2HP MMF (2018–)
A full-featured analog multimode filter in 2HP.
Overview
Twist a tiny knob on a module no wider than a screw, and out comes a sound that could hold its own in any 1970s synth rack. The 2HP MMF fits a full analog signal path into 2HP of Eurorack space. It has voltage control over both cutoff and resonance, three simultaneous filter outputs, and a sound that runs from warm and rounded to sharply resonant. It self-oscillates cleanly and handles acid squelch well. The catch shows up when you try to tweak it live with cables plugged in on both sides.
The MMF sits between 2HP's earlier Filt and the wider, more complex filters from other brands. It replaced the notch output of the original Filt with CV control over resonance. Many owners welcome that trade, especially in compact or travel cases where every patch point counts. It lacks the 24dB/oct slope of some vintage emulations. Its 12dB/oct analog topology is smoother and more open, closer to certain Roland or Korg designs than to the aggressive Moog-style filters. That suits evolving pads, subtle tonal shaping, and percussive bandpass sweeps that don't dominate the mix. All three outputs - low pass, high pass, and band pass - are active at once, so you can route them to different destinations and build layered, phase-rich textures from a single source.
This is not a module for showy filter sweeps. The knobs are small, the shafts are short, and once you're deep in a patch, nudging the cutoff by hand takes two hands. 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. The MMF works best 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 becomes a dynamic voice element, good for gentle wah effects and for 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 at once makes it 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. That works well for complex, evolving textures where different frequency bands move independently. A slow LFO on the band pass output can create a "sweeping spotlight" effect while the low pass stays steady for body. Or route the high pass to a reverb for airy tails while the band pass drives a distortion for grit. The phase relationships between the outputs also open 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, when Eurorack was expanding rapidly and space efficiency was becoming a real concern. Cases were filling up, and builders wanted more functionality without doubling their rack size. 2HP had already established itself with ultra-compact utility modules - mults, switches, attenuators - and the MMF showed they could tackle core voice elements too. It wasn't the first 2HP filter. The original Filt came earlier, and the MMF improved on it by adding resonance CV, a feature many users had requested. That fits a broader trend in modular design, away from static, manually tweaked modules and toward 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. It focused on doing one thing 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.
Collectibility & Value
The 2HP MMF remains in production and widely available, so it's not a collector's item in the traditional sense. 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 black for visibility in dense cases. It's a passive analog module with no complex digital circuitry, so failure rates are low. Service technicians observe that most issues come from bent pins or damaged jacks due to tight patching, not internal faults. There are no known design flaws or common component failures that call for preventative maintenance, and the module draws no 5V power, which reduces 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. Verify that all three outputs work, since a dead output could point to a cold solder joint or damaged trace. The MMF rarely gets pulled from systems, so finding one with heavy wear is uncommon. For a minimalist rig, it's still one of the best value-for-space filters available. Expect the ergonomics to be awkward. If you plan to tweak the filter live, pair it with a manual CV source or put it somewhere easy to reach in 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.
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