Frames
Frames

 

  • Type/ Mixer
  • Width/ 18HP
  • Power/ +90/-30mA
  • Depth/ 25mm

 
The heart of Frames is a 4-channel analog VCA under tight digital control. Through flexible input/output mixing and normalling options, it can be patched to serve the following purposes (among others):

  • 4-channel attenuator/VCA.
  • 4-channel mixer.
  • 4-channel programmable CV source.
  • Quadraphonic signal dispatcher.

But what makes Frames truly unique is the way in which channel/CV levels can be controlled, using a technique inspired by computer animation. Frames allows up to 64 configurations of the 4 level knobs to be stored and recalled throughout the course of its big Frame knob. By rotating the knob (or sending a CV to the Frame modulation input and adjusting its amount with the attenuverter), the configurations are morphed into one another.

To fine-tune the animation and get varied morphing or sequencing results, the following options are available for each of the 4 channel:

  • Easing curve (stepped, linear, exponential, logarithmic, sine, bouncy)
  • Attenuation response of the level knob, from linear to logarithmic

With a bit of patching and imagination, Frames can also be repurposed as a 4-channel sequencer, a multi-stage envelope generator or a trajectory generator for quadraphonic panning…
 
Download the Frames manual HERE
 


 
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Ripples
Ripples

 

  • Type/ Filter
  • Width/ 8HP
  • Power/ +35/-35mA
  • Depth/ 26mm

 
Ripples delivers a classic, big-sounding analog four-pole filter in a small 8-HP package, continuing Mutable Instruments’ lineage of warm and tasty filters started by the Shruthi SMR4 mkII and 4-Pole Mission.

3 filter modes are available: 2-pole band-pass, 2-pole low-pass, and 4-pole low-pass.

Self-oscillation is available for all modes and produces a clean sine-wave on the LP4 output. Unlike many classic 4-pole designs, this filter does not suffer from “loudness drop” when resonance is increased. The resonance loudness compensation circuit brings a slight tone coloration reminiscent of the Roland SH/Jupiter filters, with a very round and “liquid” resonance.

The 4-pole low-pass output is additionally sent to a VCA. This makes Ripples a good “final stage” module for an inexpensive/space-constrained subtractive synthesis synth voice.
 
Download the Ripples manual HERE
 
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Shelves
Shelves

 

  • Type/ Filter
  • Width/ 18HP
  • Power/ +75/-75mA
  • Depth/ 25mm

 
Shelves brings to Eurorack modular systems something we are all very familiar with: the 4-band parametric EQ typically found in console channel strips. But this time, there’s CV control! The first band is a low-pass shelving filter, the fourth band a high-pass shelving filter, and band #2 and #3 have full-blown parametric controls with bandwidth (Q) adjustment. All analog.

Shelves will provide a subtler spectral shaping & coloring than standard multimode filters. It is particularly useful in the feedback loop of effects or more generally in feedback patches in which the slightest tonal change has drastic consequences. Or as a novel way of shaping sounds obtained by west-coast techniques. Or as a formant-ish filter. Or to emulate the body of instruments in the context of physical modelling patches…

Unlike console EQs, each band is not restricted to a narrow range of frequencies: it can be swept across the entire audio range, from 20 Hz to 20kHz – with unexpected phase cancellations or reinforcements when corrections compete in the same frequency range. All parameters have direct CV control. Global frequency and cut/boost CV inputs allow simultaneous CV control of all channels.
 
Download the Shelves manual HERE
 


 
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Branches
Branches

 

  • Type/ Utility
  • Width/ 6HP
  • Power/ +10mA/-1mA
  • Depth/ 25mm

 
A Bernoulli gate takes a logic signal (trigger or gate) as an input, and routes it to either of its two outputs according to a random coin toss. The knob controls how fair the coin toss is – with the knob in minimal position, the first output always win, with the knob in maximal position the second output always wins – with random fun in-between. And obviously, this bias is CV-controllable!

Branches packs two such gates in a small 6-HP panel. Get a sequencer to randomly skip steps, randomize drum patterns, dispatch events from a sequence to two subpatches, or patch a monster modular Pachinko machine…
Technical characteristics
  • Input specifications: 100k impedance, 0.6V threshold.
  • Output specifications: 5V HIGH level.
  • Response time: 15µs.

 


 
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Kinks
Kinks

 

  • Type/ Utility
  • Width/ 4HP
  • Power/ +25/-25mA
  • Depth/ 20mm

 
YOU’VE BEEN A VERY NAUGHTY CV…

With the same compact 4-HP size as its vanilla friend Links, Kinks provides three analog utility functions for altering the shape of audio or control signals.

SIGN section
This section consists of a precision signal inverter, and half- and full- wave rectifiers (which respectively clips to 0V, and inverts the negative half of the signal).
They can help in creating new LFO shapes, add overtones to audio signals or even transform CV melodies.

LOGIC
An analog OR gate outputs the maximum of two signals: not only it can merge two streams of triggers/gates like its digital counterparts, but it can also hybridizes LFOs, envelopes or even audio signals – creating the same type of inharmonic side-bands as ring-modulators.
The analog AND gate outputs the minimum of the two signal. With it you can mute/un-mute a stream of triggers with another gate, or explore other shades of audio and CV mangling.

S&H
A no-nonsense implementation of a classic synthesizer circuit.
On each trigger received on the TRIG input, the output voltage takes the value of the input voltage and holds this voltage.
The signal input IN is normalized to a white noise generator – to easily generate stepped random values.
The white noise signal is also available through the NOISE output jack.
 
 
Download the Kinks manual HERE
 
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Ears
Ears

 

  • Type/ Utility
  • Width/ 4HP
  • Power/ +5/-5mA
  • Depth/ 25mm

 
Ears is our take on Tom Whitwell’s Mikrophonie module – a contact microphone and amplifier allowing you to generate a large palette of sounds by scratching, tapping, and more generally collecting any kind of acoustic waves surrounding your modular case – even speaker feedback. Ears is a perfect match for physical synthesis modules like Rings or Elements, but it can also be the gateway between external audio sources and your modular system.

Its built-in amplifier section can provide up to 40dB of gain, with a high impedance input suitable for guitars or other electro-acoustic instruments. It will effortlessly deliver clean amplification for line level signals or external contact microphones. Compared to the original Mikrophonie, Ears has been augmented with an envelope follower, and its amplification section has been redesigned from scratch for low noise and low distortion.

Technical characteristics
  • Audio amplifier with 1M input impedance, up to 40dB of gain.
  • Envelope follower with 3 preset attack and release times (adjustable by jumper).
  • Gate detector with 3 preset sensitivity levels (adjustable by jumper) and +8V gate output.
  • Three indicator LEDs: amplifier clipping (red), envelope follower level (white), gate detector activity (orange).
  • 4-HP.
  • Current consumption: +12V: 5mA ; -12V: 5mA.
  • Open-source hardware.

 
Download the Ears manual HERE
 


 
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