i've compiled a list of demos and tracks involving Cwejman filters, for convenience of coming back back and re-listen to all in one place.  this happened while i was deciding for which filters should i get onboard their waiting lists.  

edit update: in past two years, i have managed to get a new RES-4 from Maho,  and find DMF-2 and MMF-6 used.

Cwejman Filters

Just a small demo soundscape/texture. Instruments: eurorack modular synth (Cwejman, MakeNoise, MOTM, Malekko/Wiard modules), Kurzweil KSP8 effects processor. Production: Ableton Live 8. Main modules used : MMF-6 (as a SINE osc), E350 (as an LFO), ModDemix (for sideband), RES-4 (for vocal effects), Sport Modularor (as ... a semi random modulator).
Enjoy !


Voices inside

Demo of the Cwejman MMF-6 filter's high saturation mode.
More info & audio here: http://navsmodularlab.blogspot.com/2010/01/new-cwejman-modules.html

Cwejman MMF-6

The QMMF-4 is set to 'RES' mode and the Q-peaks are around 7/8.

A Modcan Quad LFO (A) in 'PULSE-quad mode' pings the QMMF-4's audio inputs. A second Modcan Quad LFO (B) in 'STAIR-quad mode' modulates the QMMF-4 via the CM1 inputs. The 4 outputs of the QMMF-4 are routed to a MX-4S. The 4 channels of the MX-4S are panned with a PH-4.

A D-LFO oscillating in RM mode (both on pulse wave output) is added gently to the main audio input of the QMMF-4 (at 0:44 and 1:30). The rate of one of the D-LFO oscillators is changed by a RG-6.

This is a direct take to the computer. Only a bit of reverb added. The wiggling is done by changing the RATE knob of Quad LFO A (also going into audio rate) and by changing the RATE knob on LFO B (also going into audio rate).  The D-LFO is fade in and out via an ATT-4.

Cwejman QMMF-4_bubble-ping

This is a 4-voice polyphonic patch showcasing the Cwejman QMMF-4 and Modcan Quad LFO (a love made in heaven!)

The chords are played live through a MIDI keyboard going into a MI Yarns. CV is routed to 4 Cwejman VCO-6 oscillators. Their SAW outputs are going through 4 SuperSawtors and are then inserted in the individual audio inputs of the QMMF-4.

Envelopes are handled by two Modcan Quad envelopes, one going into the MX-4S and one connected to the CM2 inputs of the QMMF-4. A PH-4 modulates the panning of the MX-4S.

The Modcan Quad LFO is set to "Quad mode" and inserted in the CM1 inputs of the QMMF-4. 

All patches in the first two tracks are done with this set-up. Changes in timbre are happening by the different LFO settings and rates of the Modcan Quad LFO.  Some excerpts are done with the QMMF-4 in RES mode, some in OSC/SAT mode. I use BP and LF.

There's a RG-6 connected to the main audio input of the QMMF-4. It's positive saw output creates the random clicks in some of the excerpts.  

The third track has the MI Yarns set to 4 stacked mono voices. You hear audio rate modulation of the Modcan LFO being lowered to LFO duties. 

Sorry for the lack of musical content and my clumsy keyboard playing, this is merely a showcase for some of the timbre options of the QMMF-4.
 

QMMF-4 4M

Having set up the Cwejman RES-4 and QMMF-4 for AB-testing the resonance modes I couldn't help but also record some wiggling. 

Here's the patch info:

Pamela's Workout is the clock master, the Turning Machine (extended) creates the rhythm. The outputs of the Turning Machine ping the Cwejman RES-4 and Cwejman QMMF-4 (in BP res mode). Both are tuned to fifths. 

A Klee sequencer modulates the fifths of the QMMF-4. A Modcan Quad LFO modulates the frequency bands on both RES-4 and QMMF-4. This is causing the modulation you hear in-between the 'theme' .

One of the outputs on the Pamela pings a Cwejman MMF-1 and creates the ostinato woodblock that comes in and out

Two outputs on the Turning Machine trigger a bass-drum and high-hat on a MI Peaks.

Everything is recorded in one take, there is no multi-tracking. The levels between the layers are done on the fly on two MX-4S's. A D-LFO and PH4 are auto-panning the RES-4, QMMF-4 and high-hat.

The only thing I've done afterwards is edit the rather long excerpts into something potentially slightly less boring.  

Cwejman RES-4 and QMMF-4 patch

In this demo I've multi-tracked the Cwejman RG-6.
The initial bassline and melody is the RG-6. Later come's the Synthesis Technology E350 Morphing Terrarium and lastly the Intellijel Cyclebox II. I didn't write down how the sounds where patched, but the RG-6 is running through the Make Noise MMG filter.

So if you turn the "Rate CV Level" full CW you'll have 1V/oct on the "Clock Rate" input. Lovely! And a fun fact is that the Cwejman RG-6 tracks within .10 semi-tones over 4 octaves.

Cwejman RG - 6 Saw+ as an oscillator

first patch with the new modules.. LFP out of bpd into res4, bp out res4 into echophon/erbeverb. minimal modulation. extra bass provided by pro2

Cwejman BLD - RES4 Drones

Cwejman QMMF-4 setup as a quad bandpass filter.

Audio source is a Tip Top Audio Z3000 MKI. Cutoff modulation by a Maths in loop mode.

Sequenced by an A-154/155 combo through an A-156 quantizer.
VCA is an Azimuth I with an A-142-4 as an envelope and a Maths in loop modus for a slight pan modulation.


Cwejman Qmmf - 4 As Quad Bandpass Filter

Live Take August 3rd 2015
1 patch, 1 take...
Cwejman QMMF-4
Make Noise René, 
Pressure Points, 
Brains,
Function, 
and Maths

Cwejman QMMF-4 + Make Noise René, Pressure Points, Brains, Function and Maths

Live Take August 4th 2015
1 patch, 1 take...
Cwejman QMMF-4 =sound
+ DLFO , Make Noise René, Pressure Points, Brains, Function, Maths & Gainsburg =control

Cwejman QMMF-4 D-LFO + Make Noise René, Pressure Points, Brains, Function, Maths & Gainsburg

Some drones created with a Cwejman DMF-2 dual Filter, VCO-2RM, Makenoise Wogglebug and Bananlogue VCS. More here: http://navsmodularlab.blogspot.com/2009/04/cwejman-dmf-2-dual-filter-demo.html

Cwejman DMF-2 Demo

peak&hold - res4

Here’s a recent percussion patch I made with Cwejman modules at the core. This is material from a live take, no overdubs, just cut down in time to make it slightly less boring. Recorded in ProTools, a touch of Blackhole reverb added. 

There are five layers in this patch. At the heart of it is the Cwejman RG-6, its gate-out is fed into a MI branches and this is routed back into the clock input of the RG-6. I wiggle Branches to variate between steady pulses and random bursts. 

Layer 1 - Pinged QMMF-4 
The random-saw of the RG-6 is boost by a VC-FC and is pinging the QMMF-4 via the audio input. The QMMF-4 is set to RES / BP with resonance at about 7-8. The frequency input is controlled by a keyboard through MI Yarns. A PH-4 controls the Q-Peak inputs of the QMMF-4. The MMF master output is routed into a FSH-1. The RSP “high" output of the RG-6 is going into the VC1 of the FSH-1. The FSH-1 outputs are mixed in an MX-4S. The pitch shift amount on the FSH-1 and the Output offset of the PH-4 are wiggled live, this changes the pinged sound between “wooden” and “metallic”. 

Layer 2 - Pinged RES-4 
The random-saw of the RG-6 is boost by a VC-FC and is also pinging the RES-4 audio input. The bandwidth inputs are fed by a Modcan Quad-LFO in random cosine mode. BP and notch outputs are mixed in an MX-4S. This layer adds to the wooden, marimba type sounds. 

Layer 3 - Bass drum / high chime 
A Cwejman BLD is triggered by the other output of the MI branches (first one is routed back into the RG-6). This way the bass note or chime note are always triggered in the rests of the pinged QMMF-4/RES-4. 
I wiggle the pitch, sometime changing from the bass drum type notes (0:44) to a high chime type ostinato (beginning). 

Layer 4 - High-hat/snare 
White noise shaped by a CTG-VC and triggered by the MI branches. (division of the RG-6 gate). I sometimes wiggle the pitch of the noise and the length of the sustain. 

Layer 5 - “flute” (coming in at 2:20) 
The random-saw of the RG-6 is pinging a SPH-2. The negative random saw is going into the rate input. A feedback loop is set-up with an ATT4. RSP high output of the RG-6 is going into the left comb input. I wiggle the comb tune and depth controls to change the pitch and air sound of the “flute” 

I keep being amazed by the sounds these Cwejman modules can produce!

Cwejman percussion

Cwejman RES-4 - clicks from 4ms SCM as input, modulated by audio rate VCO (FMed by RG-6)

RES-4 Take 3

(combination of earlier sketches)

The Cwejman MMF-1s is the only sound source in this patch. It is pinged with a short pulse of the Modcan Quad LFO, this is first cranked up with the Cwejman DP-2 and then fed into the audio input of the MMF-1s. The MMF-1s is set to dual bandpass mode. The resonance was modulated by a Cwejman D-LFO. The D-LFO was in random shape mode (2nd from the top) and synced with the Modcan Quad LFO. This creates the tremolo-type effect in the resonance of the MMF-1s.
A Turing Machine (Hybrid v2) was patched via a uScale to the CV1 input of the MMF-1s and creating the pitches. One of the other outputs of the Turing Machine was routed to the ‘Spacing’ input of the MMF-1s. This created the double tone/resonance. Often a bass type sound combined with a stead pulse/click in the higher frequency regions. Once I heard a pattern I liked on the Turning Machine I locked it and continued wiggling the other modules in the chain. This is creating the repeating pitch/timbre patterns.
The ENV-F output of the DP-2 was routed to the CV Mix input of of the MMF-1s and creating more percussive attacks.
The VCA-MIX output of the MMF-1s was split, one line going straight to the Cwejman MX-4S mixer, the other one was going into a Cwejman FSH-1. This module was in ring modulator setting and also receiving pitch information in CV1 from the Turing Machine.  The stereo outputs of the FSH-1 were then routed to the MX-4S. The FSH-1 levels were quite low on the MX-4S in the faster sections, and more prominent in the slower movements.
These are six excerpts from the same live patch, no multi tracking. I’ve cut up to them to make them slightly less boring and alternate the tempi. Recorded in one go into ProTools. A bit of limiting and reverb added.

Pinging the MMF-1s

RES - 4 Massive Ping

Res4 Pinged

self playing modular patch / loop featuring the following modules : Cwejman RES-4 and RG-6, Snazzy Ardcore, Harvestman Tyme Sefari II.

291012 - self playing euro modular loop

Cwejman DMF-2 being tickled Aphex style by a Makenoise Wogglebug.

Woggle DMF-2 Aphex Tones

Sport Modulator and MATHS generating the gates and CV, VCO-2RM and MMF-1 on the bass.

Sport Acid VCO-2RM MMF-1

freelance composer - music for film,tv & theatre.

this account mostly contains electronic improvisation pieces and few synthesizer demos.   for theatre scores and contemporary music visit www.babic.com

Cwejman Filters

Clusterchord