ADDAC106 T-Noiseworks (2020)

Name: ADDAC System 106 T-Noiseworks
Brand: ADDAC System

Four channels of gritty, unpredictable noise that crackle like a shorted circuit in the best possible way

Overview

The ADDAC106 T-Noiseworks is a 4-voice Eurorack percussion module from Lisbon-based ADDAC System, announced on March 31, 2020. It isn't subtle. It makes snare snaps, hat sizzle and experimental bursts that sound ready to fall apart. It's not a full drum machine. Plug in a clock, turn a few knobs, and you get percussive texture right away.

Each of the four voices starts with a noise source feeding a t-network filter. That circuit type was used in classic drum machines and is known for resonant, sometimes unruly behavior. Voices 1 through 3 use a pre-VCA t-network filter, so the filtering happens before the voltage-controlled amplifier. That gives them a raw edge when needed. Voice 4 uses a post-VCA t-network, which is closer to the traditional layout of ADDAC's own T-Networks series. That makes it the final piece in that lineage.

There is no voltage control over the core parameters. No CV input for pitch, decay, or timbre switching. Everything is manual. There's no menu diving and no hidden functions. Each of the four voices has a frequency knob, a decay knob, and a switch that changes the whole character of the sound. You commit to a sound and work with it.

The summing output is a feature, not just a convenience. It has its own gain control and a switch between Normal and Dirt modes. You can blend the four voices into a clean composite or push it into lo-fi saturation. There's also an audio input for external signal processing, so other noise sources or modulated signals can be routed through the T-Noiseworks' filtering and envelope behavior. That works with anything that can trigger a gate.

Specifications

Manufacturer	ADDAC System
Product type	4-voice percussion module
Dimensions	8 HP
Depth	40 mm
Power consumption	40 mA +12V, 40 mA -12V, 0 mA 5V
Number of voices	4
Controls per voice (voices 1-3)	Frequency (pitch) control, Decay control, Timbre switch (Hat/Snare)
Controls for voice 4	Frequency (pitch) control, Decay control, Range switch (Low/Mod/High)
Other controls	Summing Mix Gain
Inputs per voice	SLEW INPUT, TRIGGER INPUT
Other inputs	Audio Input (for external signal processing)
Outputs per voice	INDIVIDUAL OUTPUT
Other outputs	AUDIO SUM / MIX OUTPUT
Input mode switch per voice	Trigger, Mute, Envelopes

Key Features

Timbre Switch: Hat vs. Snare (Voices 1–3)

The first three voices each have a Timbre switch. In "Snare," the full frequency spectrum of the t-network filter passes through. That means body, thump, and ring for snappy, resonant hits. In "Hat," an integrated high-pass filter kicks in and scrubs out the mids and lows. What's left is a crisp, metallic sizzle that cuts through a mix. It doesn't model real cymbals. It's more abstract and more electric.

Voice 4: The Range Switch and Post-VCA Design

Voice 4 stands apart. Instead of a timbre switch, it gets a Range switch with Low, Mod, and High settings, which lets you jump between tonal zones quickly. Its post-VCA t-network filter behaves more like the original T-Networks module and gives a smoother, more traditional decay envelope. It's the most "normal" of the four, so it makes a good anchor while the others go off the rails.

Decay via Slew Circuit

There's no dedicated envelope generator. The decay control feeds the trigger into a slew circuit that shapes the opening and closing of the internal VCA. It's a minimal approach - no attack, just decay - and each hit gets a natural taper, even with fast clock signals. The SLEW INPUT per voice lets you modulate this behavior externally, so you can change the decay time in real time with CV, even though you can't automate the knob position directly.

Input Mode Switch: Trigger, Mute, Envelopes

Each voice has a three-way switch that changes how it responds to incoming signals. In Trigger mode, any CV that crosses the fixed threshold generates a 1ms trigger, which suits syncing to external clocks. Mute mode silences the voice. In Envelope mode, the internal VCA follows the incoming gate or signal directly, which turns the voice into a kind of dynamic filter follower. It gets interesting when you feed it audio-rate modulation or irregular pulses.

Summing Mix Output with Dirt Mode

The summing output isn’t an afterthought — it’s a performance feature. With its own gain control and a switch between Normal and Dirt, you can choose whether your four voices come out clean or crushed. The Dirt mode adds harmonic grit, softening the edges just enough to make the whole thing feel like it’s coming through a blown speaker or a tape machine on the edge of saturation. It’s the sonic equivalent of turning up the gain on a console until the meters just barely red — a little danger, a lot of glue.

Collectibility & Value

The ADDAC106 T-Noiseworks was listed by the manufacturer at 170€ (excluding VAT) for the assembled module, with a DIY kit version available for 108€ (excluding VAT). A 2025 review cited a price of 160€, suggesting minor fluctuations over time. Retail listings vary. A Reverb listing noted an original price of $159, while ModularGrid shows examples listed as high as $220.22, likely reflecting regional pricing or marketplace premiums. Used units have appeared with price drops, such as one listed at $150 after starting at $159.

There is no verified data on common failures, maintenance needs, or long-term reliability. Given the module's relatively recent release and the absence of widespread reports, it appears to be a stable design, but long-term collector insights are still emerging. It is the final module in ADDAC's T-Networks series.