Baron Samedi Module
Baron Samedi Module
Baron Samedi Module

 

  • Type/ Effect
  • Width/ 12HP
  • Power/ +35mA/-25mA
  • Depth/ 30mm

 
The Baron Samedi circuit produces all sorts of extreme fuzz sounds with a fundamentally gated nature. It’s easy to think of the pedal as a supernatural harmonic generator of sorts – with a fuzz sound that goes from tame to obnoxious and a row of three extremely interactive knobs, it’s easy to dial in a wide range of broken speaker, AM radio, sub-oscillating and scooped mid sounds – and everything in between.

The heart of this module is the same as that of the pedal, so you can nail all the sounds the pedal has to offer. However functionality, the attenuverter-equipped CV inputs are designed to drag your yet-pristine synth signals into a chaotic, loud and vulgar afterlife.

With modifications that allow it to be used with modular level signals, the Baron Samedi module can act like a waveshaper or a saturator – but add CV and all bets are off. The LIFE CV deepens or flattens the notch of the tone control, the DEATH CV adds PWM-like textural manipulation, going from very quiet to very loud in the process, and the BURIAL CV acts as a gate of sorts. Some extremely unique, somewhat ring modulation-like sounds can be had when feeding audio-range signals into the DEATH and BURIAL CV inputs. It goes without saying that there is a lot of merit in running CV into all three inputs simultaneously for maximum sonic mayhem.
 
 
Download the Baron Samedi manual HERE
 
 
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Finaliser R-EQ black
Finaliser R-EQ black
Finaliser R-EQ black

 

  • Type/ Effect
  • Width/ 18HP
  • Power/ +105mA/-55mA
  • Depth/ -mm

 
This is three functions in one module:

a) Seven DSP based Reverbs, including Spring, Ambience, Room, Large Hall, Small Church, Large Church, Reverse and also a 380ms fixed delay. The reverb amount (wet dry mix) can be Voltage controlled.

b) A four band equaliser, with three of the bands (low, low-mid, high-mid) being sweepable Parametric EQ, and the fourth band (High) having selectable centre frequency. The EQ range is approx +/-15dB. The EQ section has a bypass switch so it can be defeated.

c) A sonic maximiser / aural exciter – this has two controls, enhance low and enhance high. These add some low and high “punch” to the sounds. It has a bypass function too, and the maximiser can be used in conjunction with both eq and reverb.

The module is mono in/mono out, or mono in/Stereo out. There is also a stereo in/stereo out mode, but this is for the reverb only. The EQ and maximiser work on the left channel only and are mono effects.
 


 
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Finaliser R-EQ silver
Finaliser R-EQ silver
Finaliser R-EQ silver

 

  • Type/ Effect
  • Width/ 18HP
  • Power/ +105mA/-55mA
  • Depth/ -mm

 
This is three functions in one module:

a) Seven DSP based Reverbs, including Spring, Ambience, Room, Large Hall, Small Church, Large Church, Reverse and also a 380ms fixed delay. The reverb amount (wet dry mix) can be Voltage controlled.

b) A four band equaliser, with three of the bands (low, low-mid, high-mid) being sweepable Parametric EQ, and the fourth band (High) having selectable centre frequency. The EQ range is approx +/-15dB. The EQ section has a bypass switch so it can be defeated.

c) A sonic maximiser / aural exciter – this has two controls, enhance low and enhance high. These add some low and high “punch” to the sounds. It has a bypass function too, and the maximiser can be used in conjunction with both eq and reverb.

The module is mono in/mono out, or mono in/Stereo out. There is also a stereo in/stereo out mode, but this is for the reverb only. The EQ and maximiser work on the left channel only and are mono effects.
 


 
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Gemini 2412 Dual SVF black
Gemini 2412 Dual SVF black
Gemini 2412 Dual SVF black

 

  • Type/ Filter
  • Width/ 28HP
  • Power/ +50mA/-45mA
  • Depth/ 24mm

 
This module comprises two fully featured, and beautiful sounding 12db multimode filters, based around the classic vintage SEM filters. Each individual filter has LP, BP and HP outputs, along with a variable output that can be swept from LP through to HP response, with a notch effect at centre position. All of the outputs are available simultaneously, and there is Voltage control of Frequency and Resonance amount. There is a switch that connects them into either Serial (cascaded) mode, or Parallel (Dual) mode. In both of these modes the four way rotary switch is used to select the individual filter type.

The Dual FCV Controls allow add a frequency CV simultaneously to both filters, the second FCV Mix control that determines how much of the Dual FCV goes to VCF1 and VCF2. So this allows a range of filter effects with a single control voltage. In dual mode the two filters are connected in parallel, and can be crossfaded between them using the Audio Mix control (CV controllable). There is an “Invert” switch, which reverses the phase of one filter against the other, which allows further variations in filter response in Dual Mode.
 


 
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Gemini 2412 Dual SVF silver
Gemini 2412 Dual SVF silver
Gemini 2412 Dual SVF silver

 

  • Type/ Filter
  • Width/ 28HP
  • Power/ +50mA/-45mA
  • Depth/ 24mm

 
This module comprises two fully featured, and beautiful sounding 12db multimode filters, based around the classic vintage SEM filters. Each individual filter has LP, BP and HP outputs, along with a variable output that can be swept from LP through to HP response, with a notch effect at centre position. All of the outputs are available simultaneously, and there is Voltage control of Frequency and Resonance amount. There is a switch that connects them into either Serial (cascaded) mode, or Parallel (Dual) mode. In both of these modes the four way rotary switch is used to select the individual filter type.

The Dual FCV Controls allow add a frequency CV simultaneously to both filters, the second FCV Mix control that determines how much of the Dual FCV goes to VCF1 and VCF2. So this allows a range of filter effects with a single control voltage. In dual mode the two filters are connected in parallel, and can be crossfaded between them using the Audio Mix control (CV controllable). There is an “Invert” switch, which reverses the phase of one filter against the other, which allows further variations in filter response in Dual Mode.
 


 
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Marbles
Marbles

 

  • Type/ Random
  • Width/ 18HP
  • Power/ +80mA/-20mA
  • Depth/ 25mm

 
CONTROLLED CHAOS, REPEATABLE RANDOMNESS

Marbles is a source of random gates and voltages, which offers an extensive amount of (voltage) control on all the different flavors of randomness it produces.

The module gives the musician many different ways of imposing structure on the random events generated by the module: synchronization to external clocks, control of the repetition or novelty of the generated material, quantization of the voltages, or randomization of gates or voltages generated by traditional sequencers.

A FEELING OF DÉJÀ-VU…

Marbles remembers the history of every recent clock deviation, rhythm or voltage it has generated. The DEJA VU knob on the panel controls the probability of reusing past material instead of sampling fresh random data.

You are thus given control on the feeling of repetition and structure in the generated random voltages and rhythms. At the extreme, the module no longer generates any novel values and loops over the same pattern (or a random permutation of it). And of course, this (variably) random looping can be performed on external CVs!
 
 
Download the Marbles manual HERE
 

YouTube: por favor especifíque una url correcta


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Mega-Phase 12 black
Mega-Phase 12 black
Mega-Phase 12 black

 

  • Type/ Effect
  • Width/ 18HP
  • Power/ +70mA/-65mA
  • Depth/ 24mm

 
This is based on the vintage EH Smallstone phaser – which was 4 stages. So all of the JMJarre style Equinoxe sounds are readily available.
However, it has been expanded to 12 stages, with some unique features – an eight way rotary switch to select the Output stage, and a second eight way switch for selection of the Emphasis (feedback path). So it is possible to e.g. have a six Stage filter with Emphasis from the 11th Stage, or other combinations.

This allows a huge range of sounds, particularly as it includes odd numbered stages – each stage of the phaser is inverting, so selecting an even stage for output and an odd stage for Emphasis creates a different variety of Phase cancellations. It has Voltage Control of Phasing amount from dry to wet, and also Voltage Control of Emphasis amount too. The normal phaser output is a 50/50 mix of wet dry, but It has a “wet” output too along with a second audio input – this allows an external effect to be added as a second Emphasis path.
 


 
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Mega-Phase 12 silver
Mega-Phase 12 silver
Mega-Phase 12 silver

 

  • Type/ Effect
  • Width/ 18HP
  • Power/ +70mA/-65mA
  • Depth/ 24mm

 
This is based on the vintage EH Smallstone phaser – which was 4 stages. So all of the JMJarre style Equinoxe sounds are readily available.
However, it has been expanded to 12 stages, with some unique features – an eight way rotary switch to select the Output stage, and a second eight way switch for selection of the Emphasis (feedback path). So it is possible to e.g. have a six Stage filter with Emphasis from the 11th Stage, or other combinations.

This allows a huge range of sounds, particularly as it includes odd numbered stages – each stage of the phaser is inverting, so selecting an even stage for output and an odd stage for Emphasis creates a different variety of Phase cancellations. It has Voltage Control of Phasing amount from dry to wet, and also Voltage Control of Emphasis amount too. The normal phaser output is a 50/50 mix of wet dry, but It has a “wet” output too along with a second audio input – this allows an external effect to be added as a second Emphasis path.
 


 
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MiniMod Dual LFO + VCA black
MiniMod Dual LFO + VCA black
MiniMod Dual LFO + VCA black

 

  • Type/ LFO
  • Width/ 10HP
  • Power/ +25mA/-22mA
  • Depth/ 26mm

 
Dual LFO and VCA module 10HP wide. – This has two LFO’s each with variable waveshape. It includes a DC coupled VCA.

The Dual LFO + VCA comes equipped with two low-frequency oscillators, each featuring a triangle and a pulse output. Utilizing two of the module’s potentiometers, the shape respectively width of the waveforms can be adjusted. Therefore, it is easily possible to transform a triangle into a saw tooth or ramp wave. – Or anything in between. The other potentiometers allow users to adjust the LFO rates. Additionally, the first modulator features a switch for changing its tempo range plus there is a Sync input. The second LFO is normalized to the module’s linear VCA. It can be controlled via a CV input. This setup is very handy for regulating the low frequency oscillator’s modulation depth via, for instance, the modulation wheel of a keyboard.
 
 
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MiniMod Dual LFO + VCA silver
MiniMod Dual LFO + VCA silver
MiniMod Dual LFO + VCA silver

 

  • Type/ LFO
  • Width/ 10HP
  • Power/ +25mA/-22mA
  • Depth/ 26mm

 
Dual LFO and VCA module 10HP wide. – This has two LFO’s each with variable waveshape. It includes a DC coupled VCA.

The Dual LFO + VCA comes equipped with two low-frequency oscillators, each featuring a triangle and a pulse output. Utilizing two of the module’s potentiometers, the shape respectively width of the waveforms can be adjusted. Therefore, it is easily possible to transform a triangle into a saw tooth or ramp wave. – Or anything in between. The other potentiometers allow users to adjust the LFO rates. Additionally, the first modulator features a switch for changing its tempo range plus there is a Sync input. The second LFO is normalized to the module’s linear VCA. It can be controlled via a CV input. This setup is very handy for regulating the low frequency oscillator’s modulation depth via, for instance, the modulation wheel of a keyboard.
 
 
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Pit Viper Module
Pit Viper Module
Pit Viper Module

 

  • Type/ Effect
  • Width/ 12HP
  • Power/ +35mA/-25mA
  • Depth/ 35mm

 
Full-blooded distortion – Pit Viper is a solid state overdrive for hard-boiled musicians. The circuit can generate clean, beefy signal boosts. However, its true strengths lie in aggressively screaming distortions with a tangible character. – This is not a module for wimps!

Although the Pit Viper has a raw look, the module was built with much love for detail. The OP amp (TLC2272) can be exchanged for other models. Unused soldering points on the circuit board allow musicians who are dissatisfied with the rather erratic behavior of the viper to replace the hand-rolled optocouplers with precision components. – Please note: Such modifications void the warranty!

Furthermore, there is a trim potentiometer on the circuit board, which can be used to adjust the gain.

Finally, one important note from the manual: Please keep the Viper away from cats! – If there is not a cat in your studio, please adopt a four-legged friend!
 
 
Download the Pit Viper manual HERE
 
 
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Stages
Stages

 

  • Type/ Envelope
  • Width/ 14HP
  • Power/ +80mA/-20mA
  • Depth/ 25mm

 
THE MODULATION CONSTRUCTION SET

ASR envelope, complex 6-stage envelope, LFO, 4-step sequence or switched LFO: Stages can be any kind of modulation.

Not because all these behaviors have been pre-programmed in the module, but because it allows you to describe your own modulations in terms of basic operations: ramp from one voltage to another, hold a voltage at a set level, wait for a trigger and slew. With or without looping.

Whether you need one complex envelope, or several simpler modulations, Stages reconfigures itself according to which of its gate inputs are patched. There is always a role for it in your patch.

THAT’S IT

Really, there isn’t more to the story.

Self-generating chiptunes? Very weird LFO shapes? Random gate delay? Stages probably does strange and wonderful things when patched in a certain way.
 
 
Download the Stages manual HERE
 
 
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Variable Sync VCO
Variable Sync VCO
Variable Sync VCO

 

  • Type/ Oscillator
  • Width/ 16HP
  • Power/ +40mA/-35mA
  • Depth/ 22mm

 
The ACL Variable Sync VCO consists of one ramp core oscillator with several wave shaper subcircuits, all having that classical vintage tone, loved by a lot of musicians and soundsynthesists.
The VCO is capable of delivering that without sacrificing tracking precision and low temperature drift.
Available waveshapes are saw, inverted saw, triangle, sine and PW rectangle, which uses the saw wave from the waveshaper as a carrier for the PWM. It can be varied by CV and manually within a range from 0 percent to almost 100 percent.
The possibility to play VCO in low, middle and high modes, together with the 10 turn precision Tune pot results in a very convenient ”on the fly” way of tuning the module. It’s core can be frequency modulated exponentially from two inputs, both CV controlled. When fully open the input attenuators are calibrated for 1 V/Oct. There is one more input – for linear modulation with manual amount control, AC coupled and configured like differentiator. In this way it is sure no detuning caused by DC, will take place when modulation signal is presented at the FM Input, but only frequency modulation, centered around the already played tone.
Syncing the core to outside source makes a whole lot of difference, when there is the additional option to vary continuously by CV and manually the threshold of synchronization from no sync, soft sync and hard sync. This input is configured as attenuverter for even more flexibility. Note when the Treshold pot is fully CW there will be no sound output anymore. The reference wave source for the soft sync is the saw from the oscillator. Sync input itself reacts to every repeatable waveform with amplitude higher than 1,2 Vpp.
 


 
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Discrete Multistage VCF
Discrete Multistage VCF
Discrete Multistage VCF

 

  • Type/ Filter
  • Width/ 14HP
  • Power/ +mA/-mA
  • Depth/ 22mm

 
The ACL 24dB Disrete Core Ladder Filter VCF is classic transistor ladder design.
A fully discrete, low noise, low distortion audio path is used in the whole circuitry.
Some special features provides loads of possibilities as described in the text below.

The VCF ladder design consists of 4 stages, providing an buffered output for each of the 4 stages separately in order to
get a 6dB, 12dB, 18dB and 24dB/octave -sloped filter output individually.

The cutoff frequency of the VCF can be controlled manually using the knob named „CUTOFF“ and by 3 independent external control voltages, connected to the input jacks „1V/OCT“, „CV1“ and „CV2“, the latter two having attenuators.
The VCF´s resonance can be controlled manually and by an external CV.

When resonance is turned fully, up self oscillation will occur, enabling to use the VCF as a voltage controlled quadrature oscillator (a 90 degree shift occurs at every filter pole)
 


 
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Dual State Variable VCF
Dual State Variable VCF
Dual State Variable VCF

 

  • Type/ Filter
  • Width/ 26HP
  • Power/ +53mA/-50mA
  • Depth/ 22mm

 
In the category “dual multi-mode filter with normalizations and common control of both cutoffs” ACL present a State Variable filter with 12dB slope, individual outputs, variable filter routing as well as the variable notch balance known from the Oberheim SEM, blending over from low pass over notch to high pass.

The two filters have the same layout: each has an audio input with level control. Cutoff and resonance are set both manually and with CVs; the CV inputs feature polarizers for setting modulation intensity, For filter tracking there’s an input which tracks approximately 1V/octave.
Each filter has four individual outputs for different filter types; low pass, notch, high pass and band pass. A special feature is the possiblity to crossfade the notch from low pass to high pass, creating different timbres and. A shame that this parameter is not voltage controlable.

Indeed you can use the filters separately and individually but the Dual SVF offers a number of normalizations for simultaneous control of both filters. All audio inputs and CV inputs of filter A are pre-patched to the inputs of filter B. The cutoff frequencies of both sections can be manually controlled at the same time using the Dual Cutoff potentiometer.
The signal flow is determined by two switches; the upper switch PAR/SER selects whether the filters work parallely or in series. In latter mode the lower switch determines which output of filter A is routed to the input of B, either the bandpass or the notch (which alllows for selecting low and high pass).
 
 
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VC Dual Delay
VC Dual Delay
VC Dual Delay

 

  • Type/ Effect
  • Width/ 21HP
  • Power/ +85mA/-40mA
  • Depth/ 22mm

 
The recently popular Princeton delay chip PT2399 is the heart of this delay as well yet this module houses two individual delay units with their own, open feedback loops, low- and high frequency cut in the feedback and voltae control of delay time.
Things get interesting by normalizations of delay A to B and the simple and intuitive routing of the delays and feedbacks.

The delay time is set with the Rate potentiometer and with a control voltage. The modulation input IN CV has a bi-polar attenuator (Rate CV). The sensitivity of the modulation input can be multiplied by ten with the NORM / x10 switch.

Feedback: in the, usually closed, feedback loop of each delay two filters are integrated for dampening the highs and lows of the echo. These LO CUT and HI CUT filters a have a slope of 6dB and do not feature voltage control.
The feedback path can be opened whend desired, for that task two outputs and one input are available: FLT FB OUT emits the filtered feedback signal while FB OUT carries the non-filtered signal. The feedback signal can now be processed and injected back to the delay via the FB IN socket. The feedback amount and polarity are set with the according bi-polar attenuator i.e. positive and negative feedbacks are possible.
 


 
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