The Touch-Sequencer is the first in a series of Modcan modules
to be adapted for the Euro Rack format.
The Video user manuals below are from the B series version
but most of the same features apply to the Euro version.
Euro version videos will be added eventually.

Sequencer User manual videos.
Intro and Panel Functions
Quick start Part 1
Quick start Part 2
Songs and Sequences
Quantizer and Performance mode
Copy Functions and CV Section
Clocking Modes]

Euro User Manual in PDF


A few MP3 demos of single and dual voice sequences:

Touchme.mp3
Popsong.mp3
Percusssive.mp3
Dreamlike.mp3
Bass and High.mp3

Specs:

Voltage Range for CV ROW outputs:
Quantized 0-4V = 4 Octaves
Un-Quantized 0-7V = 7 Octaves
Gate Outs 0-5V
CV input 0-10V
BPM (internal clock mode) 10-580 BPM
External 0-60000+ BPM (Audio Range)

Power Requirements:
190mA @ +12V
10mA @-12V



Feature Highlights:

• Resistive Touch screen control of all sequence parameters
  
• 4 rows of sequencing with up to 64 step length with chaining
  
• each row has own clock with variable row length
  
• Each of the 4 rows has separate GATE, PITCH ,NOTE Length and
  Slew control for a total of 16 rows of sliders.
  
• Memory storage for 99 Sequences and 32 Songs and all preferences
  
• Up to 8 sequences can be chained together into a song with 1-31
  repeats per chained event
  
• Built in Quantizer with both pre-set and user defined scales
  
• Quantize scales can be designed in real-time while sequencing
  
• Each row can have its own quantization scale or OFF
  
• 4 independent clock dividers
  
• 1:1 external clocking and 24ppq clocking modes
  
• Tap BPM
  
• CV modulation input can be routed to any or all 16 pitch,gate,note
  length and slew destinations.
  
• Reset for external Run/Stop control
  
• Random modes for each row independently and with external switching
  
• Performance mode for real-time switching between sequences
  

Available from these distributors

The FMVDO represents a new breed of sound generation for the modular environment. The primary design goal was to implement a variety of digital synthesis techniques and to combine them together in one 12HP wide module

The most significant wave-shaping feature of the FMVDO utilizes the technique referred to as Two-Operator FM, providing a wide variety of timbres from mellow bell like tones to complex distortion.

The inclusion of harmonically rich sample based wave tables extends the complexity of the FM effect comparable to multi-operator systems.

AM (Amplitude Modulation) is also available on-board as is standard Exponential FM using the Expo FM Jack

Conventional analogue VCOs are modulated with externally generated signals from LFOs and secondary VCOs, instead the FMVDO provides superior FM stability with internally generated, phase locked, sine table modulator.

The FM Index function controls the amplitude or depth of the modulation while the Ratio control tunes the modulator to an integer frequency value relative to the carrier frequency.

Phase locking the modulator with the carrier produces beat-free timbres that retain spectral relationships over the entire frequency range. The Ratio can also be switched to provide non-integer ratios for inharmonic periodic sounds.

The FMVDO includes standard VCO wave forms and adds several sample based wave tables. Pulse width modulation and hard sync are also supported.

Switch selectable quantized pitch tracking in semi-tone steps or non-quantized continuous frequency control with fine tune.

Firmware by DSP designer Eric Brombaugh.


Features:

• 32-bit NCO - 50 micro-Hertz resolution (no zippering)
• Phase-locked FM/PM gives beat-free modulation
• 32 real-time voltage controlled modulation/carrier ratios
• Integer and non-integer modulation/carrier ratios for complex sub-harmonics switch selectable
• Modulation index range from 0 to 314% for a wide range of continuously varying wave shapes.
• Real-time voltage-controlled modulation index for subtle wave shaping
• 32-bit pseudo-random noise generator - won't repeat for 119
  hours at highest frequency setting; longer at lower frequencies.
• Voltage controlled selection of 16 wave forms
• Quadrature secondary output at 90 degrees out of phase
• Amplitude and Pulse width Modulation AM/PWM
• Switch selectable quantized 1V/Oct input
• Audio and LFO range frequency
• Voltage controlled FM Index and modulation Ratio
• Crystal tuning stability with +/-0.005% pitch tracking accuracy over 18 octaves
• 12HP wide approx. 1" deep
  

 

The DualWave is a dual numerically controlled oscillator (NCO). Similar in design to the FMVDO but without the internal FM capabilities.

DualWave Features:

180 single cycle waves that can be loaded into the A and B oscillators and blended together to form complex wave shapes. The two oscillators can be detuned against each other to produce gradually evolving sounds that beat against each other or set to intervals, 3rds, 5ths, Octaves etc. for added thickening.
The ability to combine two distinct wave shapes produces a huge variety of tonal possibility that is not available with a standard single oscillator. The Blend control is not just a simple mixer, but is actually a morph function that performs a mathematical linear interpolation between the two waves to produce a third new wave. Wave sequencing is also possible for each oscillator with independent CV control.
Width 12HP

 

Firmware by DSP designer Eric Brombaugh.


Features:

• Dual 32-bit NCOs - 50 micro-Hertz resolution (no zippering)
• 180 waves on board with 1000s of blend combinations.
• No wave ROMs required
• Hi-Res button for increased resolution on wave selection
• CV control of wave selection for both Oscillators .
• CV control of oscillator detuning and blend
• Built in Semi-tone Quantizer
• Octave switch for oscillator B frequency offset
• Crystal tuning stability with +/-0.005% pitch tracking accuracy over 10 octaves
• 12HP wide approx. 1" deep
  

 

The Triple Osc takes the modular oscillator to a new level.
Three Oscillators in a 12HP module provides a tonally rich and versatile sound source featuring band-limited wave generation ideal for subtractive synthesis.


The Triple Osc provides 3 Oscillators controlled by a common CV or 1/V per octave pitch control. Mixer functions are handled internally, controlled by a single pot or CV. The range for the primary oscillator is 10 octaves with an offset range of +2 Octaves for OSC2 and OSC3 adjustable in both quantized semitones and non-quantized values switch selected.

In recent years the pursuit of many analogue synth builders has been towards the development of VCOs that achieve accurate pitch tracking, and low drift tuning specifications. This has been seen as the Holy Grail of VCO design in answer to the complaints of users unhappy with drifting pitch especially problematic during live performance. It is now commonplace to have highly stable oscillators with excellent tracking over a wide range.
An unfortunate side effect in this pursuit of perfection is that some users find the results "sterile" sounding and lacking in musicality when compared with early VCO contributions from Moog and EMS etc.
There is nothing inherently "sterile" when comparing a single cycle waveform like a sawtooth from one VCO to the next. A sawtooth
is a sawtooth no matter how it is generated. It would require a considerable amount of distortion to the basic ramp shape to change the sound significantly. None of the older VCOs do this in a meaningful way. It is more likely a consequence of subtle tuning errors that creates this perception of warmth in older designs. The "beating" effect of several VCO signals shifting phase against each other can provide a pleasant animation to a patch particularly if concentrated in the bass notes and to a lesser extent in the higher frequencies.

A small amount of linear detuning has been added to the exponential pitch control of oscillators 2 and 3 when Quantize switch is set to OFF or OSC1 in an attempt to replicate the animation effect mentioned above. It is disabled in the ALL position.

Another tuning related issue with early VCOs which could be attributed to noisy power supplies, temperature drift and a host of other sources, produces minor deviations in tuning frequency over time equivalent to a slow random modulation of pitch. The resulting subtle pitch wobble effect is regarded as a possible ingredient for simulating the sound of early VCOs. The perceived by-product of drifting pitch in a multi VCO configuration is also related to "phase beating" and can contribute subtle tonal variation between notes in a sequence or add complexity to sustained notes. A small amount of random modulation applied to the phase of VCOs two and three, if pitched higher than the fundamental VCO, can add color to the sound without adversely affecting the perceived fundamental pitch and precise tracking of the main VCO. The Triple Osc adds a smooth cosign interpolated random noise modulation to simulate this effect. Not easily generated by external methods (unless you have a Quad LFO 61B)

Triple VCO Features:

• Three wide range VCOs in one module.
  
  
• 100kHz sample rate 16bit sawtooth,triangle, sine and pulse
  wave forms with band-limited alias-suppression
  
  
• Pulse width modulation control by CV
  
  
• Built-in VCA with CV control
  
  
• Wave pairs available on separate outs
  
  
• 20Hz-10kHz range in Hi mode-10 Octave Range
  0097Hz-10Hz in LFO mode-10 Octave Range
  
  
• On-board 3way VCO Mixer with both knob and CV inputs.
  Mix is scaled so volume is same for 1 or 3 VCOs
  
  
• 3 Quantization modes:
  1.Off, 2.VCO1 only, 3.All 3 VCOs. Modes 1 and 2 add the tuning effects discussed above.
  
  
• Unique Hard Sync function allows VCOs to
  sound even when master frequency is greater than slave.
  
  
• Crystal tuning stability with +/-0.005% pitch tracking accuracy over 10 octaves .
  
  
• Switch selected Semi-tone Quantizer built-in
  
  
• 12HP wide approx. 1" deep
  
  

 

Firmware by Bruce Duncan

 

View PDF Manual

The CV Recorder does for Control Voltage what samplers do for audio, providing the user with the ability to record CV signals from sequencers, joysticks, LFOs, Envelopes and anything else that will create a CV voltage. Audio can also be recorded directly with good sound quality at the higher sample rates but lacks the anti-alias filtering typical with a dedicated audio sampler.

The resulting recording can then be looped and speed shifted manually or with external CV to create new types of CV events to control other modules.

Recordings can be done in one pass or multiple short "takes" to create complex signals.

The Reset jack can be used to trigger recording start making it easier to create a looping pattern when using the same trigger to reset the sample playback.

The Loop end and Loop start controls set the start and end of a recording in memory and also the loop start and end of the sample playback. Granular synthesis type effects can be had by CV controlling the loop points in real-time.

Changing the sample rate changes the speed of playback and also the sample rate during recording. In signal thru mode the sample rate can be varied dynamically between 44.1Khz (audio quality) at its highest sample rate, down to 400Hz at its lowest to produce lo-fi effects in real-time.

The playback can be a loop between start and end points or can be a gated or triggered one shot event like an envelope.

The sample can be played forward and reverse and and bi-directional pendulum mode.

Two channels of CV or audio recording for stereo or dual mono signals and a third channel for clock or sync signals.
The third channel makes it possible to record sequence voltages with channels 1 and 2 and the 3rd channel for sequence clock allowing the CV recording to synchronize the firing of envelopes and to function as a clock recorder.

The Stereo sample time available is between 4 seconds at 44.1k to 6 minutes at 400Hz. The channel selection buttons permit the user to record each channel separately or together. When both channels are selected the Clock channel is also enabled for recording.

A pulse at the Trig/Reset jack resets the sample playback to the position set by the loop start knob in loop mode. In One shot mode a pulse at the Trig/Reset jack starts the sample playback at the loop start point and plays it to the end loop point as set by the start and end knobs.

In Gate mode the recording will play for as long as the Trig/Reset jack is held high (5V) and will loop at the current start and end settings.

There is also the ability to save recordings between sessions.

The number of different ways to use the CV Record module is vast and once the full capabilities of the module become apparent it will change the way you patch your modular.

CV Record features:

• Two channels of CV recording and third for clocks
  
  
• 4 seconds at 44.1kHz to 6 minutes at 400Hz sample rate
  
  
• Memory backup for samples between power cycles
  
  
• Real-time CV control of sample loop start and end points
  
  
• External trigger and gate modes
  
  
• Continuously variable sample rate and playback speed
  
  
• Forward, Reverse and pendulum sample playback
  
  
• Trigger and Reset control of sample start
  
  
• Multiple short samples can be recorded to make long sample
  
  
• Mode and direction selection switch's
  
  
• Real-time signal processing for sample rate FX
  
  
• Can be used for granular type synthesis
  
  
• 10HP wide shallow depth approx 1"
  
  Firmware by Bruce Duncan
  

 

Select Location

USA $399.00 CAD Canada + prov tax $399.00 CAD EU $450.00 CAD

Prices include shipping by
Expedited Post (US and Canada)
or Express Post International outside NA

The Dual Delay represents the next step in delay based effects from Modcan. We took the existing Digital Delay 59 from the A/B series and dramatically reworked both the hardware and firmware model to add significant features and enhancements in the conversion to Euro format. View User Manual

The most obviously apparent change was to make it a Dual with independant controls for each channel. We also added selectable modes for delay type. Choices are Re-sampling (pitch shifting effect when altering delay time) and a "Clean" mode for standard Digital Delay effects without pitch shifting.

Low noise design using 48kHz sample rate, 32bit DSP processing and 16bit I/O.

Other features include 0Hz-21K continuously variable 4 Pole Lowpass filter in the delay feedback path for "Analog BBD/Tape Delay" emulation. The filter has full range self oscillating resonance with voltage control of resonance amount and filter cutoff.

Input signals can be routed as two mono delays or stereo or
as a dual Tap delay with delays in series internally.

Each channel can be either in clean or resample modes and can also be patched in series and parallel for external feedback path.

Delay time can be set by panel control knob, CV, external sync pulse and tap tempo buttons. Also sync division is available to divide the pulse clock. Each delay has 3 ranges

Resample Delay Ranges
Lo: 0.01s - 0.06s
Mid: 0.06s - 0.5s
Hi: 0.5s - 4s

Clean Delay Ranges
Lo: 0.0006 - 0.02s
Mid: 0.02s - 0.91s
Hi: 0.91s - 5.46s

All the functions (except input level) that are controlled by panel knobs have matching CV inputs allowing for a wide range of flexible control modulation.

The module uses very low current requiring only 40mA for operation and will work with any power supply between 8 and 15V. Less current than many simple analogue modules.

Dual Delay Features at a glance:

• Two independant mono delays
  
  
• 48kHz sample rate, 32bit DSP processing and 16bit I/O
  
  
• Built in 4 pole Lowpass filter with resonance and routing
  
  
• CV control over all major parameters
  
  
• Mono or stereo input/output
  
  
• Delay time in 3 ranges
  
  
• Tap and Sync tempo
  
  
• Sync tempo division
  
  
• Clipping and sync speed indicator LEDs
  
  
• Very low operating current
  
  
• 20HP wide approx. 1" deep
  
  Firmware by Eric Brombaugh