SSF announces two new utility modules coming soon...



CLONE is a 3hp, High fidelity Multiple featuring two 1x4 buffered multiples.

Multiple B is normalized from multiple A to provide 1x8 multiple capability.

CLONE allows for signal multiplication with extremely low degradation and each section is capable of driving an equivalent load impedance of 600 Ohms without distortion and extremely low signal loss.

We use audiophile grade active components to ensure signal integrity and fidelity across the audio and low frequency spectrum, ensuring practically zero loss of your multiplied signals.

In light of modular making it's way into polyphonic territory, 1:4 multiples are necessary to accommodate 4 voice polyphonic modular systems.


DETECT-Rx features three useful utilities to expand your modular capabilities.

EXTRACT-R is a voltage controlled comparator with three selectable range settings, LINE LEVEL, 5V and 10V. A Threshold knob sets the trip point to extract a 10V gate signal. CV input allows for PWM and voltage control of the comparator threshold.

RECTIFY-R is a simple positive voltage rectifier for octave-up and rectifying bipolar signals into positive only signals. Signals patched into the DETECT-R are routed to the RECTIFY-R section.

DETECT-R is a versatile Envelope Follower designed to offer maximum control of the envelope based on signal level and frequency content. This is accomplished with three selectable frequency ranges, an additional envelope smoothing control and an envelope gain control offering up to 27dB of input gain to accommodate line and low level signals and overdriving the envelope.

Some convenient Jack normalizations are provided:

Patching into the DETECT-R only; will normalize the input into the EXTRACT-R and RECTIFY-R, providing all outputs from a single input.

A signal 'THRU' buffers the input signal going into the DETECT-R so that it can be routed to the input of a filter or other module to be processed by the resulting envelope.

Patching into the EXTRACT-R only; will normalize the GATE output into the Envelope DETECT-R input, producing an extracted GATE based envelope at the EXTRACT-R's output.

All normalizations break if additional inputs are utilized, with exception of the RECTIFY-R, which is always routed from the DETECT-R input.

New addtion to the Entity series coming soon.

We are pleased to announce the next addition to the SSF Entity module series...


Introducing the Entity Percussion Synthesizer.

The Entity PS is focused on a wide variety of snare, clap, snaps, rim shots and synth percussion sound design. The major parameters for Body, Pitch, FM CV and Ring are similar to the Entity BDS. A multimode noise source is included with independent decay and amplitude modulation. The resonator core features independent decay control, trigger delay and dynamic control. A harmonics (wavefolder) section replaces the saturation stage of the Entity BDS. The output section features a mix selector where the user can choose to use the resonator, an external input via the EXT IN jack or a mix of the two. All features are voltage controllable and a duck output for the main sound is also included. We are very happy with the range of sound possibilities of the Entity percussion Synthesizer and hope you will be too! We remain focused on continuing the analog legacy by producing modern, 100% analog designs.

Availability: late Summer 2017

Entity Bass Drum Synthesizer, available this Fall 2016


SSF announces our newest module - the Entity Bass and Drum Synthesizer Voice

The Entity BDS is a complete and versatile synthesizer voice geared for designing a huge array of bass drum, percussive and synth sounds. Finally, a truly deep tool for creating analog bass drum, bass lines and other percussive effects is here!

The design consists of a high fidelity resonant filter, 2 stage slope generator (rise/fall) with independent slope shaping, a high fidelity VCA and discrete transistor saturation circuitry. Every parameter on the Entity Bass drum is voltage controllable.

By applying a trigger of any length and at least 2V amplitude, we excite the resonant filter to produce a percussive sine wave. The pitch control tunes the output with a range of 8Hz to around 2.2KHz. Both higher and lower levels are achievable using the FM input for modulation etc. The internal filter will track 3-4 octaves reliably and the tracking device is temperature compensated.

The slope generator (ENV) can be switched into the circuit via the 3 way switch below the FM LVL control. This control is a bipolar attenuator which affects the level of the slope generator and/or external modulator that affects the pitch of the output.
The 3 way switch selects FM, FM+ENV or just ENV as a mod source.

The rise/fall envelope is a two stage function generator. The controls provide slope timing from 1ms to about a minute. To the right of these controls is the shaping section where logarithmic, linear and exponential slope shapes are selected independently for the two envelope stages.
The envelope is designed to re-trigger at a set point. This allows for changing dynamics to occur to pitch and amplitude when the slope times are greater than the output transient time. For instance the sound can vary between any number of triggers that fire before the envelope set point is reached. Setting the slope time fast enough (below roughly 1 o'clock) provides for nominal operation. Settings will vary depending on trigger and ring decay timing.
The envelope can also be used exclusively or in a more complex patch via a direct +ENV output. Additionally, a novel DUCK output provides a means to control external VCAs - to work like slow compressors. DUCK is an inverted and positively offset version of the +ENV out. This keeps VCAs open when the envelope is off and effectively 'ducks' the VCA when the envelope fires. Of course, mod sources for these outputs are not limited to VCAs...

BODY is a subtle, yet novel control. This control simulates the tightness of a drum head. All the way tight, we get a softer and somewhat muted sound, to the right we achieve a more flabby sound. The middle region is the sweet spot for a nearly perfect resonant drum. BODY can have a greater effect depending on the other parameters and can be very useful for fine tuning the sound in a mix and designing original drum sounds.

RING controls the resonant decay time. Both short and plucky and an infinite ring are obtainable. The filter is tuned so that it will always resonate a little, even when RING control is all the way down.

Before the output section, we have the discrete transistor saturation. We like this because of the vintage low end distortion from overdriven class-A discrete amplifiers. This one is tuned a bit more aggressively and just a touch is necessary to add some bite. However, you can go over the top and get brutal if you so desire... ;-)
The saturator will overdrive the output stage for more of a hard clipping effect that can be tuned out by adjusting the output level control without sacrificing signal amplitude - its a hot signal by intention.

The OUTPUT section is a parallel signal processor design. The OUTPUT control blends the nominal output with a secondary input (or nothing) depending on the 2 way switch setting below the control and/or whether an external signal is patched into the AMP CV input. In 'AMP' mode, the OUTPUT control works like a volume control. If a signal is active on the AMP CV input, the control will blend between the nominal output and the CV control level. Similarly, in 'ENV' mode we get the same blending action using the internal envelope.
The result is a sort of parallel compression effect as the output and CV sources are blended together - or totally independent at the extremes.
By providing amplitude shaping as well as pitch, resonant decay, body etc. even more sound shaping possibilities are available.

The VCA can also be accessed directly via the A-MIX input. This allows you to use the output section as a standalone VCA (modulated via the envelope or not) or to mix other sounds with the Entity. Feedback patching is a possibility using a stackable or mult to feed the output into the A-MIX input. This produces a juicy distortion effect of a different flavor, you may like it.

The filter can be used independently or in combination with the nominal output via the F-MIX input. This input is used as an aux trigger input that is sensitive to pulse/trigger width. As the effect is less dramatic than the main trigger, dynamic rhythms are achievable using both inputs and creative triggering.
As an acid style processor, patch a VCO input the F-MIX input and use the controls to modulate and accent the signal for some convincing 303 style acid bass lines and beyond.

Additional features:

PING! button to demo sounds without a trigger source.

RGB LED for visual feedback of trigger, FM and output waveform

All parameters are CV controllable. Controls double as CV attenuators.

Very high fidelity design - no generic op amps used in signal path. Only discrete components and audiophile grade op amps. Signal path is completely isolated from euro power rails. Very low nominal noise. High headroom using hotter signal levels and will cut through any mix.


Quantum Rainbow 2 announced

We are pleased to announce the Summer 2014 release of version 2 of the Quantum Rainbow noise source. The new version will feature two additional noise sources/colors in a smaller 4 hp width. One output per color will be available and the outputs are capable of driving multiple sources via stackable cables and/or multiples. More info to come.