Generate 3 begins with a highly-precise triangle-core oscillator that supports through-zero frequency modulation. Thru-zero FM, as implied by the name, allows the oscillator's frequency to travel past 0hz and effectively reverse direction. With manual or slow adjustments this has no real sonic difference, but with audio-rate modulation, a clearer and more accurate perception of pitch is maintained thanks to the ability to move in two directions than just one. This flavor of FM has become quite a trend in Eurorack since this module's release, but Generate 3 goes the extra mile by offering thru-zero phase modulation: a similar sound to FM commonly employed by digital synthesizers like the Yamaha DX7.

The other way that Generate 3 is unique is in its flexibility to produce many variable waveforms at each of its outputs and create blends between them. While the Core output is the raw triangle wave unaffected by the phase modulation circuit, you can find sine, saw, and a unique spiked waveform at the Fundamental, Even, and Odd outputs, representing their respective harmonic content. In addition to a Full output which presents the sum of all three waveforms, each also has its own level control and control voltage supporting through-zero amplitude modulation, otherwise known as ring modulation. As such, Generate 3 is clearly an oscillator for the synthesist with a deep desire to shape their oscillator tones to their exacting demands. But...that's not their only oscillator.

The concept behind the Joranalogue Orbit 3 is Chaos Theory, a mathematical concept that reveals deterministic outcomes in seemingly random patterns. Specifically for this module, Joranalogue uses a Lorenz attractor—or double-scroll attractor—which is a model originally observed in meteorological patterns and, when plotted or simulated, creates a shape similar to a figure-8 or butterfly. When this shape is used for musical purposes, unique and familiar waveforms are easily accessible, creating a wonderful sonic palette that can range from a sine, square, any color noise, noisy versions of any waveform. Additionally, the module can be used as a chaotic modulator in LFO mode.

Imagine a 3D space that has plot points along the positive and negative X, Y, and Z axes. Inside of this space is a particle that is orbiting around two points floating along the various axes—and that is what each of the six chaos outputs are based on. In the audio realm, this translates to changes in amplitude along the waveform, and when combining multiple outputs, especially if you use a stereo mixer, the combinations are incredibly satisfying. Self-patching is encouraged, yielding great results for even more sonic options.

Although they're among the most ubiquitous synthesizer modules, filters tend to be a somewhat complex circuit. They usually involve several cascaded filtering stages, but as a result, this allows for some interesting features, should the designer feel inclined to venture down these paths. Joranalogue's Filter 8 is one such example of how to make a filter that not only sounds great but is an equally versatile member of a modular system for a variety of patching scenarios.

With its eight outputs, Filter 8 presents plenty of filtering options, including a four-pole lowpass filter tapped at each stage. This not only allows the synthesist to choose an output for their desired roll-off of higher frequencies, but through some clever internal mixing of various stages, a number of other filter responses can be achieved. Thus, Filter 8 also offers one-pole highpass, band boost/notch, phase shifting, and four-pole bandpass outputs—all of which are simultaneously available for mixing and patching elsewhere in your system.

Fold 6 is Joranalogue's take on a wavefolder, which will characteristically add harmonics to a signal, unlike a filter which would remove them. Its design is based on a six-stage diode wavefolder (Joranalogue's module names never leave you guessing as to what they do) plus an overdrive circuit, and offers the essential controls of Fold, Shape, and Symmetry. Thus, you can easily wavefold any audio or control voltage input as desired, and then push it into clipping with the drive stage. And by including the Symmetry control, you can manually bias your signals into the positive or negative directions for asymmetrical shaping.

For further versatility, Fold 6 offers both series and parallel wavefolding outputs, which respectively offer more intense or subtle flavors of fold. Though there isn't a CV input for direct control of Symmetry, Fold 6 does feature two signal inputs where you can sum an audio source with an LFO, step sequence, or any other control voltage signal for variable amounts of asymmetry. If you're looking for a fresh take on the wavefolder sound that was popularized by Buchla and Serge modular synthesizers, give Fold 6 a shot.

Playing with stereo inside of a Eurorack system is a relatively new option—and because of that, there are only a handful of options for really creatively manipulating the stereo field. Joranalogue's Enhance 2 is one of them, offering a simple interface for processing stereo signals and adjusting the mid/side tilt frequencies. Unique to the Enhance 2, two tilt filters for the Mids and Sides let you roll off highs or lows from your primarily central sounds (mid) or from your primarily wide sounds (side). The Mid tilt filter works with any signal, but the Side tilt filter won't do anything to a mono signal, requiring a stereo signal to find and process the wider sounds.

Separate inputs and outputs for the Mid/Side processor are also available, which can be used for frequency/position-specific processing. For example, if you want to run the Mid signal through a dedicated filter, but want to add a little shimmer or delay to the sides, simply patch and play. This makes the entire mix feel more dynamic, and with modulation, you can then add interesting stereo effects to your signal which would otherwise be impossible.

In Joranalogue's continued devotion to all things analog, Delay 1 is a modern, refined take on the classic bucket-brigade delay (BBD) design. Unlike classic guitar effects like the Electro-Harmonix Memory Man that used long chains of BBDs with heavy filtering and compression for their distinctive, murky character, Delay 1 maxes out around 50ms and implements a new control circuit with an ultra-sonic clock source for crisp fidelity and performance. So while under normal circumstances delay times won't exceed slapback echo lengths, Delay 1 is highly adept at exploring the realms of flanging, comb filtering, and Karplus-Strong synthesis.

Speaking of Karplus-Strong, the Delay 1's Pluck input triggers a brief impulse from an internal noise generator, exciting the delay line for those signature string-like sounds. For melodic purposes, Delay 1 offers a 1V/Oct input that allows for the delay time to be controlled exponentially—perfect for layering with oscillators on a shared sequencer input. There's also a dual-mode Damping filter, which may function as a lowpass or highpass filter. In traditional delay applications this can help to distinguish between the dry and wet signals in a mix, but it's also a crucial timbre control in Karplus-Strong patches.

Joranalogue's Contour 1 is a modern approach to the classic Serge-esque function generator. It is compact, built like a tank, and a necessity in any Eurorack system. While there are other, larger options for function generators, sometimes you just need a simple module that takes up very little space. Contour 1 fulfills this requirement by easily acting as a Slew Limiter, AR/AD envelope generator, LFO, pseudo-lowpass gate, or even a quite fine VCO. You even get hands-on and voltage control of the rise/fall curve shapes, and a unique "hold" option that, somewhat like a Serge SSG, allows access to track-and-hold like behavior. Pretty cool.

With CV controls for all parameters, you can easily integrate this into even the largest of systems. What makes it incredibly useful are the four dedicated outputs: Main Output, Inverted Output, Rising Gate Output, and Falling Gate Output. With the outputs you can create a unique voice modulation source, and by using the inputs you have a plethora of utility options.

Truly designed to act as the hub of just about any Eurorack system, the Morph 4 is a VCA at its core, but it offers so much more than that. One of the best features are the multiple output options. Add and Avg are probably the main outputs you would use, with Add just summing all channels together and AVG designed for use with audio signals by applying a -12db weight to the output, preventing a lot of amplitude build up. The A+B and C+D outputs are great for having couplets of audio, and the Min and Max outputs run the channels through an analog OR process for grabbing the minimum and maximum voltages, but can be used on audio signals for surprising results.

Outputs aside, the eponymous feature of this module is the Morph parameter. By using the Position knob to place or plot the channel along an X axis, and the Span knob to adjust the amount of space each channel takes up on this axis, you can sweep through the axis using the Morph knob. For audio, this can make really interesting drone textures and evolving sounds, or by sequencing the Morph parameter, you can get unique textural rhythms. When used with modulation sources in your channels, this can allow for incredibly complex modulation to happen, bringing a new dimension of life to your patch.

Next, the tremendously flexible Step 8 is a step sequencer, sequential switch, shift register, and the beating heart of your system. Used for generating sequences, modulating incoming sources, or distributing a signal to 1 of 8 different outputs, the limits of this little friend are based on your own imagination. To be sure, this is a deep module which will grow with you and change how you approach modular synthesis the deeper you go. In fact, it well may change the way you approach your entire system from one sitting to the next.

The most straightforward use is to patch a clock to the Step Input, patch the Scan Output into your voice's frequency or 1v/oct input, and you've got an eight step sequencer. For something more advanced, you can take any CV source, patch it into the In, then patch any number of the individual outputs to other CV input and as you advance through the steps, the In signal will be fed to the active step.

Compare 2 is a somewhat more complex, but nonetheless highly useful utility: a dual window comparator with loads of logic outputs for creating complex arrangements of output gates. A comparator, in simple terms, takes an input voltage, compares it to a threshold level, and produces a high gate signal when the incoming voltage is above the threshold. Compare 2, though, takes this concept further by using window comparators. Rather than simply relying on a single threshold, a window comparator allows you to define upper and lower thresholds, so that the output signal is only high when the incoming voltage is within the selected "window." Each of Compare 2's window comparators define the "window" using the Shift and Size controls—each of which are voltage-controllable.

Each of Compare 2's comparators has dedicated gate outputs...but they're also connected to a number of internal logic functions. Each output has a dedicated "NOT" output, which produces an inverted copy of the gate output itself. From there, the two outputs are combined in four different ways, with dedicated outputs (and LED monitors!) for AND, OR, XOR, and FF (flip-flop) outputs. This means that, from two input signals, you can get eight related gate outputs. And because the inputs are normalled together, you can even set different size and shift settings on each channel with a single input and get loads of different interrelated gates based on its current voltage level. What does all this mean? You can create rhythmic patterns out of repeating CV; you can create complex triggering arrangements from simple sequences; you can do insane bitcrushing-like sounds when processing audio; and much, much more. It's pretty sick.