Analogue Solutions VCO

Introduction VCO is a single VCO laid out in a similar way to the VCO section you would find on a monosynth. VCO includes a glide (slew) function, so this is a great bonus. The VCO can go down to low frequencies so they can be used as an LFO.

Tune The VCO has a wide ranging tune control. Turning Tune alters the basic pitch of the oscillator.
Glide Turning up Glide adds portamento to the oscillator, so the pitch will bend (slide) up or down to each note (as opposed to a sudden change). The higher the setting, the longer the oscillator takes to reach its new note. Not many VCO modules give you the all important Glide control as standard!
Pulse Width You can alter the pulse width (duty cycle) of the square wave. Turning this gives a sound similar to chorusing. In the centre position a square wave is produced.

Analogue Solutions VCO with Sub

Tune The VCO has a wide ranging tune control. Turning Tune alters the basic pitch of the oscillator.
Glide Turning up Glide adds portamento to the oscillator, so the pitch will bend (slide) up or down to each note (as opposed to a sudden change). The higher the setting, the longer the oscillator takes to reach its new note. Not many VCO modules give you the all important Glide control as standard!
Pulse Width You can alter the pulse width (duty cycle) of the square wave. Turning this gives a sound similar to chorusing. In the centre position a square wave is produced.

Sawtooth Level This sets the output volume of the sawtooth waveform output.
Square Level This sets the output volume of the square waveform output.
CV in This socket is the pitch CV control input and is used to control the pitch of the oscillator.
PW This is a pulse width control CV input. Use a -12 to +12V voltage in this socket to alter the pulse width of the oscillator square wave.
Sync In This is an oscillator Sync reset input.
Sawtooth Out This is the audio output for the sawtooth waveform. Its level is affected by the sawtooth level pot.
Square Out This is the audio output for the square waveform. Its level is affected by the square level pot.
Sub 1 Out This is a Sub-Osc output 1 octave below the main saw/square outputs.
Sub 2 Out This is a Sub-Osc output 2 octaves below the main saw/square outputs.
Sub 3 Out This is a Sub-Osc output 3 octaves below the main saw/square outputs.

Analogue Solutions VCO with Ring Mod

Introduction VCO-RM is a single VCO-RM laid out in a similar way to the VCO section you would find on a monosynth. VCO-RM includes a glide (slew) function, so this is a great bonus. VCO-RM can go down to low frequencies so they can be used as an LFO
It also has a complete and independent Ring Modulator. This can be used on its own, or you can patch the oscillator into the RM, and along with another audio source gives you great Ring Mod’d sounds.

Ring ModulationVCO-RM features a high quality Ring Modulator very similar to those found in the Roland System 100m, EMS VCS3 and ARP2600. What the RM does is take 2 audio inputs, which we will call X and Y, then produce an output that contains the original frequencies X and Y, as well as the sum and differences of X and Y (X+Y, X-Y). In non-technical speak, the RM best produces metallic sounding bell and clang sounds. The output is rich in harmonics and can often sound quite abbrasive. So filtering is necessary and the sound is best used for effects. The RM is a vital processor producing it’s own unique sound vital in an system.

RM In Use Basically experiment with any two audio sources. The type of input signal (waveform) and pitch will alter the output. By slowly changing the pitch of one input some dramatic sounds can be produced. Note, the RM is completely independent from the VCO.

Tune The VCO has a wide ranging tune control. Turning Tune alters the basic pitch of the oscillator.
Glide Turning up Glide adds portamento to the oscillator, so the pitch will bend (slide) up or down to each note (as opposed to a sudden change). The
higher the setting, the longer the oscillator takes to reach its new note. Not many VCO modules give you the all important Glide control as standard!
Triangle Level This sets the output volume of the triangle waveform output.
Sawtooth Level This sets the output volume of the sawtooth waveform output.
Square Level This sets the output volume of the square waveform output.
CV in This socket is the pitch CV control input and is used to control the pitch of the oscillator.
Sync In This is an oscillator Sync reset input.
Triangle Out This is the audio output for the Triangle waveform. Its level is affected by the Triangle level pot.
Sawtooth Out This is the audio output for the sawtooth waveform. Its level is affected by the sawtooth level pot.
Square Out This is the audio output for the square waveform. Its level is affected by the square level pot.
RM X input The X audio input to the Ring Modulator
RM Y input The Y audio input to the Ring Modulator
RM output The RM output

Precision voltage controlled oscillator, High frequency stability & excellent musical tracking over a ten octave range. Accurate waveforms of sinewave, sawtooth, triangle, square & pulse are available as separate outputs, the waveshapes can be independently voltage controlled. a wide range mode allows the oscillator to operate in both supersonic and subsonic frequency ranges as well as in the audio frequency range. Hard sync input for classic complex lead sounds.

Liquid Smooth Analog Design

The Zeroscillator is a full-featured electronic-music-quality analog VCO capable of linear frequency modulation through zero hertz and into negative frequencies. This makes it capable of the FM Synthesis stuff, wild and crazy sounds simply not available from traditional VCOs, and timbres not available from digital FM synthesizers. Of course, Zeroscillators also make insane LFOs!

Traditional FM Synthesis oscillator implementations, such as the DX-7, are sine wave only. The Zeroscillator also makes available sawtooth, reverse saw, triangle, pulse (with PWM), and a special set of four quadrature outputs capable of unique bi-phase wave morphing, (more on that later).

FM sounds take on their vibrant life when the amount of modulation is varied dynamically. In the analog world, this requires a special VCA to regulate the depth of frequency modulation, (often called the "modulation index"). Since this is required almost universally for Linear FM patches, the Zeroscillator has this VCA built-in. We decided however, to take this feature one extra step beyond and provide you with a four-quadrant multiplier instead of a traditional two-quadrant VCA to expand your modulation possibilities into the unexplored. The output of this multiplier is available at the panel, so you get a free ring-mod function and an interesting pick-off point for self-modulation patches called Mod Out.

In addition to it's precision 10-turn tuning knob, the Zeroscillator has 1V/octave plus attenuated exponential inputs and can behave just like the VCOs you're used to. You are not forced into any specific modality and are free to use all or any subset of its 7 different modulations:

1-Exponential FM
2-Linear Through-Zero FM
3-Linear FM Dynamic Depth Modulation
4-Bi-Phasic Waveform Morphing in Quadrature
5-Pulse Width Modulation
6-Variable Sync (from none to hard synch)
7-Time Reversal

The unit is housed in a 42hp, 3u, Eurorack module. This unit has been designed to address the need for larger controls , ergonomics and panel space associated with a larger format but now within the 3u format.

The price is $1295 plus shipping, delivery time is approximately 5 weeks. The first module run will be small.

2 temperature stabilized oscillators conforming to the standard 1v/octave logarithmic law used for scaling by most analogue synthesizers.
Each oscillator is equipped with a 10 turn frequency potentiometer- this allows for drastic tuning actions- as well as subtle tuning of thirds, fifths, ninths etc. The 10 turn frequency control replaces the more common ‘course’ and ‘fine’ tuning frequency controls normally found on analogue oscillators.
Each oscillator is provided with a convenient 5 octave switch control making transposition easy.
Each oscillator features 6 waveforms, all individually accesable. The wave forms are: sawtooth, ramp, fixed square, variable rectangle, triangular and sine.
There is a nominal pulse width control to manually control the duty cycle of the rectangular waveform. There is also an external pulse width modulation (pwm) input so that external control voltage can sweep the duty cycle of the wave form. Both oscillators provide a range from around 1hz low frequency to beyond 25khz. Status led indicators give some indication of the oscillator ’state’ Each oscillator is provided with 1 attenuated 1v/octave log input, 1 1v/octave log input (fixed) and 1 linear cv input.

Included in the design are two further functions:
The x-series dual oscillator features a genuine ‘balanced modulator’ wired up as a ring modulator. Common practice amongst contemporary manufacturers is to use the ad633. That device is an analogue multiplier. It is inexpensive and easy to use. It comes close to providing ring modulation and requires few external parts. The dual oscillator features the mc1496 balanced modulator ic that was used commonly in the older synthesizers of the 1970s. This ic wired up as ring modulator offers considerably more ring mod character than the ad633 type. The sine waveforms are ‘normalised’ into the ring modulator- but other waveforms can be patched in at will. The x-series dual oscillator also features a variable white/pink noise generator. This circuit provides a pure and clean white noise output as well as lower frequency pink noise output. This again is another classic circuit built around an all transistor design.

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3 digital-controlled oscillators
2 different sawtooth waveforms (analog + digital)
common and individual CV-control
 pulsewidth control for 2 oscillators
internal and external hard-sync
digital ring-modulation

Now, you can get the famous sound of the MFB Synth LITE II from your modular synth. OSC-01 bundles three oscillators in a single module. Constructed as a analog/digital hybrid, these oscillators guarantee improved tuning stability (comparable to the DCOs of a Roland Juno 106).

In addition, OSC-01’s third oscillator also offers the unique sawtooth-wave that was used in the first version of the MFB Synth LITE.

OSC-01 offers plenty of useful features: All three oscillators can be commonly controlled by CV. In addition, each oscillator can be controlled by an individual control voltage. Combined with a 3-Track sequencer like Doepfer MAQ-16/3 or AS Oberkorn makes it possible to create changing chord intervals only with one module.

Oscillator 1 or both oscillators 1 and 2 can be synchronized to oscillator 3. This also applies to the external hard-sync option. Further individual and common modulations can be achieved through three additional CV inputs.

3 voltage-controlled analog oscillators
triangle, saw tooth, square waveforms
common and individual CV-control
2 x pulse width modulation
internal and external hard-sync
digital ring-modulation

OSC-02 may look like OSC-01 but is a very different beast inside. Unlike its hybrid brother OSC-01, the OSC-02 uses fully analog technique taken from MFB Synth II model. Three oscillators with all benefits and the typical character of analog construction in a single compact module.

OSC-02 offers a variety of notable functions: Beside a common CV-control voltage for all VCOs, all oscillators can be individually controlled by CV-sources, e.g. by different tracks of a CV-sequencer like Doepfers MAQ-16/3 or the AS Oberkorn. VCO 1 can be synchronized to VCO 3, individually or paired with VCO 2. The same goes for external hard-sync. The additional CV-inputs allow for common and individual modulations.

The immensely popular Plan B Model 15 is an analog Voltage Controlled Oscillator (VCO) featuring an all-discrete component triangle wave core, two independent fully processed (+/-) VC inputs, a single 1V/Oct input, a dedicated linear FM input, sync, and independent Sine, Triangle, Saw, PWM and Wave Morph Outputs. The VC Wave Morph is a vactrol-based (read: smooth) crossfade function via a manual pot setting or VC control and the morphs from Sine to either Saw or Square wave outputs.

Due to it's triangle core architecture, the sound replicates that of the Buchla 258 with stability better than .01% (less than 4 hertz drift at 1kHz over 24 hours) and boasts a frequency range of 1 to 20Khz and a maximum power consumption of only 40mA.

Various component improvements on the Model 15 core have increased for 1V/oct tracking to seven octaves requiring only single pot adjustments for periodic calibration and none of the hick-ups associated with sawtooth core VCOs past the 3k limit. For imore informaiton of the Model 15's tracking go here (suggesed reading for those requiring wide-range tracking).