2HP Noise (2013–2020)

Name: 2HP Noise
Brand: 2HP

A two-knob storm in a 2HP chassis—white noise so pure it cuts glass, and a sample rate knob that turns chaos into rhythm.

Overview

Plug in the 2HP Noise and twist the sample rate knob down from full brightness to near silence, and you’ll hear something uncanny: a hiss that thickens, fractures, then collapses into stuttering bursts like a dying Geiger counter. It doesn’t just generate noise—it weaponizes it. Most noise modules are static, predictable, a background hiss you shape elsewhere. This one is a lead instrument, a percussion engine, a texture generator that feels alive because it’s barely digital, hovering at the edge of aliasing like a circuit on the verge of mutiny.

Released in 2013 at the height of Eurorack’s space-saving arms race, the Noise wasn’t trying to be everything. It was trying to be the smallest, smartest noise source you could fit in a crowded 84HP row. And it succeeded. At just 2HP wide, it’s narrower than a power cable, yet it delivers a full-spectrum noise output that’s remarkably clean for its size and topology. No coloration, no filtering, no frills—just raw, unfiltered digital noise with one twist: a sample rate control that lets you degrade the signal from pristine white noise down to glitchy, low-bit chaos. That single knob transforms it from a utility module into a sound design tool. Turn it clockwise and you get textbook white noise, perfect for feeding filters or creating wind and surf. Back it off and the high end folds in on itself, introducing digital artifacts that feel almost analog in their unpredictability—crackles, pops, and rhythmic artifacts that sync up with your clock if you’re lucky (or cursed).

It’s not a drum synth, but it plays one on TV. Pair it with an envelope and a VCA, and you’ve got snappy snares, claps, and hi-hats that cut through a mix. Run it through a resonant filter and modulate the cutoff, and suddenly you’re conjuring rain on a tin roof or a swarm of angry bees. The module doesn’t include a VCA—unlike its sibling the 2HP NSE, which integrates one—but that’s by design. The Noise is a purist’s tool: it does one thing, and it does it with surgical precision. If you want dynamics, you bring your own envelope. If you want color, patch in a filter. This minimalism is both its strength and its limitation. It won’t replace a dedicated drum module like the MakeNoise Mimeophon or the Intellijel Quadrax, but it will surprise you in ways those larger modules often don’t, simply because its constraints force creativity.

Specifications

Manufacturer	2HP
Production Years	2013–2020
Original Price	$99 USD
Width	2HP
Depth	25mm
Current Draw +12V	20mA
Current Draw -12V	2mA
Output Signal Type	White noise
Sample Rate Control	Adjustable from 31.25kHz to 976Hz
Output Level	Approx. 8Vpp
Output Jack	1x 3.5mm
Control Knobs	Noise Level, Sample Rate
Panel Material	Black anodized aluminum
Weight	35g

Key Features

The Sample Rate Knob: Controlled Degradation

The real magic isn’t in the noise itself—it’s in the sample rate knob. Most digital noise sources run at fixed sample rates, delivering a consistent, clean output. The 2HP Noise lets you dial that rate down manually, effectively underclocking the noise generator. At maximum, it runs at 31.25kHz, producing a smooth, full-spectrum hiss. As you turn it down, the sample rate drops, introducing aliasing, foldback, and rhythmic pulsing. At the lowest settings, around 976Hz, the noise breaks into discrete clicks and bursts, almost like a stepped random voltage. This isn’t just a novelty—it’s a compositional tool. You can use it to create gated rhythms without a sequencer, or feed it into a filter to generate evolving textures that feel organic despite their digital origin. The artifacts aren’t always musical, but that’s the point: they’re raw, unpolished, and full of character.

Minimalism as a Design Philosophy

2HP built its reputation on shrinking complex functions into absurdly small spaces, and the Noise is a perfect example of that ethos. There’s no CV input, no color control, no filter, no output attenuation beyond the front-panel knob. It’s a statement: noise doesn’t need to be complicated. The panel is stark—two knobs, one output, no labels beyond “LEVEL” and “RATE.” The black anodized aluminum feels solid, and the module sits flush in a row, drawing no attention to itself. But don’t mistake simplicity for weakness. The circuit is carefully designed to avoid digital clock noise bleeding into adjacent modules, a common issue in tightly packed racks. It’s also one of the most power-efficient noise sources available, drawing just 20mA on the +12V rail. In a format where every milliamp counts, that’s not trivial.

Historical Context

The 2HP Noise arrived at a time when Eurorack was exploding in popularity, and rack space was becoming a premium commodity. Modules were getting more complex, more feature-rich, and wider—6HP, 8HP, even 14HP for a single function. Against that trend, 2HP (founded by Tony Rolando, also behind Buchla-inspired designs at Harvestman) pushed back with a line of ultra-compact modules that proved you didn’t need bulk to be useful. The Noise was part of that first wave, alongside the Tune, VCA, and LPF, all designed to fill niche roles without hogging space. It wasn’t the first noise module—Eurorack had plenty, from the smooth analog hiss of the Doepfer A-118 to the chaotic digital bursts of the Noise Engineering Loquelic Iteritas—but it was the first to make noise generation truly compact. Competitors like the Malekko Noise and the Zlob Entropy followed, but the 2HP Noise remained the benchmark for minimal footprint and maximum utility. It didn’t try to do everything; it just did one thing brilliantly, and in doing so, it became a staple in travel racks, DIY builds, and minimalist systems where every HP mattered.

Collectibility & Value

The 2HP Noise was discontinued in 2020 when 2HP ceased operations, making it a sought-after piece for completists and minimalists alike. In used condition, it typically sells for $120–$160, depending on market demand and rack wear. Units with clean panels and fully functional knobs command the higher end, especially since the sample rate pot can wear out with heavy use, leading to crackling or intermittent output. There are no known catastrophic failure points—the circuit is simple and robust—but the output jack is surface-mounted, so rough patching can damage the solder joints. Always check for consistent noise output across the full range of the sample rate knob before buying. If it cuts out or stutters at certain positions, the pot may need cleaning or replacement.

Because it’s a passive digital module with no firmware or complex ICs, it’s unlikely to become obsolete or unrepairable. The main risk is physical: the thin front panel can scratch easily, and the module lacks a top or bottom bracket, so it can wobble in a partially filled row. It’s not rare—thousands were made—but its utility and compact size ensure it rarely stays on the market long. If you’re building a tight rack and need a noise source that won’t dominate your layout, the 2HP Noise is still the gold standard. Just be prepared to pay a small premium for its convenience. For those on a budget, the Malekko 200 Series Noise or the TipTop Audio White Noise offer similar functionality in 4HP, but neither matches the 2HP’s space-saving elegance.