Window comparators are so named because there's a space in which the action is triggered, a space between two points, called…a window. Yeah. While this doesn't sound all that interesting, don't dismiss, because comparators are cool. When the setting is just right, the lighting is golden, the crab cakes aren't too soggy, and the wine is light and crisp, a comparator can set the stage and turn an everyday patch in the park, into a picnic for the ages.
Klavis' miniscule 2HP ComPair is a dual window comparator with a pair (hence the quirky spelling of its name) of independent channels, A & B. ComPair has standards you've come to love and expect from your comparators, though it is possible you have unrealistic expectations for comparators, in which case please disregard my last statement. Input A is normalled into input B in case you are deficient in inputs or are so efficient you musn't be bothered, and there are Hi and Lo bipolar adjustment controls to set the boundaries of the window. There's also an extra input, Hi, which adds to the Hi setting control to mix things up a bit more. There are three outputs; Above Hi setting, between the Hi and Lo settings (AKA the window!), and below the Lo setting, and each of the outputs have a three-position toggle to determine its output function: inverted, muted, or normal, as well as an LED to show its status.
ComPair is a fun little module, a nice way to trigger events—percussive flourishes, effects changes, random bleeps and bloops—that are synced to a patch but that can also add some organic and unexpected movement. One of my favorite ways to utilize window comparators (aside from using it for pseudo-random rhythmic duties) is for manipulating waveforms in non-repeating ways, whether that's by patching directly out of the trigger and into, say, a PWM parameter, or by triggering a filter parameter, patching into FM, or something like that. There are so many ways a comparator can bring life to a patch, and ComPair is a great, compact gateway into that.
Klavis also sent over their 1U Tweakers Plus, an expanded update on their 3U Tweakers module. ComPairing (sorry…had to) the two different versions, and I must say that even on the basis of layout I prefer the 1U version over the 3U, "plus" expansion or not. It's a little less fussy looking, and has a more streamlined, efficient look to it. Offering two channels of CV gain, offset, muting, polarity switching and with normalization from Channel 1 into 2, so there's also a 2-in-one combining/mixing function, Tweakers Plus offers a lot in a little package. It's the kind of module that could find use in a lot of patches and I found myself using it mostly for the muting function at the outset, but came to love the ability to fine tune the gain for a signal, so it was more like "Mute Plus." It proved to be helpful in the way that such small details are, and with my mixers all have muting capabilities per track (this wasn't always the case), I found myself using Tweakers Plus a bit as a sub-mixer for drum tracks—snare in Channel 1, hi-hat in Channel 2—for a little more control over my rhythm track with good results. Overall, like ComPair, Tweakers Plus is a handy little module.

Price: ComPair $149
Tweakers Plus $99

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