ADDAC 112 VC Looper & Granular Processor (2021–)

A five-minute buffer, a granular engine that dances on the edge of chaos, and a patchbay that dares you to lose control—this is Eurorack’s most ambitious live sampler yet.

Overview

There’s a moment, early in your first session with the ADDAC 112, when you realize it’s not just processing sound—it’s redefining your entire signal chain. You patch in a drone from a Plaits, hit record, and suddenly that smooth tone fractures into thousands of shimmering fragments, each one a tiny echo of the original, scattered across time and pitch like glass on a dancefloor. The OLED screen flickers with activity, showing grains firing in real time, and you twist a knob—just slightly—and the whole thing warps into something unrecognizable, yet still tethered to the source. It’s not magic, but it feels like it. The ADDAC 112 isn’t content to be just a looper or just a granular processor; it’s both, fused together in a 45 HP dual-module beast that demands attention, rewards experimentation, and occasionally crashes for no discernible reason.

At its core, the 112 is a voltage-controlled looper with a staggering 5-minute buffer—massive by Eurorack standards—paired with a full-featured granular engine that can slice that loop into micro-samples and reassemble them in real time. But calling it a “granular module” undersells its ambition. It’s more like a self-contained performance environment, where the line between recording, playback, and transformation blurs completely. You can overdub, reverse playback, trigger loops via CV, save and load banks to SD card, and route nearly every parameter through voltage control. The granular engine isn’t an afterthought; it’s the soul of the module, with independent control over grain size, pitch, position, density, and randomness, all visible on a surprisingly useful OLED display. Few modules in the format offer this level of visual feedback, and it makes a huge difference when you’re sculpting textures on the fly.

What sets the 112 apart from peers like Mutable Instruments’ Beads or Qu-Bit’s Nebulae is its workflow. Beads is elegant, Nebulae is atmospheric, but the 112 is hands-on, almost tactile. You’re not just setting parameters—you’re performing. The dual-module design (Controls and Jacks) lets you keep the front panel clear during live sets, routing CVs to a remote patchbay so your hands stay on the knobs. It’s built for stage use, even if the firmware isn’t always ready for it. Early adopters reported crashes, random shutdowns, and pitch jitters—issues that reflect the module’s complexity more than negligence. ADDAC, a small Portuguese outfit known for bold designs, pushed the limits of what a Eurorack module can do, and the growing pains show. But for those willing to tolerate the occasional hiccup, the 112 offers a depth of control and sonic possibility that few other modules can match.

Specifications

Manufacturer	ADDAC System
Production Years	2021–
Original Price	$699
Module Size	45 HP (two modules: 21 HP + 24 HP)
Power Consumption	+12V: 240mA, –12V: 70mA
Inputs	Dual mono modular level inputs, stereo line level input
Outputs	Dry, loop, grain (individual mix outputs)
Recording Time	Up to 5 minutes per bank
Storage	SD card (save/load banks, presets, loops)
Presets	Up to 99 per bank
Loops	Up to 99 per bank
Loop Controls	Overdub, punch-in, reverse, CV-triggered playback
Granular Engine	Variable grain size, pitch, position, density, randomness
Display	OLED screen for real-time grain visualization
CV Control	Extensive modulation via patch panel (Jacks module)
Expander	Available for additional modulation options
Weight	Not specified
Dimensions	21 HP + 24 HP (dual-module system)

Key Features

A Looper That Feeds a Granular Beast

The ADDAC 112’s looper isn’t just a recording tool—it’s the raw material for the granular engine. Once you capture a loop, whether from a live input or an SD card, it becomes the source for granular processing. You can pitch-shift the loop, reverse it, overdub new material, or trigger playback via CV, making it a full-featured live sampler. But the real power lies in how seamlessly it integrates with the granular section. The loop buffer is automatically sliced into grains the moment you engage the granular engine, and you can scrub through the loop manually or via CV, adjusting grain size and density in real time. This tight coupling means you’re not switching between modes—you’re evolving the sound continuously, from loop to texture to chaos.

Unmatched Visual Feedback

In a format where most modules give you little more than blinking LEDs, the 112’s OLED display is a revelation. It shows grain activity in real time, letting you see how your adjustments affect the audio. When you tweak grain size, you can watch the pulses on the screen grow longer or shorter. When you increase density, the display fills with activity. This isn’t just cosmetic—it’s functional, helping you dial in precise textures and avoid sonic clutter. For a process as abstract as granular synthesis, having a visual reference makes a huge difference, especially when you’re trying to recreate a patch or troubleshoot a glitch.

Modular-Level Flexibility

The 112 doesn’t just accept CV—it demands it. Nearly every parameter, from loop selection to grain pitch to playback direction, can be voltage-controlled. The separate Jacks module (required for full functionality) lets you route CVs away from the main panel, keeping your performance setup clean. You can modulate grain position with an LFO, randomize loop selection with a sample-and-hold, or freeze grains with a gate signal. The expander module adds even more modulation options, making the 112 one of the most flexible granular processors in Eurorack. It’s not a set-and-forget module; it’s a dynamic instrument that responds to your system’s rhythms and gestures.

Historical Context

The ADDAC 112 arrived in 2021 as part of a wave of advanced sampling and granular modules pushing the boundaries of what Eurorack could do. At a time when many manufacturers were refining existing concepts, ADDAC took a risk with a module that combined looping, sampling, and granular synthesis in a single, tightly integrated system. It stood in contrast to the minimalist philosophy of Mutable Instruments or the atmospheric focus of Qu-Bit, instead embracing complexity and depth. Competitors like Beads offered granular processing in a compact form, but the 112 went further, treating the loop buffer as a compositional canvas rather than just a temporary workspace. Its closest analogs were software tools like Max/MSP or Reaktor, not other hardware modules. The 112 wasn’t trying to be the most efficient granular module—it was trying to be the most expressive.

ADDAC, founded in 2009, had already built a reputation for unconventional designs—modules that prioritized creative potential over user-friendliness. The 112 was their most ambitious project to date, and it showed. It didn’t just compete with existing granular modules; it redefined what they could be. But its complexity came at a cost. Firmware bugs, crashes, and stability issues plagued early units, a reminder that small boutique manufacturers often lack the resources for extensive testing. Still, for a niche audience of experimental musicians and sound designers, the 112’s flaws were outweighed by its capabilities. It wasn’t for everyone, but for those who needed deep, real-time control over granular processes, it was unmatched.

Collectibility & Value

The ADDAC 112 is not a beginner’s module, and that shows in its market. Priced at $699 at launch, it remains a significant investment, especially when paired with the required Jacks module. On the used market, prices hover between $550 and $650 depending on condition, with units that include the expander fetching premiums. It’s not a module that depreciates quickly—its unique feature set keeps demand steady among experimental modular users. However, buyers should be cautious. Firmware stability remains a concern; users have reported random shutdowns and pitch jitters, particularly on early firmware versions. While ADDAC has released updates, the module’s complexity means bugs may persist. Always check the firmware version before purchasing, and be prepared to update it yourself.

Common failure points include the SD card slot (prone to corruption if ejected improperly) and power draw—its 310mA total consumption can strain smaller power supplies. The dual-module design also means more patch cables and rack space, which can be a drawback in compact systems. For collectors, the 112 is a “grail” module only if you’re deeply invested in granular synthesis. It’s not a staple like a VCO or filter; it’s a specialty tool. But for those who use it, it’s transformative. Restoration is generally straightforward—no electrolytic capacitors to replace, no mechanical parts to wear out—but firmware issues can’t be fixed with a soldering iron. If you’re buying for investment, wait for a stable firmware release. If you’re buying to use, embrace the quirks and enjoy the ride.