ALM Dinky's Taiko (2016–2023)

Name: ALM Taiko
Brand: ALM

A 12-bit digital drum voice that makes its own drum sounds, including some that sound like a fart.

Overview

The ALM Dinky's Taiko is not a polite drum machine. It recreates snares and hi-hats if you ask, but left alone it spits out glitchy sounds like a malfunctioning arcade cabinet. People love it for that. It is built around a 12-bit digital core, and it trades clean fidelity for grit. The bitcrushed grit is the whole point. The module covers punchy, snappy snares, industrial clangs, synthetic thuds, and textures so abstract they border on malfunction. Don't mistake the lo-fi sound for simplicity, though. It is a hybrid: digital sound generation with analog output shaping, so it has the precision of code and the warmth of circuitry.

In ALM/Busy Circuits' eccentric lineup, the Taiko isn't the flagship and it isn't the entry-level novelty. It's the weirdo in the middle that became a cult favorite. At 12 HP, it is skiff-friendly and power-efficient, drawing about 80mA on the ±12V rails, so it fits even tightly packed systems. It is sold as a drum voice, but experienced users find it also works as a sound effects generator, a chaotic oscillator, or a makeshift synth voice when patched unconventionally. Unlike more rigid drum modules that lock you into specific sound types, the Taiko encourages exploration. Turn a knob too far and you may have found your next rhythm track. Patch in some wild CV and the same applies. It doesn't always play nice. There's a fine line between "delightfully unpredictable" and "uncontrollably farty," and the Taiko straddles it.

Don't add it to a rack expecting polished results. You have to wrestle with it. The controls aren't always intuitive, and the sweet spots are often buried under digital noise and pitch instability. When the oscillator's pitch sweep lines up with the noise decay and the analog EQ tilts the tone into something punchy, it works very well. Nearly every parameter accepts CV, so you can automate the chaos and let sequencers and LFOs turn the instability into structured mayhem.

Specifications

Manufacturer	ALM/Busy Circuits
Model	Dinky's Taiko
Model Number	ALM-005
Production Years	2016–2023
Original Price	£199 / $389 AUD
Format	Eurorack
Width	12 HP
Depth	32mm (including power header)
Power Supply	±12V
Current Draw	~80mA on both +12V and -12V rails
Reverse Polarity Protection	Yes
Sound Engine	12-bit digital
Oscillator Type	Digital wavetable oscillator with 24 waveforms
Noise Generator	Digital noise source with frequency and release control
Output Stage	Analog tilt EQ
Trigger Inputs	Strike, Accent, Choke (3 inputs)
CV Inputs	Multiple, including oscillator start/end frequency, noise release, mix, and more
Audio Output	1x 3.5mm jack
Construction	PCB-mounted controls, metal front panel
Country of Origin	United Kingdom

Key Features

Dual Sound Sources: Noise and Wavetable in Constant Tension

The Taiko's architecture is built on two things: noise and tone. On one side, a digital noise generator offers a range from crisp white noise to lo-fi, granular bursts that sound like a ZX Spectrum exploding. The noise section has its own release control, so you can shape how long the hiss lingers after a trigger. Patch in CV and you can modulate the noise frequency, turning a simple hi-hat into a sweeping metallic scrape. On the other side sits a digital wavetable oscillator with 24 waveforms, including sines, triangles, and more complex digital shapes. This is where the drum part of the drum module lives. Set a start and end frequency and you get pitch sweeps that mimic the snap of a snare or the thud of a tom. Crank the speed knob too high and the oscillator starts cycling through its pitch range repeatedly, generating FM-like overtones and metallic resonance. This isn't true FM synthesis, but it comes close, and it is unpredictable and slightly unstable.

Analog Output Path: The Secret Sauce

The Taiko is a digital module, but its signal path ends in analog. After the noise and oscillator are mixed, the combined signal passes through an analog tilt EQ. It is a simple tone control that boosts highs while cutting lows, or the reverse. This analog coloring keeps the Taiko from sounding clinical. It rounds off the digital edges and adds warmth and presence that pure digital modules often lack. It's not a full filter, but it is enough to shape the sound in real time. Turn it one way and your snare cuts through a mix. Turn it the other and it becomes a muffled thump in the back. Because the EQ is analog, it responds to voltage changes more smoothly than digital tone controls sometimes do.

Chaos by Design: CV Control and Unintended Consequences

What sets the Taiko apart from most drum modules is how much it relies on control voltage. Nearly every parameter can be voltage-controlled, including oscillator start and end frequency, noise release, mix level, and the speed of the pitch sweep. That makes it a dynamic sound generator rather than a static drum machine. Patch an LFO to the oscillator speed, an envelope to the noise frequency, and a random voltage to the mix, and you get a small electronic storm. The accent and choke inputs add performance control. Accent shifts the intensity of a hit, while choke cuts the sound off immediately when triggered, which suits tight hi-hat closures or stopping runaway decays. Overmodulation is where it gets interesting. Push the CV inputs too hard and the Taiko breaks apart: oscillators jump to inharmonic frequencies, noise turns into digital screech, and the whole thing sounds ready to collapse.

Historical Context

The ALM Dinky's Taiko arrived in 2016, when Eurorack was shifting from boutique curiosity to mainstream staple. Drum modules were mostly split between faithful recreations of classic machines (Roland 808/909-style voices) and more experimental digital designs. The Taiko fit neither camp. It wasn't trying to be vintage, and it wasn't a polished, sample-based powerhouse. It leaned into the DIY, hacker-friendly side of the modular community and offered a raw, tweakable platform for sound design. Its 12-bit resolution was a deliberate aesthetic choice: enough fidelity to be musical, but coarse enough to feel gritty and alive. That put it alongside other "character" modules like the Noise Engineering Basimilus Iteritas Alter (BIA), though the Taiko was less about algorithmic complexity and more about hands-on, immediate sonic manipulation.

ALM/Busy Circuits, led by Matthew Allum, had already built a reputation for quirky, utility-driven modules like Pamela's PRO Workout and the Joranalogue Fold 6. The Taiko continued that tradition. It was functional, but also idiosyncratic. It wasn't designed to be the only drum module in your rack. It was meant to be the wildcard you reach for when everything else sounds too safe. Competitors like Tiptop Audio's Trigger Riot or Make Noise's Mimeophon offered more structured approaches to drum synthesis, but they lacked the Taiko's anarchic spirit. Later modules like Akemie's Taiko leaned into FM synthesis and offered more refinement, but the original Dinky's version remained the raw, unfiltered side of the brand's percussion thinking.

Collectibility & Value

As of 2026, the ALM Dinky's Taiko is no longer in production. It was quietly discontinued around 2023. That has given it some collectibility among Eurorack enthusiasts, though it doesn't trade at absurd markups. In excellent condition, used units typically sell between $250 and $350 USD, depending on region and included accessories. Brand-new old stock (NOS) units, especially sealed ones, can fetch up to $400. ALM has no announced successor. It's not a "grail" module, but it is increasingly seen as a staple for experimental setups.

Buy one with some caution. The module is generally reliable, but there are known quirks. The PCB-mounted potentiometers and jacks save space, but they are more fragile than panel-mounted components. Heavy patching or rough handling can lead to cracked solder joints or loose controls. The 12-bit digital core can introduce aliasing at high frequencies, especially when the oscillator is pushed into audio-rate modulation. Some users report a faint high-frequency whine under certain conditions, though the noise section often masks it in practice. The module has no onboard memory or presets, so every sound must be recreated manually. Purists like that. Performers may not.

When buying, check that all knobs turn smoothly and that the trigger inputs respond consistently. Test each CV input with a known source to confirm modulation tracking is linear. Because the Taiko thrives on interaction, a unit that feels sluggish or unresponsive will never deliver its full potential. Also verify that the power connector is intact and that the module has reverse polarity protection. All units do, but damaged headers can still cause issues. Repairs are possible but require surface-mount soldering skills, so unless you're comfortable with a reflow station, stick to units in good working order.