¡Oferta!
ADSR mkII (B-stock)
ADSR mkII (B-stock)

 

  • Type/ Envelope
  • Width/ 6HP
  • Power/ +20mA/-10mA
  • Depth/ 37mm

 
he Pittsburgh Modular ADSR is a four stage envelope generator with independently adjustable Attack, Decay, Sustain, and Release stages. This module does one thing amazingly well. The ADSR smooths the shape of the incoming gates and triggers to produce a more expressive instrument. The ADSR output can be used to control the amplitude of an oscillator, the cutoff frequency of a filter or any other function on a module that accepts control voltages.

The functionality of the ADSR is simple. The incoming gate or trigger signal passes through each of the four stages to output an envelope. When the ADSR module receives a gate or trigger signal, the attack determines the amount of time needed for the envelope generator to reach the peak output voltage and move on to the decay stage. Decay sets the amount of time needed to transition to the level set by the sustain knob. The sustain level is maintained as long as the incoming gate remains on or high. Once the incoming gate goes low or off, the release stage takes over. The release knob sets the time needed to close the envelope and return the ADSR output to 0 volts.
 
 
In stock. Shipping in 24 H.Contact

109,00  79,00  Add to cart
¡Oferta!
Analog Replicator
Analog Replicator

 

  • Type/ Effect
  • Width/ 16HP
  • Power/ +45mA
  • Depth/ 35mm

 
Cleaner, dirtier, brighter, darker, and more versatile than any other analog BBD delay line effects unit available. The Analog Replicator is the astounding result of over a year of ambitious design and engineering.

A New Beginning
The Analog Replicator was redesigned from scratch to be the finest analog delay available with a sound and feature set focused around the modular synthesizer.

Our original Analog Delay module grew out of the circuitry of a guitar pedal. The new Analog Replicator module does not share the same stompbox lineage. Michael Johnsen, Pittsburgh Modular’s analog engineer, created a modern BBD core fed by a unique clock source and proprietary signal processing circuits. The result is a flexible, more musical, eurorack delay module.

Delay Ranges
4,096 and SHORT Selected: 10ms to 175ms
8,192 and SHORT Selected: 20ms to 350ms
4,096 and LONG Selected: 10ms to 1300ms (1.3 seconds)
8,192 and LONG Selected: 20ms to 2600ms (2.6 seconds)

How It Works
At the heart of the Analog Replicator is a pair of 4,096 stage BBD chips. The name BBD stands for [B]ucket [B]rigade [D]evice in reference to a line of people passing buckets of water to quickly extinguish a fire.  Each stage of a BBD chip contains a single capacitor. Pairing two chips together creates a chain of 8,192 capacitors.  Like the water buckets, an audio signal is passed from capacitor to capacitor within the BBD chips once every clock step. A slower clock produces a longer delay and a faster clock produces a shorter delay.

Multi-Mode Delay
The controls of the Analog Replicator can be used to produce a wide range of delay effects. The STAGES switch flips between 4,096 and 8,192 BBD stages. 4,096 uses a single BBD chip and 8,192 uses two. Using both BBD chips doubles the available delay time, perfect for echos and longer delays. Using a single BBD is useful for reverb and chorus effects. The SHORT/LONG switch drastically adjusts the delay range. Using a single BBD, the SHORT range varies between 10ms and 175ms and the long range varies between 10ms and 1300ms. The SHORT mode produces bright, clean analog repeats. LONG mode is dark and grimy. Mud and clock noise (whine) begin to leak in and eventually take over as the Analog Replicator reaches the longest available delay time.

Chorus and Reverb
The design of the Analog Replicator allows it to mimic Chrous and Reverb effects. Setting the switches to 4,096 and SHORT, adjusting the TIME control to create shorter delays, and adding a small to medium amount of FEEDBACK, the Analog Replicator generates an analog reverb effect. Add modulation using the TIME CV IN to take advantage of a range of chrous like effects.
 
 
In stock. Shipping in 24 H.Contact

369,00  349,00  Add to cart
¡Oferta!
Analog Replicator (B-stock)
Analog Replicator (B-stock)

 

  • Type/ Effect
  • Width/ 16HP
  • Power/ +45mA
  • Depth/ 35mm

 
Cleaner, dirtier, brighter, darker, and more versatile than any other analog BBD delay line effects unit available. The Analog Replicator is the astounding result of over a year of ambitious design and engineering.

A New Beginning
The Analog Replicator was redesigned from scratch to be the finest analog delay available with a sound and feature set focused around the modular synthesizer.

Our original Analog Delay module grew out of the circuitry of a guitar pedal. The new Analog Replicator module does not share the same stompbox lineage. Michael Johnsen, Pittsburgh Modular's analog engineer, created a modern BBD core fed by a unique clock source and proprietary signal processing circuits. The result is a flexible, more musical, eurorack delay module.

Delay Ranges
4,096 and SHORT Selected: 10ms to 175ms
8,192 and SHORT Selected: 20ms to 350ms
4,096 and LONG Selected: 10ms to 1300ms (1.3 seconds)
8,192 and LONG Selected: 20ms to 2600ms (2.6 seconds)

How It Works
At the heart of the Analog Replicator is a pair of 4,096 stage BBD chips. The name BBD stands for [B]ucket [B]rigade [D]evice in reference to a line of people passing buckets of water to quickly extinguish a fire.  Each stage of a BBD chip contains a single capacitor. Pairing two chips together creates a chain of 8,192 capacitors.  Like the water buckets, an audio signal is passed from capacitor to capacitor within the BBD chips once every clock step. A slower clock produces a longer delay and a faster clock produces a shorter delay.

Multi-Mode Delay
The controls of the Analog Replicator can be used to produce a wide range of delay effects. The STAGES switch flips between 4,096 and 8,192 BBD stages. 4,096 uses a single BBD chip and 8,192 uses two. Using both BBD chips doubles the available delay time, perfect for echos and longer delays. Using a single BBD is useful for reverb and chorus effects. The SHORT/LONG switch drastically adjusts the delay range. Using a single BBD, the SHORT range varies between 10ms and 175ms and the long range varies between 10ms and 1300ms. The SHORT mode produces bright, clean analog repeats. LONG mode is dark and grimy. Mud and clock noise (whine) begin to leak in and eventually take over as the Analog Replicator reaches the longest available delay time.

Chorus and Reverb
The design of the Analog Replicator allows it to mimic Chrous and Reverb effects. Setting the switches to 4,096 and SHORT, adjusting the TIME control to create shorter delays, and adding a small to medium amount of FEEDBACK, the Analog Replicator generates an analog reverb effect. Add modulation using the TIME CV IN to take advantage of a range of chrous like effects.
 
 
In stock. Shipping in 24 H.Contact

369,00  329,00  Add to cart
¡Oferta!
Cell-48 DC
Cell-48 DC

 
Width: 242mm (48hp)

9 Sliding Square Nuts Per Rail Supports Up To 9 Modules

20 (4-40 Size) Panel Screws Included

8 Module Power Headers

Double Row Hardwood Sides included!
 
 
In stock. Shipping in 24 H.Contact

249,00  225,00  Add to cart
¡Oferta!
Chain Reactor
Chain Reactor

 

  • Type/ LFO
  • Width/ 16HP
  • Power/ +45mA
  • Depth/ 36,5mm

 

The Chain Reactor combines two of our classic VILFO modules with two additional free running LFOs to create an endless supply of chaotic fluctuations. VILFO1 and VILFO2 feature our unique voltage influence control. Voltage influence works differently than standard voltage control, it allows the incoming CV to mingle with the LFO waveforms in interesting ways, creating unique modulations and patterns. The output of each VILFO is a voltage controlled variable waveform that shifts from a triangle to square wave.

The Voltage Influence Circuit
A typical Voltage controlled oscillator works by using a CV input to directly control the oscillation frequency. The more voltage sent to the CV input, the higher the frequency of the oscillator. The lower the voltage, the lower the frequency of the oscillator. Voltage Influence works by using the CV input to attenuate the frequency of the oscillator while at the same time injecting some of the voltage from influence CV input to the feedback loop of the oscillator. Results can vary from subtle to chaotic. Subtle results can be similar to tremolo, shuffle, or soft reset while more extreme settings produce glitchy, rhythmic, chaotic fluctuations in the frequency of the oscillator.

A Chain Reaction
Three of the modulation sources within the Chain Reactor are patched together using switched jacks to ceate complex modulations without needing to use patch cables. The output of LFO3 is patched to the influence CV input of VILFO2 and the output of VILFO2 is internally patched to the influence CV input of VILFO1. The fourth LFO is not prepatched but can be used to modulate the waveshape of VILFO1 or VILFO2. The internal routing between modulation sources within the Chain Reactor can be defeated by patching an external CV souce into the module.

 
 
In stock. Shipping in 24 H.Contact

299,00  275,00  Add to cart
¡Oferta!
Crush
Crush

 

  • Type/ Effect
  • Width/ 8HP
  • Power/ +45mA
  • Depth/ 36,5mm

 
The Crush is an audio destroyer; a voltage controlled, all analog sound decimator. A sonic laser designed to shatter waveforms into a million pieces. The sound of the Crush module is defined by three parameters, Sample Rate, Interpolation, and Mix. Sample Rate assigns the periodic voltage sample timing, breaking down an audio source into ever-larger static chunks. The Interpolate switch tries to rebuild the original waveform from the remaining pieces imprinting another layer of errors and unique artifacts on the output. The results are crushing.

The Crush wrecks audio without ever sounding harsh or thin. Compared to a digital bit crusher, the analog Crush sounds full and warm. Taking advantage of unlimited bit and sample rate resolutions, the Crush avoids lo-fi digital results by smoothly downsampling at infinite resolution.

An integrated voltage controlled mix circuit allows the perfect amount of destruction to be added to the audio. Manually set the mix or use a control voltage to sweep from squeaky clean to completely crushed.
 
 
In stock. Shipping in 24 H.Contact

225,00  199,00  Add to cart
¡Oferta!
Detect
Detect

 

  • Type/ Envelope
  • Width/ 6HP
  • Power/ +30mA
  • Depth/ 36,5mm

 
Convert the dynamic fluctuations of an audio signal into control voltage. The Detect is a utility envelope follower module that generates gate and envelope signals based on the overall level of an incoming signal.

The attack and decay controls allow precise control over the response time of the envelope follower circuit, allowing for independent sharp to smooth control over both the rise and fall readings of the incoming waveform.

Gate threshold sets the level that the incoming audio must exceed for the Detect to generate a gate signal. Once the gate threshold has been exceeded, the input level must drop below the gate threshold before a new gate signal can be created.

Detect Controls:

Attack Control – Sets the attack or rise time of the envelope output.

Decay Control – Sets the decay or fall time of the envelope output.

Gate Threshold Control – Sets the trigger point for the gate output. An audio signal with a level exceeding the gate threshold will trigger a gate at the Gate Out jack.

Detect Patch Points:

Input Jack – Audio input.

Env Out Jack – CV output based on amplitude of audio input.

Gate Out Jack – Gate output triggered by audio input level exceeding the level set by the gate threshold control.
 
 
In stock. Shipping in 24 H.Contact

109,00  99,00  Add to cart
¡Oferta!
Disting MKIII
Disting MKIII

 

  • Type/ Effect
  • Width/ 4HP
  • Power/ +50mA/-20mA
  • Depth/ 42mm

 
The Disting is a many-in-1 multifunction module, offering a variety of CV and audio processes, including a selection of oscillators (LFOs/VCOs). All algorithms have two high-precision inputs and outputs, and a third control input, exposed on a front panel knob and a CV input.

The disting mk3 was introduced in November 2015. The main differences compared to the original disting are:

  • Smaller – now 42mm deep (from 53mm)
  • Over 50% less power consumption – now 70mA combined draw (from 148mA)
  • User-updatable code – via Micro SD card
  • More algorithms – no longer limited to 16
  • More functionality – new encoder and push buttons give more control options

 

 
 
In stock. Shipping in 24 H.Contact

189,00  175,00  Add to cart
¡Oferta!
Envelope
Envelope

 

  • Type/ Envelope
  • Width/ 8HP
  • Power/ +35mA
  • Depth/ 36,5mm

 

The Pittsburgh Modular Envelope is a complex multi-stage envelope generator with voltage controllable attack and decay/release. Using the sustain switch to toggle between modes, the Envelope functions as either a 2 stage attack-decay envelope or a 3 stage attack-sustain-release envelope.

The Envelope response for attack and decay/release is continually adjustable between logarithmic, linear, and exponential allowing for precision envelope shaping. Cycle times range from .8ms or 1250Hz at the shortest to at the longest.

This module is incredibly versatile.  It can perform as voltage controlled envelope generator, voltage controlled portamento, envelope follower, VCO, and voltage controlled LFO, pulse delay, and wave shaper.

The Envelope Default Settings…

Click on the the image to the left for the default control settings.

To Use the Envelope as an Envelope…

Set the Envelope to the default settings. Input a gate signal to the Input jack. Adjust the ATTACK knob to control the attack stage of the envelope. Use the SUSTAIN ON/SUSTAIN OFF Switch to turn sustain on/off. Left for off, right for on. Adjust the DECAY/RELEASE control to adjust the decay/release stages. When sustain is off, the DECAY/RELEASE knob acts as a decay control. When sustain is on, the DECAY/RELEASE knob acts as a release control.

To Use the Envelope as a Voltage Controlled Envelope…

Set the Envelope to the default settings. Input a gate signal to the INPUT jack. Adjust the ATTACK knob to control the attack stage of the envelope. Adjust the SUSTAIN ON/SUSTAIN OFF Switch to turn sustain on/off. Left for off, right for on. Adjust the DECAY/RELEASE control to adjust the decay/release stages.

The top row of jacks (RISE CV, BOTH CV, FALL CV) are CV inputs that control the Attack stage, BOTH the Attack and Decay/Release stage, and Decay/Release stage respectively. The ATTACK NON-LINEARITY/CV IN knob and the DECAY NON-LINEARITY/CV IN knob are attenuverters that positively (turn the knob to the right of 12 0’clock) or negatively (turn the knob to the left of 12 o’clock) control the amount of CV applied to the Attack (RISE) or Decay/Release (FALL) stages.

To Adjust the Response Curve of the Rise and Fall Controls individually…

The ATTACK NON-LINEARITY/CV IN and DECAY/RELEASE NON-LINEARITY/CV IN knobs each serve a dual function. The ATTACK and DECAY/RELEASE control response can be adjusted from logarithmic to linear to exponential, or anything in between. The following example uses the Attack controls but the Decay/Release works in the same way. Switch the Attack LINEAR/NON-LINEAR switch to Non-Linear. This enables the ATTACK NON-LINEARITY/CV IN control to control the response curve of the Attack. Turning the ATTACK NON-LINEARITY/CV IN full counter-clockwise will set the Attack response to logarithmic. Turning the ATTACK NON-LINEARITY/CV IN to 12 o’clock sets the response to linear. Turning the ATTACK NON-LINEARITY/CV IN full right will set the Rise response to exponential.

To Use the Envelope as an LFO or a voltage controlled LFO…

Set the Envelope to the default settings. Switch the CYCLE ON/CYCLE OFF switch to on (up). The attack and decay/release stages act as the waveshape and frequency controls. Turning the ATTACK and DECAY/RELEASE knobs to the left creates a very high frequency triangle wave. Adjusting the the ATTACK and/or DECAY/RELEASE knobs to the right lower the frequency and modify the wave shape. The ATTACK knob controls the left side of the wave shape.  The DECAY/RELEASE adjusts the right side of the waveform. Switching a LINEAR/NON-LINEAR  switch to non-linear allows the corresponding NON-LINEARITY/CV IN knob to further shape the waveforms.

The top row of jacks (RISE CV, BOTH CV, FALL CV) are CV inputs that control the Attack stage, BOTH the Attack and Decay/Release stage, and Decay/Release stage respectively. The ATTACK NON-LINEARITY/CV IN knob and the DECAY NON-LINEARITY/CV IN knob are attenuverters that positively (turn the knob to the right of 12 0’clock) or negatively (turn the knob to the left of 12 o’clock) control the amount of CV applied to the Attack (RISE) or Decay/Release (FALL) stages. Using the BOTH CV input jack allows the Envelope module to function as a voltage controlled LFO.

 
 
In stock. Shipping in 24 H.Contact

169,00  155,00  Add to cart
¡Oferta!
Filter
Filter

 

  • Type/ Filter
  • Width/ 12HP
  • Power/ +31mA
  • Depth/ 35mm

 
The Filter is a voltage controlled, analog, state variable filter. The state variable topology was chosen because it allowed us to produce a very smooth and natural sounding filter, in addition to offering several other modes of operation, each with a unique sound and energy all their own.

There Is No Sweet Spot
The Filter defines the Jekyll and Hyde sound of Pittsburgh Modular. On the one hand, it offers a warm, organic sweep through the full frequency range.  The lowpass filter is gummy and relaxed while the highpass is clean and defined.  On the other hand, switching into oscillator mode turns the Filter into a howling beast capable of chunky walls of distortion and noise.  The goal was to produce a filter that does not have a single sweet spot. We worked to make every turn of a knob or flip of a switch offer something new and musically engaging.

Filter Responses
Multiple filter responses are available simultaneously including lowpass, highpass, and bandpass. The fourth filter response is a variable response that shifts between lowpass, notch, and highpass.

Switch It Up
Two switches, Gain and Mode, further expand the capabilities of the Filter. The Gain switch modifies the functionality of the Q while the Mode switch toggles between filter and oscillator modes.

Gain Switch (1-Q) Setting the Gain switch to “1” adds an inverted VCA response to the Q. Increasing the resonance (Q) decreases the output level of the Filter. An example patch would be to set the Gain switch to “1” and send a control voltage from an envelope generator to the QCV input.  Switching the Gain switch to “Q” returns the standard filter Q response.

The Mode switch selects between Filter and Oscillator modes. Set to Filter, the Pittsburgh Modular Filter will not self oscillate, and operates as a clean, organic filter. Set to Oscillator and without an incoming audio signal, the Filter produces a high quality voltage controlled sine wave. Adjusting the Q while in Oscillator mode modifies the shape of the waveform.  Add an incoming audio signal to the Oscillator mode and the output changes dramatically.  At normal settings the incoming signal modulates the self oscillating filter to produce complex sounds. At more extreme settings, where the Filter starts to struggle with self oscillation, the Q adds anything from ringing fuzz to heavy distortion to the incoming audio.
 
 
This product will be in stock soon. Shipping within 2-5 days usually.Contact

215,00  199,00  Add to cart
¡Oferta!
Grids (B-stock)
Grids (B-stock)

 

  • Type/ Drums
  • Width/ 16HP
  • Power/ +25mA/-1mA
  • Depth/ 26mm

 
Take the user interface of an euclidean sequencer, a healthy dose of machine learning and graph algorithms, megabytes of drum loops, hours of intensive computations and you’ve got a drum pattern generator like no other.

Grids’ “brain” is a map of the typical drum patterns used in (mostly electronic) music, laid out by similarity, trained on a large corpus of drum loops. The module can smoothly interpolate and navigate from one pattern to the other, at the whim of a knob move or a CV.

But Grids’ knowledge of drum patterns goes far beyond what would be achieved with presets – given a position in the map, thousands of variations can be intuitively generated by controlling the “event density” of each of the 3 channels (bd, sd, hh) – gradually moving from a sparse backbone to a deliciously rich pattern with ghost notes, rolls and fills.
 
Download the grids manual HERE
 


 
In stock. Shipping in 24 H.Contact

199,00  175,00  Add to cart
¡Oferta!
InOut
InOut

 

  • Type/ In&Out
  • Width/ 6HP
  • Power/ +40mA
  • Depth/ 43mm

 
A two way communication line for audio between a modular the outside world. The InOut is divided into two sections, output and input.

An attenuated line out allows the InOut to patch audio from the modular directly into effects pedals, mixers, audio interfaces, amplifiers, pa systems, or anything else that takes a 1/4″ jack.  The 1/4″ mono output can be used as a line out for the modular or as an effects send that uses the input section for the effects return.

The input section consists of a switched 25x/75x preamp designed to amplify the audio from the 1/4″ mono input to modular levels.  Guitars, synthesizers, effects pedals, and line level audio can be inserted into the modular signal chain.

The InOut is useful even without external patching.  The two 1/4″ jacks are normaled together so with no 1/4″ return plugged in, the audio from the input is automatically routed through the amplifier to the output.  At 25x, this allows the InOut to be a great amplifier for boosting modular audio signals or switch to 75x amplification and overdrive the signal to distortion.

Output Section Features:
2 Channel Unity Gain Mixer with Attenuated 1/4″ Line Output
Output Section Normaled to Input Section

Input Section Features:
25x/75x Switchable Gain Amplifier
Attenuated 1/4″ Input Jack
3.5mm Output Jack
 
 
In stock. Shipping in 24 H.Contact

109,00  99,00  Add to cart
¡Oferta!
Lifeforms System 101
Lifeforms System 101

Fully modular analog synthesizer with room to expand.  The Lifeforms System 101 pairs the feature rich Lifeforms SV-1 synthesizer voice module with the beautiful Structure EP-96 enclosure and necessary accessories to create an amazing sounding, versatile analog modular synthesizer that works right out of the box. Anchored by the classic Pittsburgh Modular Filter and two full range analog oscillators packed with harmonically rich waveforms, the Lifeforms System 101 offers a rich sound palette with the flexibility of an open, fully patchable analog voice architecture.
Pure Analog Power

Overflowing with sonic potential, the Lifeforms System 101 houses a refined analog synth engine ready to explore new aural territories. The feature set includes everything you need to create unique synth sounds. Roaring bass, shimmering leads, lush pads and warm drones are only a few knob turns away.

Two larger-than-life, next-generation analog oscillators start you off on your audio journey with all the classic waveforms: sine, triangle, sawtooth, pulse, and square. As a bonus, on Oscillator 1 we have included our exclusive blade wave, allowing for cutting-edge sounds new to the analog realm. Combined with two sub octave generators, the oscillator cores of the Lifeforms SV-1 are the perfect base for sonic sculpting. Modulation is handled with a well curated set of tools: a dedicated analog LFO, noise, sample and hold, and a clock syncable digital LFO. Oscillator 2 can also be used as a voltage controllable low frequency oscillator to create complex west coast synthesis style FM timbres.

The true sonic character of the System 101 comes from the filter. Rich and thick, the sound of the revered Pittsburgh Modular Filter is unmistakable. Absolutely stunning harmonic character with voltage control over the entire frequency range. A provided attenuverter lets you dial in exactly how much CV to feed the frequency input, even inverting the input for dramatic changes in frequency response. Separate highpass, lowpass, and bandpass patch points are provided for an even larger tonal palette.

A robust feature set with a fluid, sleek interface empowers you to create vibrant and thick tones. The included MIDI to CV converter allows you to control it. Connected to an external MIDI controller or DAW, the MIDI to CV converter is customizable to any playing style and loaded with extra features such as a 10 note arpeggiator, tap tempo clock, and clock syncable LFO with triangle and quantized random voltage waveforms.
Lifeforms System 101 Features
• Lifeforms SV-1 Synthesizer Voice Module
• Structure EP-96 Eurorack Enclosure
• Custom MIDI Adapter Cable
• 12 Nazca Audio Braided Eurorack Patch Cables
• 48hp of Available Space to Expand
• Universal DC Adapter
 
Download the Lifeforms System 101 manual HERE
 
 
In stock. Shipping in 24 H.Contact

1.079,00  999,00  Add to cart
¡Oferta!
LPG
LPG

 

  • Type/ Filter
  • Width/ 8HP
  • Power/ +30mA
  • Depth/ 36,5mm

 

The Pittsburgh Modular Lopass Gate module is a new take on a classic. Our intention was not to clone but to reengineer and expand on the original idea. Our module includes an amazing new self-oscillating resonance circuit and a quieter vactrol based VCA circuit with true unity gain. Voltage control of the module is handled using an invertible, attenuated input and ping input. The ping input takes any gate or square wave and converts it into a very tight trigger used to ping the vactrol.

In lowpass filter mode, frequency sweeps are warm and buttery and resonance is smooth and controlled until it gets near self oscillation. At this point the Pittsburgh Modular LPG module turns into a shouting beast. High resonance creates an edgier, shattered, more direct sound. It never loses control but is always teetering on the edge. Having both the smooth and snarling responses available creates a filter that is perfect for almost any situation.

In VCA mode, we worked very hard to reduce the bleed associated with most lopass gate circuits without resorting to tricks like adding an a traditional VCA after the vactrol circuit. After considerable effort, we succeeded in creating a vactrol based VCA that is identical or better in performance to our 2164 based Dual VCA module.

All the work we did on the filter and VCA come together with the lopass gate mode. The buttery warmth of the filter teams with the best attributes of the vactrol based VCA to create an impressive take on the original lopass gate.

HISTORY AND THEORY BEHIND THE LOPASS GATE

The lopass gate module is unique in the way that it simulates the characteristics of natural instruments. When used in lopass gate mode, louder sounds contain more harmonic content and quieter sounds contain less harmonic content. This is not the case when using a standard VCA such as the Pittsburgh Modular Dual VCA module. A standard VCA simply changes the loudness of the sound without changing the harmonic content. There is no reason that synthesizers need to simulate how acoustic instruments function but because of how it affects the harmonic content of sound, a lowpass gate sounds more organic or natural compared to a standard filter/vca chain.

The circuitry behind the lopass gate has evolved over the years to include resonance and more complex modulation options but the ability to switch between voltage controlled amplifier, low pass filter, and a third mode which uses both the VCA and filter together remains at the core of the modules functionality. A lot of the characteristics associated with the lopass gate circuit come from the use of vactrols. A vactrol is an optoelectronic device consisting of an LED and light detector enclosed in a light tight package. The elements of the vactrol are optically coupled and electrically isolated from each other. When the LED within the vactrol turns on, the light detector reacts very quickly creating a very sharp attack, however, when the LED turns off, the light detector within the vactrol does not react as quickly and closes more slowly. That slow decay or ringing is the quality most associated with the lopass gate. Therefore, using a very short trigger to ping the vactrol will not result in a very short sound, instead the result is an organic percussive sound with an natural sounding decay.

The lopass gate uses a Sallen-Key filter. The Sallen-Key filter is a 2 pole 12db filter with a very buttery, natural sound. In addition to the lopass gate, the Sallen-Key filter was used as the core of Korg’s classic MS-10 and MS-20 filters. Although the Korg filters are remembered for their biting growl, that has more to do with the resonance then with the filter itself.
 
 
In stock. Shipping in 24 H.Contact

215,00  199,00  Add to cart
¡Oferta!
Microgranny 2.5 Eclipsis
Microgranny 2.5 Eclipsis

 
microGranny is a monophonic granular sampler. It reads wav samples from microSD card and applies granular algorithms to them. You can also adjust start, end, sample rate (tuned or free run), crush and envelope (attack release). MIDI Input allows external control of all parameters as well as transposition of the samples, or playing individual grains by different keys.
 

Features
  • monophonic mono sampler
  • microSD card (storing + recording samples, storing presets)
  • 6 sounds with full adjustments storable in a preset at once
  • 60 presets in 10 banks (6 preset per bank), stored as .txt files on microSD card
  • wav sample playback from microSD card (mono, 22050 Hz, 8 or 16 bit, two letter file name)
  • 8-bit 22050Hz wav recording via line input or onboard microphone
  • hold button
  • sample rate (tuned or free run)
  • crush
  • start, end position with repeat, instant loop
  • granular settings: grain size and shift speed (positive or negative)
  • amplitude envelope attack and release
  • MIDI Input – responds to note, cc and clock (synchronize loop and grains)
  • MIDI side chain envelope restart
  • copy, paste
  • input & output volume knob
  • power switch – plug / battery
  • hackable – arduino based

 
Download the Microgranny manual HERE
 


 
In stock. Shipping in 24 H.Contact

199,00  169,00  Add to cart
¡Oferta!
MIDI 3
MIDI 3

 

  • Type/ Midi
  • Width/ 6HP
  • Power/ +50mA
  • Depth/ 35mm

 

The Midi 3 is our third generation Midi to CV converter packed with a robust list of features. It includes a complete set of mono and duophonic midi response modes, assignable CC and dedicated velocity outputs, a feature rich clock source with tap tempo, midi and external gate clock dividers, and multiple arpeggiator responses. This module is deep.

A midi to cv module converts standard midi note messages into the analog control voltages used by modular and other analog synthesizers. This allows the synthesizer to be controlled by a midi keyboard, sequencer, or DAW. The two CV outputs on the Midi 3 can be used to control the pitch of an oscillator, cutoff frequency of a filter, or any other function that requires a control voltage signal. The set of Gate outputs on the Midi 3 can be used to trigger envelope generators or other modules expecting a gate or clock source.

The Midi 3 Module has 3 Distinct Performance Modes:

Monophonic – Monophonic mode works great when using a modular as a single voice synthesizer patch. Channel 2 Gate and CV outputs mirror the outputs of Channel 1. Monophonic mode has several keyboard responses to choose from. Last note priority, low note priority, and high note priority. Each response is available with and without gate retriggering.

Duophonic – The Midi 3 module uses the two sets of Gate and CV outputs to allow two notes to be played simultaneously. The first midi note is sent to Channel 1 Gate and CV outputs and the second is sent to Channel 2 Gate and CV outputs. Duophonic mode has three keyboard response modes to choose from. Unused channel and new note priority, unused channel and low note priority, and split keyboard priority. Duophonic mode is perfect when working with a two voice modular synthesizer patch.

Arpeggiator – The Midi 3 module includes a robust arpeggiator mode with multiple mono and duophonic responses to choose from. Available responses are monophonic response as played, double triggered monophonic response as played, random monophonic response, random monophonic with a random Channel 2 gate, and random duophonic response with dual random gates. The arpeggiator can be clocked using tap tempo, midi clock, or external gate.

The Midi 3 Module has 3 Clock Modes:

Internal Clock – The internal Midi 3 clock utilizes the tap tempo button to modify the rate of the internal clock. The internal clock is used to clock the arpeggiator and is also output to the CLOCK jack.

External Midi Clock – The external midi clock responds to midi start/stop messages and midi tempo from an external midi clock source. The external midi clock is used to clock the arpeggiator and is also output to the CLOCK jack. In external midi clock mode, the tap tempo button cycles through five available clock divisions.

External Gate Clock – The external gate clock responds to gate signals patched into the CLOCK jack. The external gate clock is used to clock the arpeggiator. In external gate clock mode, the tap tempo button cycles through six available clock divisions.

ADDITIONAL FEATURES OF THE MIDI 3:

Assignable Midi Channel – The Midi 3 can be assigned to respond to all channels or any individual midi channel.
Assignable Pitch Bend Range – The range of pitch bend can be set to +/- 2 notes, +/- 5th, +/- 1 octave, +/- 2 octaves.
Control Change Output – CC response of 0-5v.
Assignable Control Change Channel Assign – Assign the midi CC channel the Midi 3 responds to.
Velocity Output – Velocity response of 0-5v based on active note.

 
Download the MIDI 3 manual HERE
 
 
In stock. Shipping in 24 H.Contact

259,00  245,00  Add to cart
¡Oferta!
Nazca patch cables 18-pack /30-60cm
Nazca patch cables 18-pack /30-60cm

 
Nazca Audio patch cables are designed with the perfect combination of flexibility, strength, and arc retention.

x18 cable pack; x3 blue frost 30cm, x3 cirrus grey 30cm, x3 electric lemon 30cm, x3 blue frost 60cm, x3 cirrus grey 60cm, x3 electric lemon 60cm
specs; 26awg stranded wire
4.75mm PVC Nylon braided jacket
8.4mm over molding
Nickel plated 3.5mm connectors
 
In stock. Shipping in 24 H.Contact

55,00  49,00  Add to cart
¡Oferta!
Nazca patch cables 6-pack /30-60cm
Nazca patch cables 6-pack /30-60cm

 
Nazca Audio patch cables are designed with the perfect combination of flexibility, strength, and arc retention.

x6 cable pack; x1 blue frost 30cm, x1 cirrus grey 30cm, x1 electric lemon 30cm, x1 blue frost 60cm, x1 cirrus grey 60cm, x1 electric lemon 60cm
specs; 26awg stranded wire
4.75mm PVC Nylon braided jacket
8.4mm over molding
Nickel plated 3.5mm connectors
 
In stock. Shipping in 24 H.Contact

19,00  16,00  Add to cart
¡Oferta!
Outs
Outs

 

  • Type/ In&Out
  • Width/ 6HP
  • Power/ +30mA
  • Depth/ 39mm

 

The best way to get sound out of a modular. Outs is a dual independent output module featuring a stereo 1/4″ headphone amplifier output and dual mono 1/4″ line level outputs.

Left and Right inputs are available. If only the left input is used, it is sent to both the Left and Right outputs.
 
 
This product will be in stock soon. Shipping within 2-5 days usually.Contact

109,00  99,00  Add to cart
¡Oferta!
Outs (B-stock)
Outs (B-stock)

 

  • Type/ In&Out
  • Width/ 6HP
  • Power/ +30mA
  • Depth/ 39mm

 

The best way to get sound out of a modular. Outs is a dual independent output module featuring a stereo 1/4″ headphone amplifier output and dual mono 1/4″ line level outputs.

Left and Right inputs are available. If only the left input is used, it is sent to both the Left and Right outputs.
 
 
This product will be in stock soon. Shipping within 2-5 days usually.Contact

109,00  89,00  Add to cart
¡Oferta!
Phase Shifter (B-stock)
Phase Shifter (B-stock)

 

  • Type/ Effect
  • Width/ 26HP
  • Power/ +165mA
  • Depth/ 35mm

 
The Pittsburgh Modular Phase Shifter is a complex, 16 stage, analog effect module designed to expand on the classic swirls, rich swooshes, and doppler effects associated with the phaser.

The Phase Shifter has a single 16 stage audio signal path to create a very rich, full sound. Phased audio outputs are tapped from stages 7, 8, 15, and 16. Stages 8 and 16 each have a mix output that allow the phased signal to be mixed with an attenuvertable dry signal.

Four CV inputs, an onboard LFO, and multiple CV routing options allow for maximum flexibility and extremely deep modulation options. The CV inputs are split into 2 groups. The first group of CV inputs controls either all 16 stages or just stages 1-8. The second group of CV input controls stages 9-16 and is switchable on or off. All CV signals routed to stages 9-16 can be inverted. Resonance can be positive or negative and the module will self oscillate in either direction.

To modulate the phase shifter circuit, the module includes a wide range low frequency oscillator. The LFO range varies from 1 minute per cycle to well into audio range. The triangle wave of the LFO is hardwired to modulate the frequency of all 16 channels of the Phase Shifter. External modulation sources are handled using 2 sets of CV inputs. Each set includes an invertible, uni-polar CV input that accepts 0v to 5v modulation signals and a bi-polar CV input which accepts -5v to +5v signals. All of the modulation CV inputs can be used simultaneously and can be mixed with the internal LFO to create very complex frequency modulations. Stages 1-8 and 9-16 can be modulated together or independently using the available switches and CV inputs.
 
 
In stock. Shipping in 24 H.Contact

389,00  349,00  Add to cart
¡Oferta!
Propagate
Propagate

 

  • Type/ Generator
  • Width/ 14HP
  • Power/ +85mA/-34mA
  • Depth/ 23mm

 

Propagate is a quad, voltage controlled gate delay with some twists. The four stages are capable of delaying a gate signal of any length. Delay time is adjustable via panel or voltage control. Delay mode is either LO for long delay time or HI for audio rate delays. In HI mode, Propagate can be used as a pulse width modulated VCO. The output length in either mode is completely variable via panel or voltage control from an ultra fast trigger to a gate lasting a number of seconds.

Beginning with the first delay stage, every output is normaled to the input of the following delay stage. So a single pulse will propagate through each delay to create multi pulsed events, longer delays and longer gates. In addition to the individual delay outputs, all are combined internally through a quad logical OR gate to a single SUM output.

The MIX IN jack will logically OR any pulse, gate or clock signal with Propagate’s SUM.

The ENABLE input permits Propagate to be turned ON/OFF via HI/LO gate signals.

The MASTER CV inputs for DELAY and SPACE control all four delay stages at the same time, from a single source. Control voltages at these inputs will sum together with any signals present at the individual CV inputs.

Key Features and Functions:

  • Voltage Controlled Gate Delay
  • Burst/Trill Generator
  • Variable Gate/Trigger Converter
  • Infinitely Divisible (No Division Quantization)
  • Quad PWM VCO
  • Number of Delay Stages is Infinitely Expandable
  • Pairs with MIXMODE to convert gates to stepped pitches and for complex stepped waveform generation
  • Excellent modulation source for the

 
Download the Propagate manual In stock. Shipping in 24 H.Contact

339,00  299,00  Add to cart
¡Oferta!
Toolbox
Toolbox

 

  • Type/ Utility
  • Width/ 6HP
  • Power/ +30mA
  • Depth/ 25mm

 

A versatile module capable of performing 4 distinct jobs at once.

Adjustable Slew Control
Noise Source
Sample & Hold
Voltage Inverter
Module Sections

Slew (Portamento)
Slew Amount Knob Controls the Amount of Glide

Noise / Sample & Hold
Noise Output
Sample & Hold Voltage Input (Internally patched to Noise Output)
Sample & Hold Hold Clock Input
Sample & Hold Voltage Output

Invert (Voltage Inverter)
Flips the incoming Voltage From Positive to Negative or Negative to Positive)

Voltage Input
Voltage Output
 
 
In stock. Shipping in 24 H.Contact

165,00  155,00  Add to cart
¡Oferta!
Tri-ger
Tri-ger
Tri-ger

 

  • Type/ Drums
  • Width/ 14HP
  • Power/ +160/-37mA
  • Depth/ 40mm

 
Set yourself free from the tyranny of quantized rhythms. No more cold, lifeless patterns. Enter the world of push and pull that has been present in music since time immemorial.

Tri-ger is a 3 channel pattern recorder.

It is capable of recording and looping patterns up to 33 seconds in length, while providing a subdividable master clock output to keep the rest of the patch in time with the rhythms the user plays. Punch in record, play/pause, mute, and roll functions make the Tri-ger the best way to clock any patch in a musical fashion.

It uses bars and beats as units of measure, providing a quick and intuitive interface for the creation, arrangement, and performance of music.

The first of its kind in modular synthesis, the Tri-ger brings humanistic rhythms to the modular realm.

  • Master clock source
  • Triggering drum modules
  • Performing live
  • Clocking sequencers
  • Effect throws
  • Opening VCAs
  • Triggering envelopes

 
Download the Tri-ger manual HERE
 


 
In stock. Shipping in 24 H.Contact

399,00  375,00  Add to cart