VCV Rack 2 plugin by Eternal Eclipse. Licensed GPL-3.0-or-later.
Module sources live in per-module folders under src/; shared panel styling is in
src/EclipseWidgets.hpp (copper-on-abyss: warm near-black panels, tiered copper/gold
text, runtime-drawn labels — matching the Church of the Eternal Eclipse brand). Each
panel carries its chamber glyph in the header divider and the ETERNAL ⊙ ECLIPSE brand
mark flush against the bottom edge.
Four-element wavetable synth voice. AIR, WATER, EARTH, and FIRE oscillators sit at the points of a pentagram, each with its own pitch knob and WT wavetable-position knob; OFFERING sets the scan character for all four, from smooth morphing to hard stepped wave switching. SIGIL cross-modulates around the elemental ring (AIR→WATER→FIRE→EARTH→AIR, PM left / FM right, wavefolding at the extremes) and RITE ring-modulates the opposing pairs (AIR×FIRE, WATER×EARTH). VEIL spreads detune and stereo width. Engaging the SPIRIT switch at the pentagram's center summons the fifth element: the four tunings become a chromatic 4-voice chord — AIR stays live as the root — and the SPIRIT knob scrolls 24 voicings. The DAEMON knob calls one of 72 daemons (eight banks of nine), each a complete voice configuration, crossfaded smoothly and scannable by CV; a 64-step OMEN knob dials deterministic variations. The voice runs through a classic 4-pole ladder lowpass (CUTOFF/RES, self-oscillates) into a stereo delay/diffusion processor with a frequency shifter in the feedback path (TIME/FEED/MIX). Sixteen CV inputs with attenuverters cover every gesture. With SPIRIT off, a polyphonic V/OCT cable plays the elements as four voices: channels 1–4 go to AIR, WATER, EARTH and FIRE (each still offset by its pitch knob — set all four alike to hear the chord as played), and with fewer than four channels the elements wrap round the ones there are. With SPIRIT on, V/OCT reads channel 1.
Stereo distortion whose depth and character follow the phase of the moon — computed from your system clock in AUTO mode, or set by the PHASE knob and CV in manual mode. New moon is nearly clean; drive grows with illumination toward saturation and wavefolding at full moon, and waxing/waning phases bias the shaper asymmetrically in opposite directions. Polyphonic; right input normalled to left. The panel displays the current moon.
Lush stereo reverb. Pre-delay and allpass diffusion feed an 8-line feedback delay network with diffusion allpasses inside the loop, each read tap modulated by two detuned LFOs for a chorused, washy, shimmering tail. SIZE scales the network from intimate rooms to the endless liminal vast, DECAY is calibrated RT60 (0.2s to ∞ at the top of the knob), and FREEZE — button or gate — holds the tail forever. DENSITY, mod RATE/DEPTH, LO/HI CUT, and MIX shape the character; CV over size, decay, and mix; right input normalled to left. The eclipse on the panel is alive: its corona glows with the tail's energy and embers drift from the rim with the incoming signal.
Envelope and modulation generator named for the ~18-year cycle after which eclipses repeat. A bank of 16 shapes (plucks, ramps, bells, ripples, stairs, bounces, drifts) morphed continuously by SHAPE, skewed in time by WARP, and carved with rhythmic notches by FLUX. TIME stretches the envelope from 5 ms to 30 minutes; LOOP turns it into a slow modulation source, with trigger input/button and end-of-cycle output. The screen shows the current curve, a live playhead, and the cycle time — and it is drawable: sketch any shape on it with the mouse and the envelope follows your drawing (WARP and FLUX still apply). The context menu switches between drawn and bank shapes and clears the drawing. CV over time, shape, warp, and flux; bipolar ±5V output via context menu. POLY runs one envelope per channel of the trigger input, with OUT and EOC polyphonic to match and each CV read per voice; MONO (the default) is the single envelope.
If polyphony in Rack is new to you: a single cable can carry up to 16 channels, one per note. Right-click the Core MIDI > CV module and set Polyphony channels to 4 or more; its GATE cable becomes polyphonic (Rack draws poly cables thicker). Patch that gate into Saros TRIG with POLY up and OUT becomes a poly cable too: one Saros curve per held note, straight into a polyphonic VCA such as Fundamental VCA. Hovering a connected OUT jack lists the voltage of every channel.
Tree of Life planetary CV matrix. Ten outputs laid out in the traditional three-pillar geometry, each a self-contained astrological signal computed from Keplerian orbital elements and the system clock — no network, just the sky. Kether/Neptune drifts near-DC; Chokmah/Uranus steps through the zodiac as 12 chromatic 1/12 V steps; Binah/Saturn and Chesed/Jupiter tick as structural clocks; Geburah/Mars runs an eccentric LFO; Tiphareth/Sun ramps over the solar year; Netzach/Venus outputs an X/Y pair tracing the 8-year Venus pentagram (feed it to a scope); Hod/Mercury follows solar elongation and fires a trigger at each real retrograde station; Yesod/Moon outputs lunar phase illumination; Malkuth is the manually set tonic. A TIME switch chooses the real sky or WARP mode (up to ×10⁸, about three years per second) with an ephemeris date readout, and the Da'at matrix mixes any blend of the ten influences into two bus outputs.
Astrological waveform engine inspired by the Kabbalah Society's Cosmic Clock. Nine planetary LFO voices, each an archetypal shape — the Sun an intense triangle, the Moon a sine whose amplitude follows the real lunar phase, Mercury stepped, Venus five-lobed, Mars a hard ramp, Jupiter a broad swell, Saturn slow rounded plateaus, Uranus erratic, Neptune two beating sines — colored by the zodiac sign each currently transits (fire sharpens, earth quantizes, air shimmers, water slews; mutable signs morph the shape cycle to cycle). Aspects between planets act as the mixer: MAIN sums every voice weighted by the live aspect intensities, and each voice has its own output plus an end-of-cycle trigger — no gates anywhere. The panel is a chart-of-the-moment zodiac wheel with hand-drawn glyphs, planet markers at true longitudes, aspect chords colored by type (conjunction cream, sextile teal, square ember, trine violet, opposition copper), and a date/time + strongest-aspect readout. RATE scales all voices, ORB sets aspect width, and TIME/WARP runs the real sky or time-lapse up to ×10⁸.
Stereo synth voice in three stages. SOURCE blends (with CV) between the external stereo input (R normalled to L) and the onboard dual oscillator: CORE (sine, triangle or saw) drives FLARE through SURGE (linear through-zero or exponential FM), LOCK (soft or hard sync) and TRACK (FLARE follows CORE's V/oct), while FLARE itself is shaped by PLASMA (sine → triangle → saw → pulse morph), ARC (phase warp) and EJECTA (wavefolding). MIX balances the two and SPREAD places CORE left and FLARE right. The NEURAL stage plays a neural amp model (.nam file — load one from the panel button, the display, the context menu, or by dropping the file on the module) with one network per channel, DRIVE into it and a WET/DRY blend out (the dry arm is latency-aligned, so any blend position stays comb-free), both with CV; the menu offers a mono-network mode (half the CPU) and loudness normalization. UMBRA is a saturating 4-pole lowpass with resonance into self-oscillation, 12 or 24 dB slopes, CV and key tracking. Every main control has a CV input with an attenuverter. Models are not bundled — bring your own captures; the stage passes signal through until one is loaded. Note that the neural path adds a small block latency (32 samples, plus conversion when the model's rate differs from the engine's).
A note on CPU: an amp capture is a neural network, and this module runs one per channel in real time — a deliberate engineering choice, so expect it to be the heaviest module in most racks. A standard-size capture costs roughly a quarter to a third of one core in full stereo on a modern machine; the mono-network menu option halves that, and lite or LSTM captures cost a small fraction of it. Inference runs in 32-sample bursts, so Rack's "max" performance meter will flash past 100% even while the audio is perfectly clean — that is the meter catching a single burst, not a fault; the average is the number that matters. If your machine does struggle: raise the audio buffer to 256 or 512 samples, switch to the mono network, or load a lighter capture.
Looping sample player in the spirit of the Buddha Machine: the litany of onboard loops is the instrument out of the box, and "Load sample folder" in the right-click menu swaps in your own bank of WAVs per instance ("Restore onboard litany" returns). User folders are read under strict limits (99 files, 60 s per file, 192 MB per bank, 16-bit in RAM) so a stray folder of stems can't eat your session's memory. LOOP selects a loop (the display names it and traces the playhead), and TURN, the display, or a trigger at TRIG steps to the next one. SPEED and LOOP stand on the stem of a gold Leviathan's Cross whose infinity is the tape path, TURN at its crossing as the head: a red splice marker orbits it with the loop, its trail lengthening with speed and reversing with it, ducking under the head each pass. SPEED is a through-zero varispeed — tape-style, so pitch follows speed, reverse below zero, stopped at zero. The granular layer is Morphagene-inspired: GRAIN sweeps grain length from the whole loop (plain looped playback with a crossfaded loop point) down to 15 ms, MORPH raises grain overlap from single grains to an eight-deep lattice, SCAN offsets where grains are drawn from the loop, and TEXTURE adds position spray and stereo pan spread. SPEED, GRAIN, MORPH, SCAN and TEXTURE each have a CV input with an attenuverter; EOC emits a pulse each time the tape wraps. Loops are decoded once on a background thread and shared across instances. Stereo out at ±5 V — patch it into the Coronal Annihilator's external input to run the litany through a neural amp model.
Orbital note generator, built as a companion to the Cosmic Clock. It reinterprets Antonio Blanca's ABreakpoint 2 template for the Jazzmutant Lemur: sixteen beads orbit a square field, and a line joins them the way the Lemur's Breakpoint object drew its points. MODE picks the line. CHAIN connects the beads in order; STRING draws the curve the orbit law traces between them. RESET lays the beads on a sunflower (a Fermat spiral, one bead per golden angle), and from there each bead moves at its own speed, a power of the golden ratio, on its own radius. Because those speeds never divide evenly, the line winds into spirals, folds through triangles, pentagons and stars, and unwinds again without ever repeating. TASK chooses the figure the beads trace: ORBIT, LISSAJOUS (X and Y at independent rates, 1:phi by default), ROSE with pi petals per turn, a five-fold STAR, or SWEEP. X RATE and Y RATE set those two rates, SPREAD widens or narrows the range of bead speeds, and WARP bends the radius law from a tight cluster at the centre, through the sunflower, out to a ring.
The orbit is only an attractor. Every bead is a mass on a tether, and MASS loosens that tether from rigid tracking to free flight that bounces off the walls. Drag a bead with the mouse to throw it. A click without a drag takes the bead out of the pattern or puts it back, as do the sixteen BEADS buttons. The field's X and Y amplitude sliders live in the module menu.
A bead sounds while it sits inside the trigger arc, a sector of the field: ARC sets where the sector begins and WIDTH how far it extends, from a sliver to the whole circle. Each bead carries a pitch drawn from a shaped distribution (RANGE from unison to eight octaves, P.SHAPE, P.OFFS) and quantized by SCALE, with fourteen scales, and ROOT. RAND rolls a new random vector: per-bead phase, speed and pitch jitter plus a fresh enable pattern. The menu clears it. Notes leave through eight CV/GATE pairs allocated the way a Monome Ansible handles MIDI poly mode: each new note takes the next pair in rotation and steals it if occupied, and a bead's release drops the gate only on the pair that still holds it. V/OCT transposes every output.
Apart from SCALE, ROOT and EPOCH, Syzygy has no knobs. Every other parameter is a bare input where -5 to +5 V sweeps the full range and an unpatched jack rests at a tuned default, so the Cosmic Clock's waves drive it directly. Its unit of time is the lap, 64 seconds at RATE 0 V, and RATE shifts that in octaves. EPOCH stretches a lap to 1, 2, 3, 5, 8, 13 or 21 base laps, or to that many CLOCK pulses when a clock is patched (we recommend starting with the Main EOC output from Cosmic Clock patched into the Syzygy CLOCK input and with EPOCH knob set at 3 to get oriented and experiment from there). A lap never runs shorter than half a second, so a very fast clock drives the beads up to that limit rather than scattering them. Once per lap Syzygy samples its inputs and glides to the new values over the lap that follows, so a fast planetary wave becomes one deliberate step per lap while a slow one is simply followed. Patching or unpatching a cable takes effect at once. LIVE, the first EPOCH position, runs at the base lap with no sampling. RESET returns the beads to the sunflower without firing a chord, and RUN holds everything in place.
An eight-voice formant choir in the shape of the Dewanatron Swarmatron. Eight soprano singers share one PITCH; at rest they hold the same note a few cents apart, and SWARM fans them out in equal semitone steps until the outer voices sit an octave either side. A menu option switches the swarm law to Harmonic, where the singers spread into whole-number multiples of the pitch the way the original's eight oscillators did. Each singer has her own vocal tract, vibrato and place in the stereo field, and stands between two points of the eight-pointed star of the evening sky, which hangs in the crescent moon: click a singer to silence or wake her, and the rays from the heart of the star glow toward the voices that are singing.
Every voice is a band-limited glottal pulse through a five-formant soprano filter bank. VOWEL morphs the bank through A, E, I, O and U, with the current vowel shown in the heart of the star; BREATH mixes air into the throat. The mix passes a saturating 4-pole lowpass (CUTOFF, RES) and a gate-driven ADSR (ATK, DEC, SUS, REL) whose attack runs out to a full minute for slow swells. The VCA / VCF switch points the envelope at the level, or at the filter instead, where it lifts the cutoff by up to seven octaves while the choir holds its level. While GATE is unpatched the choir drones; patch a gate and the vibrato develops afresh on every note. GLIDE slews the pitch for the Swarmatron's ribbon glissandi. Pitch comes from V/OCT with PITCH as a coarse offset in semitones, and every other knob has a CV jack in the bay where 10 V sweeps its full range (CUTOFF tracks 1 V/oct). Outputs are stereo.
A four-channel stereo mixer that is a plain mixer at rest and a feedback instrument when pushed. Each channel is a VCA: stereo IN (right normalled to left), a 0-10 V level CV, LEVEL, a post-fader SEND, and stereo OUT jacks, with CV inputs for SEND, FEED (-5 to +5 V sweeps the knob's range) and TUNE (1 V/oct) in the row beneath its audio inputs. The channels are chained the way Mutable's Veils chains its VCAs: an unpatched OUT passes the channel down into the next, and channel 4 falls into the master, so with nothing patched on the outs the master carries all four and patching an OUT takes that channel out of the mix. One stereo send bus leaves through SEND; the RETURN comes back either into the master (POST) or, with the switch at LOOP, into channel 1, which puts whatever you have in the loop inside the feedback circle. MASTER sets the level into a lookahead limiter (2 ms, ceiling 5 V, or 10 V from the menu) that nothing gets past, so the feedback can be pushed as hard as you like without leaving the box above the ceiling. The menu also switches each channel's level curve to exponential.
The feedback runs the other way round the ring. Each channel's FEED is bipolar: noon is off, and turning it sends that channel's chained output backward through a comb into the channel before it, channel 1 into channel 4, so the circle only closes when every FEED is engaged. The comb is a short delay tuned by TUNE, 20 Hz to 2 kHz, darkened by the global MATTER (300 Hz at full dark, 12 kHz at full bright, never below four times the comb's pitch, with a CV jack beside it) and saturated, so a loop pushed past unity does not blow up but sings at TUNE. Turned to the right it sings TUNE itself; turned to the left the feedback inverts and it sings an octave below. Past about two o'clock a loop crosses unity and will sing on its own with nothing patched into it: a digital loop has no noise floor, so a quiet comb with FEED past unity seeds itself with a tenth of a millivolt at its pitch, and a ring started from silence lands on TUNE every time. Feed it audio and the ring resonates that instead; a loud burst followed by silence leaves the loop ringing with the shape it was fed, which is how feedback combs behave. The red light in each quarter seal comes on when that channel's loop reaches unity, and sits at a quarter when FEED is engaged below it.
The panel is the Circle and Triangle of Solomon from the Goetia, turned so the Triangle of Art points east. The four channels stand at the quarters of the Circle, 1 at north and then clockwise, the way the chain runs; the divine names of the Circle run round the serpent's band between its two rings, EHEIEH to LEVANAH, and the four pentagrams stand beyond it in Abyssal red. The chain glows clockwise along the inside of the band, brighter with the level leaving each channel, and a highlight travels round each quarter lighting the names it passes; feedback glows counter-clockwise just inside the inner ring in red. MASTER sits in the Triangle's circle, which fills with the limiter's gain reduction: copper while limiting, red if the hard clip ever engages. A good first patch: Cosmic Clock's waves into the four level CVs, Liminal Vast in the loop with the switch at LOOP, and one FEED turned up slowly until the circle begins to speak.
A resizable blank panel bearing the Eternal Eclipse corona. Drag either edge to set the width from 3 HP upward; it snaps to the HP grid and the corona scales to fit. The bottom brand mark shows the full wordmark from 10 HP and collapses to the eclipse sigil on narrower widths. The width is saved with the patch. No inputs, no outputs, no controls.
All Eternal Eclipse audio modules are stereo.
Requires the VCV Rack SDK (2.4 or newer) and a
Rack-compatible toolchain (MSYS2 mingw64 on Windows).
The Makefile expects the SDK at ./Rack-SDK (override with RACK_DIR=<path>).
make -j8 # build
make install # package and install to your Rack user folderThird-party code vendored under dep/: NeuralAmpModelerCore (MIT, with a small
documented patch — see dep/NeuralAmpModelerCore/PATCHES.md), Eigen (MPL2),
nlohmann/json (MIT) and dr_wav (public domain / MIT-0). Their licenses ship with
the plugin.