And the Patching Workout continues. So far, I started the year with a no input reverb / resonator feedback loop, so let’s continue that tradition. I wanted to give this a try with the Space Echo and Cwejman QMMF4, so here is the RE201 QMMF Loop.

The patch is fairly simple. For the feedback loop, we have the QMMF4 main MMF output going to a Warm Audio WA76 for some compression. From there, it goes to the RE201 and then back into the modular to the QMMF main audio input (using an Intellijel Audio Interface for going in and out of the rack). The internal RE201 feedback is not used, a slight bit of the RE201 spring verb is added. The main QMMF notch out is used for recording. It’s routed through a Doepfer A199 first for some further spring reverb outside the feedback loop, into a GAP Pre73 DI input for some gain (as it was a bit quiet after adjusting everything nicely), and finally to a Mutator to smooth out the highs a bit and for some mono to stereo conversion and LFO panning (also a bit of envelope following on the filters - you can hear it all working on the noisefloor, haha). It was harder than I expected to get the gainstaging right without killing the loop or just utter destruction, but in the end I got something that I enjoyed. 

In terms of CV, we have a Cwejman RG6 at the center of everything. A bit like the Reverse Cwejman Krell patch, the RG6 provides the main clock and triggers a CTG-VC, which controls the main QMMF VCA (and thus the dynamics within the feedback loop). The RG6 random saw modulates the RG6 clock for the bursts; to get the dynamic envelope, the inverted random saw is attenuated on a VCA4MX and controlling the CTG attack and decay rates. Thus, the envelope times get faster when the clock gets faster. The normal S/H output of the RG6 modulates the main QMMF frequency. 

Finally, a PH8 controls all individual QMMF frequencies with the sine outputs and two of the QMMF bands with two (90° spaced) saws. It’s synced from the RG6 gate with gate sync, creating kind of a “LFO delay” effect (in combination with the gate length on the RG6). The PH8 is FMed from the RG6 random saw so that it also gets faster according to the clock and envelope. The quadrature sines produce the “delayed” sweeps and the saws the plops.

On the recording, I mainly tweak the QMMF frequencies and resonances (all bands are set to BP filter and in resonator mode to see how it compares with the RES4). Little bit of cutting out some boring things afterwards and some reverb, delay, EQ and compression as usual. 

Hope you enjoy it and cheers!

Jan 17: RE201 QMMF Loop

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Jan 17: RE201 QMMF Loop

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