Parallax is a stereo filter designed with a classic sound, a simple friendly interface, lots of modulation options and two flavours of output. Designed to bring your modular system into a stereo world, Parallax is a pair of filters for your left and right signals which are controlled with common stereo controls, as well as controls to skew the cutoff and resonance in the stereo field. Parallax is perfect for making synth patches from stereo sources, or for taking a mono signal and making it stereo.
A stereo signal (or mono to the left input) passes through filters based on the design of the classic Pro-One but with a number of tweaks to update the filter for modern use. in addition to the -24dB/oct outputs there are -12db/oct outputs added for a brighter, smoother sound in addition to the powerful sound four-pole sound you would expect. All outputs are available simultaneously, giving you more patching options.
Vertex is a stereo VCA with some clever tricks up its sleeve to give you more control over the stereo domain. Vertex contains four analogue VCAs configured in such a way as to give you voltage control of the amplitude of a stereo signal (or make a mono signal stereo) as well as having control of the balance or panning of the signal.
Easily patch up a stereo signal path with a single envelope generator, skew your stereo image or pan a mono signal with CV. Vertex also takes advantage of the VCAs used to be able to saturate at unity gain without distorting your audio signal. This means that you can waveshape an AD envelope into an AHD using the Skew control to add punch to your patch, and use the Skew CV to dynamically alter the envelope timing to change the relative loudness between the Left and Right signals while still keeping the peak signal levels the same.
Vertex is also a great tool for controlling the dynamics of an XY signal for oscilloscope or vector laser patches.
SoundStage is a stereo mixer module unlike any other. Completely reimagining what a mixer needs to be in a Eurorack system, SoundStage helps you build your mix just by patching your voices in.
Inputs are placed in the stereo field depending on their horizontal patch position left to right, and placed in the frequency spectrum depending on vertical patch position, with twenty carefully tuned analogue resonant -12dB/octave Sallen-Key filters to give definition to low, low mid, mid, high mid and high voices.
Depth of filtering and output level have dedicated controls and bipolar CV inputs, allowing creative uses such as sidechain compression and rhythmic filtering. The twenty-one individual inputs forgo level controls as this can be controlled at the VCA stage of each voice, saving on doubling up and wasting space. The static stereo pan positions are chosen so the stereo image is wider for higher frequency voices, giving your mix solidity in the low end and width in the highs.
Vector Space builds on the concept of spatial CV mixing pioneered by the Wiard JAG and moves into three dimensions, as well as adding additional complex outputs, letting you generate seventeen interrelated voltages from three CV inputs, using 100% analogue circuitry.
Use it to generate a large number of complex modulations from a small number of simple sources, and vastly increase the amount of modulation you have in your system. Try running three sequencers or stepped voltages to the inputs and then running the plane outputs to a number of VCO frequency inputs for complex countermelodies, run LFOs or random voltages in to get complex modulation voltages out, it works particularly well feeding the outputs back to modulate the speed/shape/etc of what's being fed in, things can get very complex very quickly. The switches shift the expected input range from +/-5V to 0/10V to use with either bipolar or unipolar sources, or use the switches as another input source by switching them in real time.
The LRMSMSLR brings the power of mid/side processing to the world of Eurorack. Mid/side processing is a powerful tool often utilised in mastering studios; it takes a stereo signal and separates it into the mid and side elements, allowing you to independently process them and then recombine them into a stereo signal.
Used creatively this allows a sound designer to do anything from using two filters with differing responses on a stereo signal without having to perfectly match them for a balanced stereo response, to using a VCA to modulate the stereo width at audio rates to add harmonics to a stereo signal, to techniques which haven’t even been invented yet. The inputs and outputs are DC coupled so the LRMSMSLR can be used to get a sum and difference from two CV signals to create complex dynamic CV signals from simple LFOs and envelopes.