Plonk
Plonk

 

  • Type/ Voice
  • Width/ 12HP
  • Power/ +170mA/-6mA
  • Depth/ 28mm

 
Plonk uses a technique known as physical modelling to synthesize, with great realism, the way in which sound is produced by acoustic instruments. The Plonk module is, itself, focused primarily on creating percussive sounds — both pitched and un-pitched; natural and unnatural; acoustic-sounding or totally electronic.
 
Plonk does this by breaking sound creation into two distinct elements — the exciter and the resonator. The exciter is a mathematical model of the device used to strike a particular surface. Plonk, because it’s percussion oriented, has two types of exciters: one modelled on a mallet, and the other providing a noise source. The resonator is a virtualization of the object being struck, which vibrates, resonates and creates the body of a sound. Plonk offers several types of resonators: beam; marimba; drumhead; membrane; plate; and string.
 
Plonk was developed in cooperation with Montreal-based Applied Acoustics Systems — physical modelling pioneers, and the creators of Tassman, Lounge Lizard, String Studio, Ultra Analog, Chromaphone and numerous other plugins. It is with great pleasure that Intellijel brings the potential of this physical modelling technology to a hands-on, CV-laden device capable of the sort of dynamic control and sonic exploration that modular synthesists demand.
 
 
Download the Plonk manual HERE
 


 
 
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Quad VCA
Quad VCA

 

  • Type/ VCA
  • Width/ 12HP
  • Power/ +65mA/-65mA
  • Depth/ 29mm

 
The Quad VCA is a compact and feature packed module that is sure to find its way it almost all of your patches. In addition to being used for standard VCA duties it can also be used as a mixer and signal booster.
 
Manual LEVEL control per VCA which is convenient when using the module as a mixer or for biasing when CV modulating the VCA with a bipolar LFO.
Dedicated CV attenuators with dual color LEDs for monitoring bipolar CV signals.
Continuously adjustable response from linear to exponential per VCA.
Each CV input is normalled to the adjacent one for cascaded control.
Each output is normalled to the mix input of the adjacent one which allows you to use adjacent sets as submixes or the fourth output can be used as a master mix output when none of the other outputs are patched.
Each VCA has a boost switch that increases the output level by approximately +6dB (double).
 
 
Download the Quad VCA manual HERE
 
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Shifty
Shifty

 

  • Type/ Sequencer
  • Width/ 6HP
  • Power/ +4mA/-49mA
  • Depth/ 40mm

 
The Shifty is essentially a combination of four sample and hold stages, a sequential gate and sequencer controller. This collection of functions allow for some specific and useful utility application.

One of the primary uses for Shifty is to take a monophonic sequence source and route each new note of the sequence to up to four different synthesizer voices in a specific pattern. In this way you can create pseudo polyphonic sequences since each voice can be triggered to play and sustain while the next voice int the sequence gets triggered. Another term for this is hocketing.

The other main application of the Shifty is to function as an Analog Shift Register. In this mode each new gate input received causes the current set of pitches to be shifted to new output locations as a new one is added and the oldest one is replaced. This can be an interesting way to create chords that are up to four stacked notes when used with a pitch sequence source that has a harmonious series of notes (e.g. a pentatonic scale works really well). Even just using two of the outputs will yield very interesting melodic interplay and is an excellent way to make a simple sequence much more complex and interesting.
 
Download the Shifty manual HERE
 


 
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Atlantis
Atlantis

 

  • Type/ Voice
  • Width/ 40HP
  • Power/ +214/-196mA
  • Depth/ 38mm

 

The Atlantis is heavily inspired by the architecture and sound of the classic Roland SH-101. It has always been one of our  favorite synths and we really liked how the seemingly limited architecture allowed for all sorts of creative and musically useful sounds to be easily generated. Just like the 101 it is quick to dial in beautifully rich bass and lead sounds but there is much more  sonic territory to explore as well.

The Atlantis uses triangle core VCOs (based on the Dixie core) instead of Saw core which respond much more musically to FM. The modulation oscillator can be used as an LFO or VCO (audio rate) and both track very precisely over 8 or more octaves.

In the mixer section you can adjust the balance of the primary oscillators waveforms including a sinewave which is normalled to the EXT IN jack. You could also patch in one of the modulation oscillators waveforms into this channel and be able to operate the Atlantis as a proper two oscillator synth. There is a switch labelled “LINK” which enables the modulation vco pitch to be based as an offset of the primary VCO. This is useful when using it as a stacked dual vco or when you have the mod VCO acting as the linear FM source for the primary vco and wish to maintain the ratio.

The filter section is a Roland style cascaded 4 pole multimode filter with LP, BP and HP modes. The LP Boost switch engages a special mode useful for the LP that produces a much fatter and prominent sound that is not drowned out by resonance (unlike the original SH-101). The filter self-oscillates to produce a very clean sine wave which also tracks 1V/Oct. Between the Mod VCO, Primary VCO, Sub Oscillator and resonating filter it is possible to layer up to four different pitches at one time.

The envelope section is an ADSR with a dual range switch. It also can be set to a looping mode which can be gated on/off externally.
The output VCA feeds into a two level output clipping circuit that you can use to get a much ballsier/dirtier sound.
 
Download the manual HERE
 


 
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Metropolis
Metropolis

 

  • Type/ Sequencer
  • Width/ 34HP
  • Power/ +195mA/-8mA
  • Depth/ 45mm

 
The Metropolis is a unique and powerful musical sequencer inspired by the Ryk M-185 (a Roland System 100m format sequencer.) but with many additional enhancements and functions.

The Metropolis comprises eight “STAGES”, each with its own assignable gate mode, pulse count and pitch value. Each stage can also have a special slide or skip function activated too. The slide functionality is a constant time portamento very similar to the Roland TB303 (unlike most synths/sequencers that use constant rate portamento) which produces a very musical and interesting result.

In addition to the base sequencer settings set with the sliders and switches there is a full menu of controls and auxiliary modifiers that allows the user to control and manipulate the sequence in many powerful ways including sequencer direction modes, pitch quantization and scale manipulators, clock dividers, shuffle and much more.

Some of the features :

Sequencer modes:
Forward, Forward-fixed, Reverse, Reverse-fixed, PingPong, PingPong-Fixed, Random, Random-fixed, Brownian, Brownian-fixed
 
Download de Metropolis manual HERE
 


 
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Rainmaker
Rainmaker

 

  • Type/ Effect
  • Width/ 36HP
  • Power/ +270mA/-24mA
  • Depth/ 44mm

 
The Intellijel/Cylonix RAINMAKER eurorack-format module provides a high-quality (96KHz sampling rate with 32-bit internal processing) stereo rhythmic delay and stereo comb resonator effect.

The stereo rhythm delay has 16 taps, each with its own resonant 2nd-order filter and granular pitch shifter. The filters have independently adjustable resonance and cutoff frequency, and can be set to either lowpass, bandpass, highpass or bypass operation. The filters are also capable of self-oscillation, enabling modal synthesis techniques. The granular pitch shifters have a range of 15 semitones up or 16 semitones down. Each tap can repeat at a rate value set in tap#’s in order to create regenerating echo effects. The feedback signal has a lowpass/highpass tone control and its own pitch shifter. The tap delay times can range from 0.1 millisecond up to a maximum of 20 seconds. The overall delay times can be set with the rotary encoder, the tap tempo button, or synced to an external clock.

The stereo comb resonator section has 64 time-delayed taps which are summed together. This produces a deep comb filter or resonating effect. At large comb sizes (long time delays) a multiple echo effect is produced. The density of the resonator can be varied from 2 to 64 taps. The tap with the longest delay time is fed back to the input. High feedback levels, with short comb sizes, produce “Karplus-Strong” types of plucked string sounds. The relative timing of the 64 taps are set according to one of 16 different preset patterns, which provide different resonator timbres or echo rhythms. The comb size can be set either with the rotary encoder, an external clock or through a transposable 1v/oct input voltage.
 
Download the Rainmaker manual HERE
 


 
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Dixie II+
Dixie II+

 

  • Type/ Voice
  • Width/ 8HP
  • Power/ +60mA/-70mA
  • Depth/ 40mm

 
The Dixie II+ is a larger variant of the classic Dixie II. Using the same great triangle core oscillator, it adds a number of features to make it even more versatile with only a modest increase in size. The Dixie II+ makes a great primary oscillator for a modular system, or a great companion the Rubicon.

Features
  • 8-position octave switch for quick setting of course tuning.
  • Fine tuning knob that turns to a coarse knob when in LFO mode.
  • Dual FM inputs, with FM1 attenuator and switch to select between exponential and linear mode.
  • Pulse width control with attenuator.
  • Reset to 0 V hard sync input, ideal for percussive sounds or modulation.
  • Flip sync circuit similar to but improved from the Dixie II.
  • 6 waveform outputs: sine, triangle, zigzag, saw, pulse and suboctave.

 
Download the Dixie II+ manual HERE
 
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Dixie II
Dixie II

 

  • Type/ Voice
  • Width/ 6HP
  • Power/ +37mA/-42mA
  • Depth/ 40mm

 
The Dixie II has all the great qualities and features of the original dixie but has been made a bit wider (6 hp instead of 4 hp) for better spacing and is now skiff friendly. The panel knobs are bolted on and the jacks have more space between them.

This makes a perfect modulation source to pair with the Rubicon. Add a µFold, µVCA and µFade and you have all the ingredients for a powerful and highly flexible complex timbre generator.

Features:
  • Triangle core (superior for musical fm sounds)
  • VCO mode range: 1 Hz to 24 kHz
  • LFO mode range: 0.01 Hz (100 seconds) to 240 Hz
  • Precise tracking within 0.1% over 8 octaves
  • 6 waveforms, including: triangle, sine, sawtooth, pulse (with PWM), square (50% duty cycle), and a unique “zigzag” waveform.
  • Reversing sync (which can be made into soft sync with an external VCA or attenuator)
  • Jumper on PCB to select center- or edge-triggered PWM
  • Header on PCB for connecting master voice controller (e.g. control of multiple Dixies in a polyphonic configuration)

 
Download the Dixie II manual HERE
 
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µVCA II
µVCA II

 

  • Type/ VCA
  • Width/ 6HP
  • Power/ +36mA/-35mA
  • Depth/ 35mm

 

This is the version II of the original µVCA.

Features:

  • Response curve is continuously adjustable from linear to exponential
  • Gain trimmer with above-unity gain
  • Dedicated CV attenuators
  • LEDs for monitoring CV signal

This module was adapted from a design by David G. Dixon
 
Download the µVCA II manual HERE
 


 
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µVCF
µVCF

 

  • Type/ Filter
  • Width/ 6HP
  • Power/ +25mA/-24mA
  • Depth/ 21mm

 
Introducing the µVCF state variable filter.

This is another great David Dixon filter design. It is a very clean and precise filter that also doubles as an excellent sine VCO.

It responds very well to FM and the small size makes it a nice choice for smaller system.

  • low pass (LPF) 2-pole, high pass (HPF) 2-pole and bandpass outputs (BPF) 1-pole.
  • FM1 input acts as 1V/Oct when full CW. Tracks very well over 4+ octaves
  • FM2 input has a bipolar attenuator
  • At full Q you get very low distortion sinewaves with a range of 2Hz to 20Khz

 
Download the µVCF manual HERE
 


 
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µStep
µStep

 

  • Type/ Sequencer
  • Width/ 4HP
  • Power/ +29mA/-0mA
  • Depth/ 51mm (V2)

 
Features:

  • Seperate sequence lengths (1-8 steps long each)
  • Seperate gate lengths
  • Store/Recall patterns (8 locations)
  • 8 levels of Shuffle
  • Seperate sequence outputs with dedicated leds showing gate logic status
  • Relative and Absolute Timing modes
  • Gate range from 500uS to 30minutes (capable of audio rate sequences)
  • Compatible with STG Time Buffer (DINSYNC system)

Use this module for:

  • Beat/trigger sequencing (great for polyrhythms!)
  • Control of adsr/asr envelopes
  • Clock dividing
  • Swing Clock
  • Convert Gate to Trigger

 
Download the µStep manual HERE
 


 
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µScale II
µScale II

 

  • Type/ Quantizer
  • Width/ 6HP
  • Power/ +60mA/-7mA
  • Depth/ 51mm

 
This is a highly versatile and very musical device for creating interesting, beautiful and harmonious musical riffs from just about any analog cv sources. Please see the demo videos to get a taste of some of the creative things you can do with this module.

Features:

  • 12 buttons with matching dual color leds for selecting scale notes in real time (and visual feedback of quantizing).
  • Processes 0-10v (as 1v/oct) in the ‘in’ input.
  • Accepts 0-10v or ±5v on the ‘shift’ input (jumper selectable) for a shift range of ±12semitones or ±12 scale degrees.
  • Two 0-10v outputs (a and b) with 1v/oct scaling.
  • Output b is a user selectable interval based on the root note on output a. this interval can be chromatic (fixed semitones) or diatonic (interval is within the current scale and the value is based on scale degrees). this interval can be a bipolar value of ±12.
  • Shift has user selectable destinations of note a, b, a+b or the scale root.
  • Shift has user selectable modes of where shifting occurs: before scaling, in scale (diatonic) or post scale (key shifting).
  • Menu for shifting the scale root manually.
  • Special ‘scale shift” mode allows the “shift” input to select scales from the current bank (so 12 scales can be selected by cv).
  • Can store 12 scales in 12 banks for a total of 144 different user scales.
  • Module ships with 5 banks preloaded with scales (they can be erased by the user and reprogrammed).
  • Precision trimmers on pcb for fine tuning and scaling the two outputs.
  • Skiff friendly depth
  • uni/bipolar cv switch added to the panel
  • 16bit super low INL error TI DAC which translates to +/-0.0005V accuracy for pitch CV.

 
Download the µScale II manual HERE
 


 
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Korgasmatron II
Korgasmatron II

 

  • Type/ Filter
  • Width/ 20HP
  • Power/ +95mA/-88mA
  • Depth/ 38mm

 
The Korgasmatron II builds off the success of the original Korgasmatron but adds many new features. The Korgasmatron II has a completely independent six mode filter on each side which are selected via a rotary switch. We have also added a special overdrive feature so that the output signal can be soft or hard clipped depending on how hard you drive it into the circuit. This is controlled via the input amp which starts clipping when you put the knob past 12 o’clock (assuming an standard 10vpp input waveform). There are switches to select hard or soft clipping. this effect is subtle on simple waveform sources and dramatic on more complex sources (like chords).

The xfade circuit has also been redesigned to use the same circuit as found in the ufade module with independent cv attenuation.

also being released is the korgasmatron ii expander module which allows for cv control of the q for each filter.

A very special feature of the korgasmatron ii design is that you can also have extra inputs to each filter that has its own selectable filter type independent of the main filter type. So for example you can have filter A on the main module set to LPF and then run a second signal into the same filter but in BPF mode. Both signals come out of the same output.
This is really useful for complex layering or more creative applications like special feedback patching between the two inputs and outputs to create weird and aggressive filter responses.

Just like the original Korgasmatron this filter can go from clean and precise to howling and aggressive. From classic ms20 type sounds to totally new territory all depending on how you play with the front panel controls.

  • 20hp and skiff friendly
  • Dual filter + Xfade
  • Six filter types per filter:

1. lowpass 1-pole
2. lowpass 2-pole
3. bandpass 1-pole
4. highpass 2-pole
5. highpass 1-pole
6. band reject (notch) 1-pole (different than notch on original)

  • Both filters track 1v/oct over 3-4 octaves (makes a great vco)
  • Switch to configure serial or parallel routing
  • Output soft and hard clipping
  • Resonance soft clipping control (q drive)
  • All knobs bolted to panel

 
Download the Korgasmatron II manual HERE
 


 
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Korgasmatron II Expander
Korgasmatron II Expander

 

  • Type/ Expander
  • Width/ 6HP
  • Power/ Passive
  • Depth/ -mm

 
The Korgasmatron II Expander module allows for cv control of the q for each filter.

An additional special feature of the Korgasmatron II design is that you can also have extra inputs to each filter that has its own selectable filter type independent of the main filter type. so for example i can have filter a on the main module set to LPF and then run a second signal into the same filter but in BPF mode. both signals come out of the same output.

Korgasmatron II expander:
  • 6 hp skiff friendly (totally passive)
  • vc of q for filter a and filter b
  • auxiliary input for filter a and b with independent filter type selection
  • attaches to korgasmatron ii via single ribbon cable

 
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µMod II
µMod II

 

  • Type/ Midi
  • Width/ 6HP
  • Power/ +41mA/-41mA
  • Depth/ 35mm

 
The µMod II is a versatile ring modulator (four quadrant multiplier) based on the original  µMod designed by David G. Dixon.  Four analog logic outputs have been added to the module for even further CV and audio mangling.

Features:

  • Dual Linear VCA based Ring Modulator
  • Four Analog Logic outputs:
    • SUM  – adds X and Y
    • DIFF  – subtracts Y from X
    • MIN  – analog logic equivalent to ‘AND’
    • MAX  – analog logic equivalent to ‘OR’
  • Polarity switches for X (carrier) and Y (modulator) inputs.
  • QUADRANT control allows you to shift the multiplication into positive or negative quadrants.
  • Changing the Q value in fm adds the signal frequencies back into the sum+difference frequencies (typical output of a rigmod) which adds richness to the classic ringmod sound and allows for many variations of bell tones, chimes and mallet-type timbres.
  • Can be used as a linear VCA.
  • Great for waveshaping (especially two synced audio sources).
  • Excellent for CV mangling using combinations of the attenuators, rectifier switches and logic outputs.

 
Download the µMod II manual HERE
 
 
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Rubicon
Rubicon

 

  • Type/ Voice
  • Width/ 18HP
  • Power/ +95mA/-107mA
  • Depth/ 38mm

 
Not long after David Dixon finished the Dixie design he began working on a totally novel approach to implementing TZFM, thru-zero frequency modulation. After almost a year of experimenting and many PCB revisions later we are pleased to present what is surely David’s masterpiece as far as analog VCO design is concerned.

The Rubicon is packed with the following features:

  • Triangle core
  • Switchable linear and (for the first time in any module) exponential TZFM
  • Linear index VCA for dynamic control of TZFM depth
  • Symmetry control (full clockwise is normal, full counter-clockwise gives reversed waveforms, centered the VCO is at 0 Hz) with CV
  • 12 primary waveform types: sine, sigmoid, double sigmoid, triangle, saw, double saw, zigzag, square, pulse (center modulated), pulse (edge modulated), double pulse
  • Suboctave circuit (similar to the one found on the roland sh-101) with -1 and -2 octaves. (suboctave output is affected by fm just like the main signals.)
  • Soft sync (aka reversing sync) with attenuator
  • Hard sync with selectable reset direction (determines if the triangle starts moving up or down after a reset, very useful in LFO mode)
  • Pulse-width modulation and exponential FM with dedicated attenuators.
  • Wide frequency range:
    hi range (VCO): 1 hz to 24 khz
    lo range (LFO): 0.01 hz (100 seconds) to 240 hz
  • precise tracking within 0.1% over 8 octaves
  • 18hp and skiff friendly!

 
Download de Rubicon manual HERE
 


 
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