ADDAC 106 T-Noiseworks (2020–)

A compact Eurorack chaos engine that turns noise into snappy snares, fizzy hi-hats, and percussive textures with surgical precision and analog grit.

Overview

Plug in the ADDAC 106 and you’re not just adding a noise module—you’re wiring in a vintage drum machine’s nervous system, stripped down and reassembled for the modular age. This isn’t white noise on a knob; it’s four fully independent analog percussion voices, each sculpted with the same T-network filtering tech that gave classic rhythm boxes their bite. The first thing you notice is how little space it takes—just 4HP—but what it packs in feels like a heist: four decay-controlled, frequency-shaped noise circuits, all feeding into a shared mix output that can be dirtied up at the flick of a switch. It’s the kind of module that makes you forget to patch anything else, because you can spend hours just chasing the perfect snare crack or gated metallic hiss across its controls.

Designed as the noisy sibling in ADDAC’s T-Networks series, the 106 fills the gap left by modules like the 104 (which handles kicks and toms) by focusing entirely on high-frequency transients. Voices 1 through 3 are nearly identical in architecture: pre-VCA T-network filters with manual frequency and decay controls, plus a timbre toggle labeled “Snare” or “Hat.” Don’t let the labels fool you—these aren’t presets, they’re starting points. In Snare mode, the full bandwidth of noise passes through, giving that fat, rounded smack. Flip it to Hat, and a high-pass circuit kicks in, stripping away the low-mid thump and leaving behind the sharp, sizzling attack of a tightly closed hi-hat. Each of these three voices is slightly tuned differently from the others, so even when set to the same parameters, they respond with subtle variations—perfect for layering into a realistic drum hit or creating complex rhythmic textures.

Then there’s voice 4, the odd one out. Instead of the Snare/Hat toggle, it gets a High/Mod/Low frequency switch, where “Mod” introduces a resonant boost that can edge into almost tonal territory. More importantly, this voice runs post-VCA, meaning the filter sits after the amplification stage—closer to the original T-Networks design, but with noise injected into the VCA itself. This gives it a looser, more unpredictable character, especially when patched with external triggers or CV. It doesn’t just respond to gates; it reacts, with a slightly sagging decay and a tendency to bloom when hit hard. The mix output sums all four voices and includes a volume knob plus a “Dirt” switch that overdrives the output stage, adding harmonic grit that pushes crisp hi-hats into trashy, overdriven territory or turns snares into clattering industrial impacts.

What makes the 106 more than just a drum utility is its patchability. Each voice has its own individual output, so you can route them to separate effects, VCAs, or processors. The inputs accept triggers, envelopes, or even continuous CV, depending on the switch position—“Trigger” fires the envelope, “Envelope” lets the incoming signal shape the decay contour, and “Mute” disables the input entirely. This opens up wild possibilities: use an LFO to modulate the decay of a hi-hat voice, or feed a random voltage into the frequency control for evolving noise sweeps. It’s not a sample player, it’s a noise laboratory—and it rewards experimentation with results that feel alive, slightly unstable, and deeply analog.

Specifications

Key Features

Analog Noise Meets T-Network Filtering

The heart of the 106 lies in its use of the T-network filter—a passive RC network historically used in vintage drum machines like the Roland TR-808 and TR-909 to shape noise into recognizable percussion. Unlike active filters, T-networks don’t require power; they rely on resistor-capacitor arrangements to create frequency-dependent attenuation, giving them a slightly lossy, organic character. ADDAC uses this not as a gimmick, but as a design philosophy: the filter isn’t just coloring the noise, it’s defining the voice. In the first three channels, the T-network sits before the VCA, meaning the timbre is set before amplification, preserving the sharp attack. This setup excels at creating punchy, immediate transients—exactly what you want in a snare or hi-hat. The fourth channel flips the script, placing the filter after the VCA, which lets the full noise burst hit first before being shaped. This creates a slightly smeared, resonant decay that feels more expressive, almost like a plucked string fading into noise.

Four Voices, Four Personalities

While all four voices share core controls—frequency and decay—their differences are what make the 106 feel expansive despite its size. Voices 1–3 are functionally identical but tuned to slightly different frequency centers, so stacking them creates a richer, more complex hit than a single voice ever could. The Snare/Hat toggle isn’t just a filter bypass; it’s a timbral reconfiguration. In Hat mode, the high-pass circuit doesn’t just cut lows—it reshapes the envelope slightly, emphasizing the initial spike and shortening the perceived tail. Voice 4, with its High/Mod/Low switch, offers a different kind of control: “High” gives a crisp, short burst; “Low” extends the decay and emphasizes sub-harmonics; “Mod” introduces a narrow band of resonance that can make the noise almost whistle. This voice is especially responsive to overdriven CV inputs, and because it’s post-VCA, it can be modulated in ways that feel more dynamic and less predictable than the others.

Summed Mix with Character

The mix output isn’t just a passive sum—it’s a performance tool. It includes a dedicated volume knob and a “Dirt” toggle that overloads the output stage, adding soft clipping and harmonic saturation. This isn’t subtle: flipping the switch can turn a clean, studio-perfect hi-hat into something that sounds like it’s being played through a blown speaker in a subway tunnel. It’s the difference between programming a beat and performing one. The mix section also makes the 106 stage-ready; you can feed all four voices into it, tweak the balance with the individual outputs (if needed), and send one fat, characterful stereo signal to your mixer or recorder. For live use, this simplicity is a virtue—no need for external summing or parallel processing to get a full drum sound.

Historical Context

The ADDAC 106 emerged in 2020 as the final piece in the company’s T-Networks trilogy, following the 103 and 104 modules. At a time when Eurorack was overflowing with digital percussion and sample-based modules, ADDAC doubled down on analog minimalism, drawing inspiration from the stripped-down, circuit-bent logic of 1980s drum machines. The T-network filter, long overlooked in favor of more versatile active filters, was repositioned not as a limitation but as a sonic signature—one that could generate complex, evolving transients from nothing but noise and resistors. The 106 specifically addressed a gap in modular drum synthesis: while many modules could generate kicks or toms, few offered dedicated, patchable analog noise sources with built-in shaping. Competitors like the Intellijel Basimilus Iteritas or the Noise Engineering Zularic Repetitor leaned into digital complexity or algorithmic generation, but the 106 stayed stubbornly analog, offering a hands-on, immediate approach to noise percussion. It wasn’t trying to be everything—it was trying to be the best at one thing: turning voltage into impact.

Collectibility & Value

The ADDAC 106 has developed a quiet cult following, not because it’s flashy, but because it solves a real problem in modular drum design. New units typically sell for around €160–€200, with DIY kits available at a lower price point for experienced builders. Used prices hover between €120–€150 depending on condition, and since the module has no moving parts beyond pots and jacks, well-maintained units hold value well. The DIY version is popular among kit builders—documentation shows it requires soldering of pots, jacks, headers, and one through-hole transistor—but it’s not recommended for beginners due to tight spacing and the need for precise calibration. Failures are rare, but service technicians observe that the most common issue is cracked solder joints on the power header, especially in units subjected to frequent plugging and unplugging. Pots can develop crackle over time, but they’re standard alpha types and easily replaceable. When buying used, check for consistent response across all four voices and ensure the dirt switch engages cleanly without popping. Because the module relies on analog noise generation, some units may exhibit slight DC offset on the outputs—this is normal, but should be checked if feeding into sensitive equipment. Overall, the 106 is a low-maintenance, high-reward module that ages gracefully, especially in systems where organic, non-repeating percussion is valued over quantized perfection.

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ADDAC System ADDAC106 T-Noiseworks (Black) EURORACK - NEW -

$229

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