Berlin modular workshop

Sound, engineered.

Hand-built Eurorack modules for producers who treat voltage like an instrument.

In racks at

Built for the patch, not the shelf.

Every jack earns its place

No filler I/O. Layouts follow how you actually patch under pressure on stage and in the booth.

14 HP

Average module width. Dense, not cramped. Room for fingers and cables.

“I stopped chasing new cases. I started filling this one.”
Mira Okonkwo Producer, Northline
±0.1%

Pitch tracking tolerance after thermal soak. Measured on every unit that leaves the bench.

“The filter doesn’t flatter the mix. It decides it.”
Jonas Rehn Sound designer, Volt Room

The current lineup

HX-OSCVCO

Orbit

Through-zero FM oscillator with three morphable cores and a clean sub output.

12 HP
HX-VCFFilter

Threshold

State-variable filter that self-oscillates with musical tracking, not noise.

14 HP
HX-ENVContour

Contour

Dual envelope with cycle mode, end-of-rise, and snappy to glacial slopes.

10 HP
HX-MIXUtility

Sum

Four-channel mixer with clickless mutes, pan, and a dedicated send bus.

16 HP
HX-SEQTime

Lattice

Eight-step CV sequencer with ratchet, probability, and clock division per lane.

18 HP

From blank panel to burn-in

Design

Circuit first, cosmetics later

We prototype on breadboards until the path feels right under the hand. Faceplate engraving only starts when the topology is locked.

Machine

Panels cut in-house

Aluminum is milled, anodized, and laser-etched in our Kreuzberg shop. Jack holes sit within 0.05 mm of the drawing. Every. Time.

Calibrate

48 hours of heat and signal

Each unit runs a thermal cycle while feeding reference tones into automated test jigs. Failures never ship. They get reworked or scrapped.

What leaves the bench

Eurorack standard. No proprietary buses. No forced ecosystems. Plug into the case you already trust.

Power
+12V / −12V / +5V
Depth
28 mm max
CV range
0-10V / ±5V
Warranty
5 years
Build time
6-10 weeks

From working racks

Orbit replaced two oscillators in my live case. Less cable, more control under stage light.
Leah Kwan Live electronics, Mute City
Threshold is the first filter I reach for on bass. It bites without turning to mush at high resonance.
Andre Ruiz Mix engineer, Glass Tape
Lattice made probability feel playable, not random. My sequences finally sound like me.
Sofia Park Composer, Solstice Audio

Next run opens in spring

We build in small batches. Join the list for build slots, module previews, and first access when a run opens.

Review the lineup

No spam. A few emails per year, max.

You’re on the list

We’ll write when the next batch opens.