2HP Loquelic Iteritas (2015–2022)

It doesn’t hum, it mutters—like a circuit board learned to speak in growls, whispers, and digital stutters.

Overview

You don’t tune the 2HP Loquelic Iteritas so much as interrogate it. One moment it’s a hollow wooden flute sighing through a cathedral of reverb, the next it’s a chainsaw trying to chew through a telephone line. That’s the trick of this 10HP slab of sonic schizophrenia: it’s not a traditional oscillator, not really. It’s a linguistic engine, a module built to generate not just waveforms but textures with syntax, rhythm, and intent. The name says it—“repetitive speech”—and once you patch it, you realize it’s less about melody and more about phonemes, inflections, the way a sound can almost form a word before dissolving into noise. This isn’t the synth voice your grandma recognizes; it’s the one that sneaks into your patches when you’re not looking and changes the grammar of the whole track.

Born in 2015 from Noise Engineering’s early golden run, the Loquelic Iteritas arrived when Eurorack was still figuring out what digital could mean beyond clocking sequencers and mangling samples. While others chased analog warmth or granular clouds, Noise Engineering went sideways—deep into algorithmic territory, resurrecting and reinterpreting synthesis methods most people had left in 1980s textbooks. VOSIM, summation synthesis, phase modulation—these aren’t just buzzwords here; they’re the bones of the thing. And unlike many digital oscillators that try to disappear into pristine waveforms, this one wants to be heard, wants to be *noticed*, with a character so strong it borders on confrontational.

It slots into a system not as a workhorse, but as a wildcard. If your rack has a Doepfer A-110 or a Cwejman VCO, the Loquelic Iteritas isn’t going to blend—it’s going to challenge. It won’t give you a clean sawtooth or a buttery sine without some coaxing, and even then, those tones feel like masks. Its sweet spot is the edge of collapse, where the algorithms start to glitch, fold, and stutter under CV pressure. Patch in a slow LFO to the tone controls, modulate the pitch with a chaotic source, and suddenly you’re not making music—you’re hosting a séance for dead telecom systems and forgotten mainframes.

And yet, for all its digital ferocity, it’s remarkably patchable. Two pitch controls, four tone parameters, three synthesis modes—VO, SS, PM—each with its own dialect. VO (VOSIM) delivers those throaty, vowel-like pulses, almost speech-like in their resonance. SS (summation synthesis) stacks harmonics in lumpy, organic clusters—think wind through reeds or the hum of a malfunctioning transformer. PM (phase modulation) is where it gets vicious: sharp, metallic zaps, FM-like explosions, and bell tones that sound like they were recorded inside a rusted oil drum. The sync input lets you hard-sync the two internal oscillators, which can tighten up wild patches or send them spiraling into even more chaotic territory.

It’s not for everyone. If you’re looking for a stable, tracking oscillator to run your filter sweeps or play classic basslines, look elsewhere. This module thrives in experimental patches, in sound design, in moments where you want the synth to feel alive, unpredictable, almost argumentative. But if you’re tired of modules that behave, that always know their place, the Loquelic Iteritas is the one that shows up late, talks too loud, and somehow ends up running the whole conversation.

Specifications

Key Features

Three Algorithms, Three Personalities

The core of the Loquelic Iteritas isn’t just that it uses digital synthesis—it’s that it gives you three distinct flavors, each with its own sonic DNA. VOSIM (VO) was originally developed to simulate speech, and here it’s repurposed into something far more abstract: pulses that swell like lungs, tones that mimic the wet click of a glottal stop. It’s organic, but not warm—more like something alive that you wouldn’t want to touch. Summation Synthesis (SS) builds waveforms by adding sine waves at specific harmonics, but unlike additive synths that aim for purity, this implementation feels rough, almost granular. It’s the sound of a dozen tuning forks struck at once and left to decay in a concrete room. Then there’s Phase Modulation (PM), the most aggressive of the trio. It’s not full-on FM, but it flirts with the same harmonic chaos, producing metallic zings, glassy shrieks, and percussive attacks that slice through a mix like a scalpel. Switching between modes isn’t like turning a knob—it’s like changing the language the module speaks.

CV-Driven Mutation

What sets the Loquelic Iteritas apart from static digital oscillators is how deeply it invites modulation. Every tone control has CV input, and the two pitch parameters are equally patchable. This isn’t a module you set and forget. It wants to be twisted, bent, and destabilized in real time. A slow random voltage into one of the tone inputs can turn a steady drone into a breathing, pulsing organism. Patch a sequencer into the pitch CV and you’ll find melodies that don’t just change pitch—they change character, timbre, even perceived source. The sync input adds another layer: hard-syncing the oscillators doesn’t just reset the phase—it can generate new harmonics, create rhythmic gating effects, or trigger sudden timbral shifts when modulated. It’s rare for a digital VCO to feel so tactile, so responsive to the chaos of a live patch, but this one does.

Sum Output Quirk

One design choice divides owners: the sum output. Unlike many dual-oscillator modules, the Loquelic Iteritas doesn’t always expose individual oscillator outs on the front panel. In earlier firmware versions, you only get the mixed output, which means you can’t easily filter or process the oscillators separately. Some users report accessing individual outs via internal jumpers or firmware updates, but out of the box, you’re often stuck with the blend. For many, this is a feature, not a bug—it forces you to think of the module as a single, unified sound source rather than two components. But if you’re used to routing oscillators through different filters or effects, the lack of outs can feel limiting. It’s a trade-off: tighter integration at the cost of flexibility.

Historical Context

The Loquelic Iteritas landed in 2015, right as Eurorack was exploding beyond boutique analog gear and embracing digital experimentation. Before this, digital oscillators in modular were either expensive (Pittsburgh’s microSynth) or obscure (early Mutable Instruments modules). Noise Engineering, still a young company, saw an opening: what if digital wasn’t about clean precision, but about controlled instability? The Iteritas series—Basimilus, Manis, Loquelic—became their manifesto. These weren’t polite digital emulations; they were digital instruments with their own rules, their own flaws, their own voices.

At the time, modules like the MakeNoise Morphagene were pushing granular synthesis, and Mutable Instruments’ Braids offered a buffet of digital tones, but the Loquelic Iteritas stood apart by focusing on underused algorithms. VOSIM, in particular, was a deep cut—a 1970s Finnish speech synthesis method that most synth designers had forgotten. By resurrecting it and pairing it with summation and phase modulation, Noise Engineering didn’t just offer variety; they offered a new vocabulary. Competitors like the Cyclebox II or the Qu-Bit Electronix Pulsar were making waves with wavefolding and digital oscillators, but the Loquelic Iteritas felt more academic, more intentional. It wasn’t just making noise—it was making a point.

And it arrived at a price that made it accessible: $399 wasn’t cheap for 10HP, but it was within reach for serious hobbyists. Compared to the $600+ Basimilus Iteritas Alter, the Loquelic was the “entry point” into the Iteritas family—though “entry” is misleading. This wasn’t a beginner module. It demanded engagement, experimentation, patience. But for those willing to wrestle with it, it offered sounds no other oscillator could touch.

Collectibility & Value

As of 2026, the Loquelic Iteritas is no longer in production, having been quietly discontinued around 2022 as Noise Engineering shifted focus to newer platforms and firmware ecosystems. That’s given it a quiet collectibility—not the frenzy around a limited synth, but the steady respect of a module that punched above its weight. On the used market, prices range from $300 to $400 depending on condition and color. The standard black and silver models trade near the $325 mark in good condition, while the rare pink “Case of Steel” benefit edition—released to support the Macaw Recovery Network—can fetch $450 or more from collectors who value both rarity and the module’s philanthropic backstory.

Common failures are minimal. There’s no mechanical wear—no pots that crackle with age, no jacks that loosen—and the digital core is stable. The biggest risk is power-related: the module can draw significant current from the +12V rail (150 mA), and if your case’s power supply is already stressed, the Loquelic Iteritas might push it over the edge. Some users report issues when the +5V line isn’t properly supplied, as the module can switch power modes and behave unpredictably. But there are no known firmware-crippling bugs or widespread hardware defects. The most frequent “failure” is user error: people expecting stable tuning or classic waveforms and walking away disappointed.

When buying used, check the firmware version. Early units may benefit from updates that unlock additional features or stabilize CV response. Also verify that the mode switch clicks cleanly between VO, SS, and PM—some users report switch wear after heavy use, though it’s rare. The module ships without screws, so confirm whether the seller includes mounting hardware. And listen to demos if possible—this is a module whose value isn’t in specs, but in character. If it sounds too clean, you’re not hearing it right.

For owners, the real cost isn’t maintenance—it’s opportunity cost. That 10HP could hold a filter, a utility, a second oscillator. But if you’re building a system for texture, for sound design, for the kind of music that lives in the cracks between genres, the Loquelic Iteritas isn’t an indulgence. It’s a necessity.

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