ADDAC

80
FM
|
MODULES
A
DDAC have been
working on the T-
Noiseworks group of
Eurorack modules for
some time now. The 106 is the last
of them and defi nitely not the least!
Don’t be fooled by the 106 name
either – this is no Juno clone.
What you do get is a four-voice
synth module, with a handful of
sound-shaping controls. The 106 is
meant for creating percussion: it’s
not a tool that will help you create
simulated acoustic kits, but one
that excels at driving kicks and
noise snare and hat tones. In that
respect, I think of it a bit like a
miniature DFAM that can be
sequenced however you see fi t.
Let’s get physical
On to the module itself then. It’s
styled like any other ADDAC gear,
with a black front and clear fonts
with sensible labeling – which I
prefer to the increasingly common
glyphs that need deciphering from
some other manufacturers.
The layout is pretty intuitive too,
with playable controls for each
voice stacked in the top half, with
connection sockets below, split by a
summing mix section, more about
which later.
Each voice has a frequency
knob for tuning, a decay control,
with a switch between. This switch
is in reality a simple high-pass fi lter
with a preset frequency for the
passing signal. In this
implementation it is used to dictate
whether a voice should be a hat or
snare sound. This is true of voices 1
through 3, where voice 4 has a
three-way switch to give three
frequency ranges, great for more
tonally based percussion sounds
like kicks and toms.
This might sound limiting and
that’s a fair assumption but it limits
in a good way, keeping the sounds
focused, with all four voices
working well together as a mini kit.
Triggering is handled in the
lower section, where each voice has
a trigger input, with associated
switch for envelope, trigger
envelope or mute, making this a
pretty handy module for live work
and jamming as you can set regular
beat triggers and mute voices at
will. This simple addition makes a
big impact on the overall playability
and ADDAC should be praised for
it. Likewise the output section
makes for a versatile module as
there are individual outs for each
voice, so down-signal shaping can
be done selectively, as well as a
summing mixer. This mixer has a
trick too, as it not only houses a
gain control for the clean signal but
a toggle which introduces some grit.
The spice of life?
The 106 has a degree of range for
achievable sounds, however it really
does one thing well and that is
creating percussive sounds that are
based on differing frequencies of
noise. It won’t help you get a 909
or acoustic sound but if you want
short clipped hats, gritty snares and
similar it’s a winner. The kicks, on
the other hand, are more versatile
and you can get everything from
raspy toms to deep booming bass
easily. The addition of the clean/
dirty switch is genius, plus the
playability of the module makes it a
contender for percussion in a
variety of rigs which can span
multiple genres. Rob Redman
addacsystem.com
ADDAC 106
T-Noiseworks £169
VERDICT 8.0
“Like a miniature DFAM that
can be sequenced however
you see fi t”
On to the module itself then. It’s On to the module itself then. It’s
styled like any other ADDAC gear, styled like any other ADDAC gear,
with a black front and clear fonts with a black front and clear fonts
prefer to the increasingly common prefer to the increasingly common
glyphs that need deciphering from glyphs that need deciphering from
The layout is pretty intuitive too, The layout is pretty intuitive too,
voice stacked in the top half, with voice stacked in the top half, with
connection sockets below, split by a connection sockets below, split by a
summing mix section, more about summing mix section, more about
knob for tuning, a decay control, knob for tuning, a decay control,
with a switch between. This switch with a switch between. This switch
is in reality a simple high-pass fi lter is in reality a simple high-pass fi lter
you see fi t”you see fi t”
FMU362.rev_modules.indd 80 07/09/2020 16:52