ADDAC 311 (2022)

Five expression pedals and five footswitches, all routed through a single 8HP module—your feet just became your most powerful modular controllers.

Overview

Your hands are busy twisting knobs, plugging cables, shaping sound. Your eyes are locked on patch points and fluctuating waveforms. But your feet? They’ve been standing idle this whole time, good for tapping out time or maybe nudging a sustain pedal if you're lucky. The ADDAC 311 Ultra Floor Control fixes that imbalance with surgical precision—it’s a full-body interface for Eurorack, built for performers who want to stop choosing between expression and patching. This isn’t just another pedal input module; it’s a dedicated floor station with five expression pedal inputs and five assignable footswitches, all feeding into a compact 8HP Eurorack module via a DB25 cable. The idea is simple: get your feet doing real work, not just tapping time, but modulating filters, morphing sequences, toggling effects, or launching clips—all while your hands stay deep in the patch.

Launched in 2022, the 311 emerged from ADDAC’s long-standing interest in bridging physical performance with modular synthesis. The company had already dabbled in expressive control with earlier pedals and interfaces, but those were limited—single inputs, basic functionality. The 311 is their full-throated answer: a complete foot-operated command center. It’s not a sound generator or processor; it’s a conduit, a nervous system extension that turns your pedalboard into a dynamic control surface. The floor unit itself is a rugged, low-profile box (32 x 15 x 6 cm, 1 kg) designed to survive stage use, with tactile switches and clear LED indicators for each footswitch and expression channel. The module side is minimalist by design—just 10 outputs (5 gates, 5 CVs) and the DB25 input—because ADDAC wanted to minimize rack space while maximizing functionality. This split design is key: the brains and controls live on the floor, the module just breaks the signals out. It’s a smart compromise for players tight on HP but rich in pedal accessories.

And speaking of pedals, compatibility is where the 311 gets clever. Expression pedals come in multiple wiring standards—TRS, RTS, and TS—and they’re not always interchangeable. Most modern pedals use TRS, and the 311 defaults to that. But if you’ve got older or niche pedals, you’re not out of luck. Channels 4 and 5 include jumper settings that let you reconfigure the input for RTS or TS compatibility, a small but critical detail that shows ADDAC was thinking about real-world setups, not just ideal ones. That said, the system doesn’t ship with any expression pedals—just the floor unit, the module, and optionally a 3-meter DB25 cable. You’ll need to source your own pedals, which can be a hidden cost, but also a benefit: you can mix and match brands, sizes, and response curves to suit your playing style.

What really sets the 311 apart is how it treats control as performance. Most modular players rely on LFOs, sequencers, or random voltage for modulation—hands-off, pre-programmed motion. The 311 flips that: it’s about real-time, physical expression. Want to sweep a filter slowly with your toe? Done. Need to toggle a delay on and off mid-phrase? Stomp it. Fade in a drone with heel-toe pressure? That’s what this is for. It’s especially powerful in live sets, where dynamic shifts matter more than static patches. And because each footswitch can be set to gate, trigger, or latching mode, you can use them for anything from momentary effects to toggling entire signal chains on and off. The LEDs on the floor unit give instant feedback—no guessing whether the switch engaged—so you can perform confidently, even in low light.

Specifications

Key Features

Five-Channel Expression with Real-World Flexibility

Most multi-pedal interfaces assume you’re using TRS expression pedals—and that’s fair, since they’re the most common. But the ADDAC 311 goes further by letting you adapt to what you already own. Channels 4 and 5 include physical jumpers that reconfigure the input for RTS or TS pedals, a rare level of backward compatibility in the Eurorack world. This isn’t just theoretical—many older guitar expression pedals, especially from brands like Boss or Line 6, use RTS or TS wiring, and they won’t work properly without this option. By including jumpers, ADDAC acknowledges that modular users often repurpose gear from other domains. And because each expression input has its own polarity and range control via the floor unit, you can fine-tune response per pedal—critical if you’re mixing different pedal types or want precise heel-toe sweeps without sudden jumps in voltage.

Smart Footswitch Logic for Live Performance

The five footswitches aren’t just simple on/off triggers. Each can be set to operate as a gate (momentary on), trigger (short pulse), or latching toggle (flip on, flip off with next press). This versatility turns the 311 into a stage-ready control hub. Need to start a sequence? Use a trigger. Want to hold a reverb tail open? Gate mode. Toggling between two filter states? Latch mode has you covered. The LEDs on the floor unit show the active state, so you never lose track mid-performance. And because the switches are spaced generously on the unit, you can stomp confidently without fear of hitting the wrong one. It’s the kind of thoughtful layout that suggests ADDAC tested this with actual boots, not just schematics.

Minimal Rack Footprint, Maximum Control

In a format where every HP counts, the 311’s 8HP size is a win. By offloading all the physical controls and switches to the external floor unit, ADDAC kept the module itself lean—just the DB25 input and 10 output jacks. That’s a stark contrast to other multi-pedal solutions that eat up 16HP or more with onboard knobs and switches. The trade-off? You can’t tweak settings from the rack; everything is managed at the floor unit. But for most users, that’s a feature, not a bug. When you’re performing, you want controls at your feet, not behind glass. The module’s simplicity also means it’s less prone to failure—fewer components, fewer points of failure. And with a depth of just 40mm, it fits easily into even the shallowest skiffs or travel cases.

Historical Context

The ADDAC 311 arrived in 2022, a time when Eurorack was no longer just a hobbyist format but a legitimate performance platform. Artists were taking modular rigs on tour, playing festivals, and demanding gear that could keep up with the physical demands of live sets. Yet, control options hadn’t evolved at the same pace. Most players were still relying on a single expression pedal or MIDI foot controllers with limited CV output. The 311 filled that gap by offering a dedicated, all-analog solution that didn’t require MIDI conversion or software mapping. It wasn’t the first pedal interface—ADDAC themselves had made simpler versions—but it was the first to offer five full channels with independent configurability in such a compact form.

At the same time, modular was seeing a resurgence of interest in tactile, physical performance. After years of digital-heavy systems and complex sequencers, players were craving immediacy—something they could feel, stomp, and sweep in real time. The 311 tapped into that desire, offering a way to bring back the gestural expressiveness of vintage synths and guitar pedals. It also reflected a broader trend in Eurorack design: the split between rack modules and external controllers. Other companies were exploring similar ideas with MIDI-to-CV boxes, grid controllers, or wireless systems, but the 311 stood out by keeping everything analog, direct, and mechanically robust. It wasn’t trying to be a digital hub; it was a pure signal translator, built for reliability and speed.

Competitors like Intellijel’s uVCA or Mutable Instruments’ Yarns offered some foot control options, but they were either limited in channel count or required MIDI integration. The 311’s advantage was its simplicity and focus: no menus, no firmware, no pairing. Plug in the DB25, connect your pedals, and go. That made it especially appealing to players who wanted to avoid digital layers in their signal chain. It also found a niche among guitarists transitioning into modular, who were used to complex pedalboards and wanted that same level of foot-based control in their synth rig.

Collectibility & Value

As a 2022 release, the ADDAC 311 isn’t vintage in the traditional sense, but it’s already gained a reputation as a modern essential for performance-oriented modular users. New units sell for €380 directly from ADDAC, with the optional 3-meter DB25 cable adding €30. On the used market, prices range from €300 to €350 depending on condition and whether the cable is included. It’s not a speculative collector’s item—no limited runs or rare finishes—but it holds its value well because of its utility. Unlike sound-generating modules that can become sonically outdated, the 311 is a tool, and tools stay relevant as long as they work.

Failures are rare, but the main point of concern is the DB25 connection. Because the entire system relies on a single cable, any damage to the DB25 pins or internal wiring can knock out multiple channels at once. Technicians recommend checking continuity between the floor unit and module if signals drop out. The footswitches themselves are rated for thousands of stomps, but heavy stage use can wear them over time—replaceable, but not user-serviceable without soldering. The expression pedal inputs are solid, but using non-TRS pedals without proper jumper settings can cause erratic CV output or damage, so buyers should verify configuration before plugging in older pedals.

When buying used, check that all LEDs respond correctly and that each footswitch engages cleanly without double-triggering. Also confirm that the DB25 cable is high-quality—cheap multicore cables can introduce crosstalk or signal loss. ADDAC’s own cables are recommended, but third-party studio DB25 cables (like those from Canare or Mogami) work fine if properly wired. The module does not include the cable by default, so make sure it’s part of the sale unless you already have one.

For those building a live rig, the 311 is worth the investment if you’re serious about hands-free control. It’s not for casual patchers who rarely perform, but for touring artists or studio players who want dynamic, real-time modulation, it’s one of the most practical modules available. And because it doesn’t generate sound, it pairs perfectly with more creative modules—use it to control filters, VCAs, sequencers, or effects, and you’ll find your patches becoming more alive, more responsive, more human.

eBay Listings

ADDAC ADDAC311 Ultra Floor Control (Black) EURORACK - NEW -

$519

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