2HP MMF (2018–)

Name: 2hp MMF
Brand: 2hp

A 2HP miracle: a full-featured analog multimode filter that sounds bigger than its footprint.

Overview

It still feels like a party trick: twist a tiny knob on a module no wider than a screw, and out pours a sound that could hold its own in any 1970s synth rack. The 2HP MMF doesn’t just work—it sings. Despite being squeezed into a mere 2HP of Eurorack real estate, it delivers a full analog signal path with voltage control over both cutoff and resonance, three simultaneous filter outputs, and a character that ranges from warm and rounded to sharply resonant. You don’t expect a filter this small to self-oscillate with such clarity, or to handle acid squelch with conviction, but the MMF does. It’s the kind of module that makes you question why you’d ever need more space—until you try to tweak it live with cables plugged in on both sides.

Positioned between 2HP’s earlier Filt and the wider, more complex filters from other brands, the MMF carved its niche as the minimalist’s resonant workhorse. It replaced the notch output of the original Filt with CV control over resonance—a trade many owners welcome, especially in compact or travel cases where every patch point counts. While it lacks the 24dB/oct slope of some vintage emulations, its 12dB/oct analog topology gives it a smoother, more open character, closer to certain Roland or Korg designs than the aggressive Moog-style filters. That makes it especially useful for evolving pads, subtle tonal shaping, or percussive bandpass sweeps that don’t dominate the mix. And because all three outputs—low pass, high pass, and band pass—are active at once, you can route them to different destinations and create layered, phase-rich textures from a single source.

Still, this is not a module for showy filter sweeps. The knobs are small, the shafts short, and once you’re deep in a patch, nudging the cutoff by hand becomes a two-handed operation. Owners report using external attenuators or manual CV sources—like the Ladik Arcade U-075 or a second knob module—to make real-time adjustments easier. But that limitation also defines its strength: the MMF excels as a “set and forget” filter that you dial in once and then modulate heavily via CV. Pair it with an LFO or envelope, and it transforms from a utility into a dynamic voice element, capable of everything from gentle wah effects to resonant pings that cut through a mix.

Specifications

Manufacturer	2HP
Production Years	2018–
Original Price	$119
Width	2HP
Depth	42 mm
Power	+12V: +55 mA
Power	-12V: -55 mA
Power	5V: 0 mA
Filter Type	Analog multimode
Slope	12dB per octave
Filter Modes	Low pass, high pass, band pass (simultaneous)
CV Control	Cutoff frequency, resonance
Attenuation	Attenuatable CV inputs for cutoff and resonance
Inputs	Audio input, cutoff CV input, resonance CV input
Outputs	Low pass output, high pass output, band pass output
Self-Oscillation	Yes
Color Options	Silver, black
Skiff Friendly	Yes

Key Features

Analog Signal Path in Minimal Space

What makes the MMF remarkable isn’t just that it fits in 2HP—it’s that it doesn’t sound compromised. The analog filter core delivers a warmth and dimensionality that many digital or heavily compressed alternatives lack. Unlike some micro-modules that prioritize function over fidelity, the MMF maintains headroom and clarity even when driven hard. The circuit design avoids the thinness that can plague compact filters, instead offering a full-bodied tone that responds naturally to input level and modulation depth. This makes it suitable not just as a tone shaper, but as a timbral generator in its own right—especially when fed wavefolds, noise, or overdriven oscillators.

Three Outputs, One Voice

Having low pass, high pass, and band pass outputs available simultaneously is more than a convenience—it’s a compositional tool. You can split a single oscillator into three parallel paths, each filtered differently, then mix them back with individual level control or further processing. This is particularly effective for creating complex, evolving textures where different frequency bands move independently. For example, a slow LFO on the band pass output can create a “sweeping spotlight” effect, while the low pass remains steady for body. Or route the high pass to a reverb for airy tails while the band pass drives a distortion for grit. The ability to exploit phase relationships between the outputs opens up stereo imaging and modulation possibilities that larger, single-output filters can’t match.

CV Flexibility with Attenuation

Both cutoff and resonance accept CV input, and crucially, each has its own attenuator. This means you can patch in multiple modulation sources—say, an envelope for dynamic shaping and an LFO for movement—then balance their influence directly on the module. The attenuated resonance CV is especially valuable, letting you dial in just a hint of wobble or push it into full-on squelch without overmodulating. It also enables subtle effects like resonance “blooming” on sustained notes, or percussive resonance pings triggered by sharp gates. That level of control in such a narrow module is rare and speaks to 2HP’s design philosophy: no feature sacrificed, no compromise in functionality.

Historical Context

The MMF arrived in 2018, at a time when Eurorack was expanding rapidly but space efficiency was becoming a real concern. Cases were filling up, and builders were looking for ways to add functionality without doubling their rack size. 2HP had already established itself with ultra-compact utility modules—mults, switches, attenuators—but the MMF proved they could tackle core voice elements too. It wasn’t the first 2HP filter—the original Filt came earlier—but the MMF improved on it by adding resonance CV, a feature many users had requested. That shift reflected a broader trend in modular design: moving from static, manually tweaked modules to dynamic, CV-rich components that could evolve over time.

At the time, competitors like Mutable Instruments’ Ripples offered more features—such as built-in VCA functionality and multiple filter slopes—but at 8HP and a higher price. The MMF didn’t try to match that versatility; instead, it focused on doing one thing exceptionally well in minimal space. It appealed to skiff builders, travel synth enthusiasts, and anyone trying to squeeze a full voice into a 32HP lunchbox. Its release also coincided with a growing appreciation for 12dB/oct filters, which had been somewhat overshadowed by the popularity of 24dB/oct “Moog-style” designs. The MMF helped reframe that conversation, showing that smoother slopes could be just as expressive, especially in modern, layered patches.

Collectibility & Value

The 2HP MMF remains in production and widely available, so it’s not a collector’s item in the traditional sense. But its reputation has grown steadily, and used units often sell for close to the original $119 price, especially in good condition. Black and silver versions are functionally identical, though some builders prefer the contrast of black for visibility in dense cases. Because it’s a passive analog module with no complex digital circuitry, failure rates are low—service technicians observe that most issues stem from bent pins or damaged jacks due to tight patching, not internal faults. There are no known design flaws or common component failures that require preventative maintenance, and the module draws no 5V power, reducing strain on power supplies.

When buying used, check for smooth potentiometer operation—the small knobs can feel gritty if the pots are worn or contaminated. Also verify that all three outputs are functioning, as a dead output could indicate a cold solder joint or damaged trace. Given its utility, the MMF rarely gets pulled from systems, so finding one with heavy wear is uncommon. For those building a minimalist rig, it’s still one of the best value-for-space filters available. Just be prepared for the ergonomics: if you plan to tweak the filter live, consider pairing it with a manual CV source or placing it in an easily accessible part of your case. Some owners use plastic tweezers or a small tool to adjust the knobs, though that’s more a quirk of ownership than a defect.