTEM — as of March 1… Who better to throw light on the thinking behind this quirky quintet than company CEO Dieter Doepfer himself. “Modular synthesizers are almost exclusively monophonic structures since true polyphonic patches require a lot of modules — at least four VCOs, four VCFs, four VCAs, and eight ADSRs for a ‘classic’ four-voice patch,” he begins. “But even then it’s difficult to control filter resonance or modulation depth of all the filters, for example, or the attack and decay time of all the envelope generators simultaneously. So now it’s possible to integrate these functions into the modular synth world with our polyphonic modules, though the idea is not just to recreate a standard polyphonic synth within the modular system but rather realise new polyphonic structures that go far beyond a standard polyphonic synth and also far beyond the typical monophonic structures of a modular system since they still offer access to all parameters via CV or gate.” Getting going, then,
the A-111-4 Quad VCO module features four precision CEM3340-based — triangle core — VCOs (Voltage Controlled Oscillators), each with its own separate internal +/- power supply (to ensure stability and prevent unwanted VCO synchronisation). Each VCO has the same individual controls, and inputs/outputs, as follows: 1V/Octave CV In (Control Voltage input); +1 / 0 / -1 Octave switch; Tune control, with ~ 2 semitones / ~ 1 octave / ~ 4 octaves range selectable via internal jumpers; Mod. (modulation) CV In (Control Voltage input); Modulation Destination — upper position equals exponential frequency modulation (XM) and lower position equals linear frequency modulation (LM) or pulse-width modulation of the rectangle waveform (PM), selectable via internal jumper; frequency modulation (FM) or pulse- width modulation (PWM) of the rectangle waveform; Mod. Level (modulation intensity); triangle waveform output; sawtooth waveform output; rectangle waveform output — about 50% without external pulse-width modulation; SYC (sync) input — (CEM3340-type) hard or soft sync selectable via internal jumper; and minimum 10 octaves range (with appropriate external control voltage). Continuing further down its familiar (silver-grey) front panel, a Master section for all four VCOs includes the following controls and inputs/outputs: 1V/Octave CV In (Control Voltage input); +1 / 0 / -1 Octave switch; Tune control, with ~ 2 semitones / ~ 1 octave / ~ 4 octaves range selectable via internal jumpers; exponential frequency modulation (XM) CV In (Control Voltage input); triangle waveform sum output; sawtooth waveform sum output; and rectangle waveform sum output. Typical applications include: fat-sounding monophonic VCO with the ability to adjust any intervals; paraphonic patches — when working in combination with the A-190-5 Polyphonic USB/Midi to CV/Gate Interface and all four VCOs being processed by one VCF/VCA section; fully polyphonic patches — when working in combination with the A-190-5 Polyphonic USB/Midi to CV/Gate Interface and four complete VCF/VCA sections; complex VCO patches with up to four VCOs by means of the — exponential and linear — frequency modulation features and sync functions.
Following in (traditional subtractive synthesis) sequence, the A-105-4 Quad Poly SSI VCF module is Doepfer’s first polyphonic filter, featuring four identical 24dB lowpass (SSM2044-type) filters. The module itself includes the following controls and inputs/outputs: F (frequency); FM (frequency modulation) intensity; Q (resonance); audio input L (level); CVF (control voltage frequency) attenuator; CVFM (control voltage frequency modulation) attenuator; CVQ (control voltage resonance) attenuator; CVL (control voltage level) attenuator; CVF (control voltage frequency) socket; CVFM (control voltage frequency modulation) socket; CVQ (control voltage resonance) socket; CVL (control voltage level) socket; FM (frequency modulation) 1 – 4 sockets; audio In (input) 1 – 4 sockets; and audio Out (output) 1 – 4 sockets, so each filter features a separate FM input as well as an audio input and output. The FM input is typically connected to the output of the associated envelope generator, such as Doepfer’s A-141-4 Quad Poly VCADSR, while the envelope amount for all four filters is controlled by the FM knob and the CVFM input by four built-in VCAs, which are also controlled by the FM control and CVFM input to also allow voltage control of the envelope amounts. Additionally, it is also possible to apply frequency modulation to all four filters — for example, using an LFO (Low Frequency Oscillator) patched into the CVF socket and using the associated (CVF) attenuator. The range of the audio input level (L) control also allows clipping/ distortion with typical A-100 ANALOG MODULAR SYSTEM audio levels — from, for example, the A-141-4 Quad Poly VCADSR module — at the filter inputs. This parameter is also voltage controllable, as is the resonance (Q). Applications include polyphonic patches requiring four VCFs with the same parameters.
Perfectly named, the A-132-8 Octal Poly VCA module is an octal VCA (Voltage Controlled Amplifier), primarily primed for polyphonic applications. As such, it includes four pairs of VCAs — each pair including two daisy-chained VCAs, with one VCA having a linear control scale and the other a linear or exponential control scale, selectable via internal jumpers. Two VCAs are provided for each voice since one VCA is usually required for the loudness envelope and another for velocity (or other functions like individual voltage-controlled loudness of each voice, amplitude modulation, and so on). All VCAs are DC coupled and can be used in specialised applications and also for processing control voltages. The module features two Default Gain controls — GL and GX — that enable opening of the first four VCAs (L) and/or second four VCAs (X), with GL and GX generating two internal (0 – +10V) control voltages which are connected to the switching contacts of the 1L – 4L sockets (controlling GL) and 1X – 4X sockets (controlling GX). If no patch cable is inserted into the socket in question then the internal default (GL or GX) control voltage is used to control the corresponding VCA. This is necessary when the VCA in question is not in use — when no external control voltage is available, for instance, otherwise the VCA would close and there would be no output signal even if the other VCA in the chain is open. On the other hand, as soon as a patch cable is inserted into one of the CV Inputs then the corresponding internal default control voltage — CL or CX knob — is no longer used to control the VCA in question; rather an external control voltage patched to the CV Inputs now controls the level of the VCA in question. The GL and GX controls are also useful for testing polyphonic patches — tuning VCOs, for example. Again, as implied by name,
the A-141-4 Quad Poly VCADSR module is a quad voltage-controlled envelope generator — again, primarily primed for polyphonic applications. As such, it features four ADSR-type voltage-controlled envelope generators with exponential curve shapes (charge/discharge curves of a capacitor). Common manual controls and CVA, CVD, CVS, and CVR inputs with corresponding polarizers are available for the attack (A), decay (D), sustain (S), and release (R) parameters. All four envelope generators have a gate input (G1 – G4), a control LED, and an envelope output (Out1 – Out4). Applications include polyphonic patches, such as four envelope generators with the same envelope parameters to control four VCFs, VCAs, or other modules. Last, but by no means least, by providing four voices with a 1V/octave-standard CV Note (pitch control voltage) to control VCOs and a Gate output (to control envelope generators), alongside two additional (CV2 and CV3) control voltages, the appropriately-named
A-190-5 Polyphonic USB/Midi to CV/Gate Interface module does what it says on the tin. Those two additional control voltage outputs can be controlled by MIDI velocity, volume, modulation, pitch bend, aftertouch, or freely-assignable MIDI controllers. Multiple — four-voice monophonic (to control four monophonic voices by four successive MIDI channels); four-voice polyphonic (to control four monophonic voices by one MIDI channel) with several (rotating/non-rotating) sub-modes; two-voice polyphonic (to control two monophonic voices by one MIDI channel); and unison — modes are selected by switches with the result shown in the LCD. In play mode, for example, the LEDs of the first four switches display the gate states, while certain parameters of each mode can be edited. Ending on a high note, Dieter Doepfer deduces, “Modular synthesizers will still be predominantly used for monophonic sounds, as I’m well aware, but at least one polyphonic sound appears in many pieces of music and now it’s possible to integrate this into the modular synth world with our polyphonic modules.” Within Germany, the A-111-4 Quad VCO, A-105-4 Quad Poly SSI VCF, A-132-8 Octal Poly VCA, A-141-4 Quad Poly VCADSR, and A-190-5 Polyphonic USB/Midi to CV/Gate Interface modules can be ordered online from Doepfer directly (http://www.doepfer.de/form_e.htm) or via one of its German dealers (https://docs.doepfer.eu/en/dealer-germany/) for €400.00 EUR, €200.00 EUR, €160.00 EUR, €160.00 EUR, and €300.00 EUR, respectively. Outside of Germany, the A-111-4 Quad VCO, A-105-4 Quad Poly SSI VCF, A-132-8 Octal Poly VCA, A-141-4 Quad Poly VCADSR, and A-190-5 Polyphonic USB/Midi to CV/Gate Interface modules can only be ordered from Doepfer dealers in the territories listed here: https://docs.doepfer.eu/en/ (Note that residents in countries without representation can, however, order from Doepfer directly.) For more in-depth information, please visit the dedicated A-111-4 Quad VCO webpage here: http://www.doepfer.de/A1114.htm
A modern approach to a classic design. This Bass Drum Eurorack module can really THUMP!
The Soundlazer Bass Drum is a modern approach to a classic design. Using only state of the art components with a quality not achievable in the 1980’s when it was originally conceived. This Eurorack module delivers a unique heavy bass drum sound.
Be careful with the volume knobs on your amplifiers because this Bass Drum Eurorack module can really THUMP!
The Soundlazer Bass Drum is our flagship entry into the Eurorack module scene. Many more modules will be added so keep coming back for more!
Latvia-based Erica Synths announces its latest module: Sample Drum. Sample Drum is 14HP eurorack sample player/sampler module with straight-forward, intuitive interface, functionality and great sound quality, designed with live performance use in mind.The Sample Drum module is composed of two identical parts and allows you to play back, record and slice up samples or loops directly in your modular system. For processing, there are different play modes, tuning functions (including 1 V/Oct pitch tracking), virtual VCAs plus AD envelopes and realtime effects.Three freely assignable CV inputs per channel guarantee a lot of personal expression during performance. 16bit mono WAV samples are loaded into RAM (32MB / ~ 5 minutes of sampling time) from SD card (16 GB SD card with factory preset samples comes with the module) for instantaneous playback response. All settings can be saved and recalled during live performance.FEATURES:Sample playback with fast trigger responseVarious effects for real times ample processingSample recording functionalityManual and automatic sample slicingCue point loading from WAV files1V/Oct tracking3 assignable CV inputs per channelPreset memoryUser-friendly interfacePerformance mode16 GB SD card with factory preset samples included Price (VAT excl.) 300€ — Release date 23rd of February 2019AttachmentsErica Synths news January 2019.pdf LinksMore information on Sample Drum
VERMONA unleashes ultra-versatile generator for voltage curves and more as fourMative CONTOURS module
Electronic sound tools creator VERMONA is proud to announce availability of fourMative CONTOURS — its first ‘envelope’ entry to the ever-expanding Eurorack small-format modular system world without resorting to type, far exceeding the functionality of a traditional envelope generator and typically following the company’s naming scheme for its Eurorack modules to reflect the fact that it delivers up to four single-phase envelopes that can be combined to achieve much more complex voltage-controlled curves — as of November 9…
VERMONA makes no secret of its admiration for the classic ADSR (Attack, Decay, Sustain, Release) envelope generator; indeed, it is well versed in its strengths, having implemented various versions into its desktop devices over the years. Yet the company collectively decided that its first Eurorack-compatible envelope generator should not resort to type, instead rising to the challenge of realising a unique and flexible concept without compromises being made.
Mission accomplished? Actually, the prototype presented its erstwhile ecstatic creators with an unforeseen headache: how to name a module which was planned as an envelope generator but ended up exceeding expectations by so far? Fortunately for VERMONA, various proposals were supportively submitted to Twitter in response to a small survey. Settling upon fourMative CONTOURS, the company collectively felt that this does not pin down the module’s function to being that of just another envelope generator, but rather reflected its purpose while typically followingVERMONA’s Eurorack module naming scheme.
So what warranted the fourMative CONTOURS name, and what, exactly, does this module do differently? First and foremost, fourMative CONTOURS delivers up to four single-phase envelopes that can be combined to achieve much more complex voltage- controlled curves. Therefore, the module itself features four individual channels (or units in ‘VERMONA-speak’), numbered accordingly on its front facia. Flexibly, each unit can be switched into A (attack), D(decay), or H (hold) MODE — with the attack and decay phases switchable between operating with a LIN (linear) orEXP (exponential) response SHAPE — and can be used individually or in any combination. Those tasty features alone are enough to set fourMative CONTOURS apart from the Eurorack envelope generator pack, putting it in prime position for handling many modulation tasks.
The envelopes themselves are seriously snappy; each unit can run within a TIME range of 0.5 milliseconds through to 30 seconds, switchable between perfectly balanced fast andSLOW speed settings to ensure smooth adjustments, with the former geared towards creating crisp and percussive sounds. Saying that, that’s only half the story here, however, since those fourMative CONTOURS units are each equipped with a CV IN (control voltage input) that not only allows the times to be modulated but also extends them in both directions — down to 25 μs and up to 10,000 seconds, so if a two-hour-long envelope is needed then fourMative CONTOURS can handle it!
Individual units can be looped or combined with other units using simple internal patching connections to create more complex envelopes. Thanks to those extended frequency ranges, fourMative CONTOURS can creatively also function as an LFO (Low Frequency Oscillator) or even an audio oscillator.
On the face of it, fourMative CONTOURS clearly goes far beyond the capabilities of standard envelope generators, and anyone looking for a versatile modulation source should surely consider giving it a try. The creators themselves are quietly confident that there are many more scenarios where fourMative CONTOURS can be pressed into play, filling in some equally exotic Eurorack small- format modular system blanks, so-to-speak — not just the 24HP/3U rack space the module itself obviously occupies!
Shipping now, fourMative CONTOURS is available to purchase through VERMONA’s growing global network of dealers (http://www.vermona.com/en/dealer/) with an RRP of €399.00 EUR (Europe) and $489.00 USD (USA).
4ms Pods are a new line of eurorack cases with an emphasis on slim design primarily for the desktop. basically it lets you treat your modules like stand alone desktop FX units which can be really great. the sizes come in 20,26and 32 hp sizes and can come either powered or unpowered. the case power can also be daisy chained so your desk doesn’t end up being a mess of wall wart wires. All enclosures have 1hp spaced mounting holes The powered version will come with a newly designed, daisy-chainable supply from 4ms. Standard 2.1mm connectors will enable the user to chain Pod enclosures much like the Row Power system. Plastic plugs will be used to cover these mounting holes if the user would like to supply power themselves.