New Neulant van Exel Cases

Spotted at Schneidersladen. Cases come in a choice of colours and wood. PSU is a Tiptop Audio Zeus. Prices TBC, but could be around €1100 for the large (18U) and €800 for the small (9U) versions.






You might remember Neulant van Exel's portable case, the Klangformer.

TTA Z8000 Matrix Sequencer

Funny how things come in waves. The last breaker brought us envelopes, the next threatens to flood us with sequencers, programmers and control devices.

Det3 and Sequentix both have standalone sequencers in the works, STG Labs and Malekko/ Wiard plan to release slider-based programmers. The two possibly most closely-related and awaited products this year are Make Noise's René and Tip Top Audio's recently released Z8000, which is the subject of today's mini-review:



The Z8000 is billed as a matrix sequencer/ programmer and offers ten independently-clockable lines of CVs. Given its price and relatively compact size, it is a remarkably flexible and affordable package. You can find out more on how the Z8000 works here.

First up is a brief run-through using four 4-note sequences:

TTA Z8000  by  navs

Rows 1, 3 & 4 were clocked by an LFO and subdivisions generated by a Doepfer A-160/ 1 combo. I used a Bananalogue/ Serge VCS to delay the gate for row 2 to provide some syncopation. A manual gate was used to change direction and reset individual rows.


Lost in the Matrix.

The first example is relatively straight forward, something one could achieve with multiple analogue sequencers or a digital multi-track sequencer like the P3. The remarkable feature of the Z8000 is the fact that all outputs 'share' the same pot values. This takes some re-thinking on the part of the user. My initial attempt at tapping one of the aggregate lines resulted, somewhat comically, in disaster:


Z8K Matrix Hell

As I say, it takes some getting your head around! The reason this is relevant should be apparent: any change you make to an individual sequencer row/ column will have repercussions in the matrix, so beware.

Naturally, this can also be musically beneficial as you can hear in this longer take:


Z8K Live Jam (6 mins)

Four VCOs, tuned to the same root note. At about the 3 minute mark, I introduce a fifth voice taking its CV from one of the aggregate outs. I then change my mind and try the other out! As you can hear, the Z8000 is very hands on, certainly this jam was made by the fact that all pots were directly accessible, unlike the P3.

Because the Z8000 offers independent clock, reset and direction control for each 'sequencer', Reich-isms and polyrhythms are easily achievable:


Z8K Reichism

Four VCOs, four rows each with the same pot values. The burst out of a Wogglebug and an A-151 sequential switch were used to reset the rows and thus shift their relative positions.


Z8K Polyrhythms

VCS, Maths and A-160/ 1 used to provide gate delays/ divisions.

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The Z8000 is well-built and laid out and looks fantastic. The knobs are clean and responsive and offer enough clearance for the 'large-fingered'. It packs an astonishing amount of sequencing into 28HP. So, what's not to like?

Some might bemoan the lack of gate outputs, but this can be overcome by taking a mult of the gate signal via a Stackcable or other clock sequencer. I would have liked VC step addressing and wonder whether this and the direction function couldn't have been implemented as it is in the A-152, rather than via a gate signal. I do, however, like the fact that the method used means that one row can be programmed to provide direction triggers e.g. a pot tuned fully CCW = forward, above a certain threshold = backwards.

In use, my largest frustration with a module featuring ten separate sequencers was the lack of a global reset! Ironically, I used a muxed manual gate from my A-Sol SQ-8 to solve this. If you're particular about this sort of thing, you should know that the Z8K resets to step one, meaning that the first step when clocked is actually step two. The work-around here was to use the SQ-8 to step all sequencers to position four. My last observation is actually not related to the Z8K but Doepfer's A-160/ 1: because of the way it counts, I failed to get a sequence to go forwards and backwards in equal measure, pendulum style. If you understand German, you can read more about the problem in this post at the sequencer.de forum.

As TTA's Gur has pointed out, the Z8K's open nature means you'll need a variety of other modules to get the most out of it. Clock dividers (A-160/ 1, 4MS Rotating Clock Divider or Flame Clockwork), logic, sequential switches or a multiplexer like Doepfer's A-152, not to mention a quantizer or two, would make excellent companions. Given the voltage addressing capabilities of the A-152, a random source or a joystick would also expand the patch permutations.

The wealth of possibilities on offer might seem dizzying or daunting, but if you have the head and the supporting modules, the Z8000 could be sequencer heaven.

Tiptop Audio Z2040 vs. Doepfer A-105

I've been a fan of SSM 24dB low pass filters since first playing with a mate's Korg MonoPoly in Brighton the late eighties. Years later in Berlin, I bought a second hand PolySix for 300 Deutsch Marks (around €150!) and this further cemented my affection for the SSM sound.

So, naturally, when it came to choosing a filter for my first modular system, Doepfer's A-105 was top of the list. As users of SSM - and indeed most 24dB - filters will tell you, the biggest drawback is the loss of volume and bass at high resonance levels. So when Tiptop Audio's Z2040 was announced, I was keen to hear how this problem had been addressed.

The following test showcases the Z2040, based on the SSM2040 filter chip, using Doepfer’s A-105 as a comparison. While the sound is similar, the Doepfer uses an SSM2044, which is not the same filter topology.

At medium gain and with no resonance, the filters are virtually indistinguishable. The real difference becomes apparent at higher resonance and gain settings, so that is what I have focussed on.

You can download the full test (12.4MB) here.

Here are a few tasters:

High Resonance, A-105, then Z2040 at 0dB, then at full resonance

While the resonance response of the two filters is similar at low gain levels, settings around 0dB and above have a marked effect on the Z2040. See the full test for more details.

Saturation, Z2040, then A-105

Three VCOs, medium resonance, high gain. The Z2040 displays real grunt while accenting harmonics, the A-105 sounds flat and distorted. Again, please see the full test for more details.



The Z2040 is well built and has a classy, creamy and warm sound. The gain stage saturates beautifully, adding rich harmonics without nasty clipping. Will it replace the A-105 in my system? No. I'd miss the 'squared-up', metallic, acid sound that the Doepfer filter is capable of. I guess they'll have to get used to being neighbours in my rack.

Thanks to SchneidersBuero for the loan of the Z2040 and Gur at Tiptop for taking the time to answer my questions.

Tiptop Audio Z3000 Test

As promised, here's the test (14MB).

And for instant gratification, here's a few examples:


Z3000 Sync + PWM + Exp. FM


Z3000 Audio to Sync

Can you guess the track?
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AFG vs. VCO-6 test to follow next week ...

Oscillator Orgy!

What a week it's been. First I get my AFG back from Livewire, then I finally get my hands on a Cwejman VCO-6 and yesterday Tiptop Audio's Z3000 arrives at Schneidersbuero.
Oscillators. They're like buses...



There's been a lot of hype surrounding the Z3000, so I was keen to hear it for myself. I'll let the dust settle on my first impressions before posting the full test, but for starters here's an 'amuse-oreilles' :


Tiptop Audio Z3000 Demo

Apologies to Tiptop for the picture - I couldn't resist!

I'll also be posting an AFG vs VCO-6 clash-test. These two oscillators, while having completely different designs and concepts cover remarkably similar ground. Seems to me, that if you were currently in the market for a new high-end Eurorack oscillator, these would be the main contenders: at roughly the same price, both offer linear as well as exponential FM and some form of über-PWM.

This is what you can expect:


AFG vs VCO-6 Demo

One final teaser: I think I've cracked the secret to the AFG's Anti-Matter outputs. I'll post the full patch details, with sound examples and oscilloscope shots, along with the VCO test.

Till then, happy patching!