Synthetik Suede

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  4P_Part2

QMMF-4 4P_Part1

Comparing the Cwejman Res-4 with the Cwejman QMMF-4 in res bandpass mode.

Both filters are pinged, first with a short steady pulse, then with an irregular output of the Turing Machine. The 4 bands of both modules are tuned to fifths.

For each segment I gradually open the bandwidth of all 4 bands (Q-peak inputs on QMMF and BW inputs on the RES-4). I've used the same speed of opening up to compare how the bandwidth changes on both modules. 

Conclusion, they can sound pretty similar but the bandwidth control on the RES-4 is more refined and has more sweetspots. I was able to make more variations with the RES-4 than on the QMMF-4. The QMMF-4 of course does many other things that the RES-4 can't do. 

So…you need both in my humble opinion :-)

Cwejman RES-4 and QMMF-4 AB-test

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

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

The two sound sources in this patch are the Cwejman PH-8 and QMMF-4. The four SIN outputs of the PH-8 are routed to the audio inputs of the QMMF-4. The four PULSE outputs of the PH-8 to the CM1 inputs of the QMMF-4.  The QMMF-4 is tuned to a chord and set to OSC SAT / LP mode.

A Turing Machine is locked into a pattern and its CV output goes through a uScaleII into the master frequency input of the QMMF-4. This creates the parallel chord patterns. The Turing Machine gets a clock from a Cwejman RG-6. This causes the sudden syncopes in some of the excerpts. 

The random SAW output of the RG-6 is routed to the PWM input of the PH-8. This creates the clicks and rhythmic bleeps. The random high output of the RG-6 is routed to the LEVEL input of the PH-8.

A midi keyboard is connected to Yarns and its pitch CV goes into the FM2 input of the PH-8. During the patch I play the keyboard and thereby change the frequency of the bleepy SIN loop that modulates the QMMF-4. I jump to a really high octave on the keyboard and FM-type bell tones or distortion appear, and if I play the lower octaves your hear the slow pulse bleeps.

I wiggle the PWM level on the PH-8 and lock the Turning Machine in different loops. 

The outputs of the QMMF-4 are routed to a MX-4S. The pan inputs of the MX-4S are slowly modulated by a PH-4 to create a nice stereo image of the 4 voices. The stereo outputs of the MX-4S go into a Neve 5059, Prism AD, and were recorded into ProTools.  A bit of limiting was done by Ozone 7, and some Adaptive reverb was added.

Stuck parallels

A patch centring around a Cwejman PH-8 modulating four VCO-6's.

Chords: 
MIDI keyboard -> MI Yarns -> four Cwejman VCO-6’s / Pulse output -> VCA-4MX -> two DMF-2 -> MX-4S. 
- a Cwejman PH-8 modulates the PWM inputs of the VCO-6s via the triangle outputs. The Pulse outputs of the PH-8 modulate the VCA-4MX creating the distorted FM type pulses.
- the pulse outputs of the PH-8 are also modulation the two DMF-2s via CM1.
- the offset CV of the PH-8 is modulated by the S&H output of a Cwejman NS-4
- a Cwejman PH-4 modulates the panning of the 4 voices on the MX-4S.

Rhythm:
The Master-clock is a Cwejman D-LFO. One side is triggering a 4ms QCD, the other side modulates the PWM input of the PH-8.
- a Modcan QuadLFO is synced by the QCD. The module is in Quad mode and the 4 outputs are modulating the RES inputs of the two DMF-2s. This creates the Arpeggio that sometimes fades into the chords. 

The QCD outputs lead to the modules that create the drum sounds:
- bass-drum: Cwejman BLD -> DP-2 -> MX4S
- hihat/shaker:  Cwejman NS-4 (white noise) -> VC-FC -> FSH-1 -> MX-4S (opened by ADSR-VC2 via QCD)
- snare/rim:  Cwejman RG-6 (pos SAW) -> MX-4S. |  QCD -> MI Branches -> ADSR-VC2 -> MX-4S.  Slope on RG-6 modulated by NS-4. 

The DMF-2s are in low-pass mode for excerpt 2 and 4, and in bandpass mode for excerpts 1 and 3.

I wiggle the frequency of the PH-8, and the divisions on the QCD. I mute/unmute the percussive elements. I also wiggle the frequency of the two DMF-2s opening and closing the filters. And I wiggle the output level of the QuadLFO to add an arpeggio now and then.

Everything is recorded in one take and played live. No overdubbing. This was a 2 hours wiggle trip that I’ve cut to 4 short excerpts. 
Recorded into Protools via a Neve 5059 and Prism AD. Bit of reverb (Adaptiverb) and limiting (Ozone 7) added.

Pulsating

Patch featuring two Cwejman VCO-6’s,  VCO A’s PWM SAW output is routed into a MMF-1s. The MMF-1s is in 12db lowpass mode, saturation knob on 4, compression ration 3:1.  The pulse output of VCO B is routed to the sync input of VCO A.  One output of a D-LFO is the functioning as master clock, the other output (synced) is modulating the PWM Saw of VCO A. 

A Turning Machine is locked into a 16 note pattern, the pitch CV goes via a uScale to both VCO’s. The D-LFO is routed through a MI Branches and providing clock for an ADSR-VC2. The outputs of the ADSR are creating random accents on the MMF-1s via the VC1 and VCA/mix inputs. 

I wiggle the octaves on VCO B and thereby changing the sync frequency of VCO1. The chiming sections are made with the higher octaves on VCO B.  I also wiggle the Saw pulse width on VCO A. This moves the sound from almost brassy to chorus like. 

At some points I drop in a low repeating bass note from a BLD. The BLD is triggered by one of the clock outputs of the Turning Machine. 

Tracked in one take directly to ProTools, cut to make it less boring, and bit of reverb (Adaptiverb)  and limiting (Ozone) added.

Tada-dab-dab

Patch featuring two Cwejman VCO-6’s and a BLD. VCO A’s PWM SAW output is routed into a MMF-1s. The MMF-1s is in 12db lowpass mode, saturation knob on 4, compression ration 3:1. The pulse output of VCO B is routed to the sync input of VCO A. One output of a D-LFO is the functioning as master clock, the other output (synced) is modulating the PWM Saw of VCO A.

The Saw output of VCO B is routed to a MX-4S, two pulse outputs of the Turing Machine control the level, this creates the short accented notes. The Sine output of VCO B is also routed to the MMF-1s (audio input 2). This creates the lower octave sine-type bass.

A Turning Machine is locked into a 16 or 32 note pattern, the pitch CV goes via a uScale to both VCO’s. The D-LFO is routed through a MI Branches and providing clock for an ADSR-VC2. The outputs of the ADSR are creating random accents on the MMF-1s via the VC1 and VCA/mix inputs.

I wiggle the input levels of the two VCO’s on the MMF-1s. This varies the sine-type bass of VCO B and PWM Saw of VCO A. I also wiggle the Saw pulse width on VCO A. This moves the sound from almost brassy to chorus like.
At some points I drop in a low repeating bass note from a BLD. The BLD is triggered by one of the clock outputs of the Turning Machine.
Tracked in one take directly to ProTools, cut to make it less boring, and bit of reverb (Adaptiverb) and limiting (Ozone) added.

Calling Steve

A two module patch featuring the Cwejman PH-8 and FSH-1.  The left side of the PH-8 is in Triangle mode and the right side in Saw mode. The Saw-direction toggle is in the middle position. The 90 degrees output of the triangle is routed to the Saw Direction input CV.  The 0 degrees Saw output is routed to the FSH-1.  The Mix Output of the FSH-1 is routed to the Offset input of the PH-8.  The Up output of the FSH-1 is multiplied and routed back to the CV1 input of the FSH-1 as well as to the Level input of the PH-8.  The 180 degrees output of the saw side of the PH-8 is routed back into FM1 input. 

I wiggle the frequency and CV1 of the FSH-1. I also wiggle the Frequency, FM1, Offset, and AMPL of the PH-8. The percussive sounds are made with the PH-8 in LFO mode, and for the rest the PH-8 is in Audio mode. 

The Up and Down outputs of the FSH-1 are panned left and right and recorded straight into ProTools via a RND 5059 summing mixer and Prism AD.  This is all recorded in one take, no overdubbing, just cut down in time a bit. Reverb (Adaptiverb) and limiting (Ozone 7) on the masterfader.

A Close Shave

Polyphonic patch featuring four Cwejman VCO-6’s and two Cwejman PH-8’s as modulators. 

Chords are played via a MIDI keyboard into MI Yarns. Four voices via Cwejman VCO-6’s. I use two outputs per VCO-6; PWM Saw, and Saw. The PWM Saw outputs are routed into two Cwejman DMF-2’s (Low pass mode), then to MX-4S. The Saw outputs are routed into a QMMF-4 (low pass/OSC SAT), those are then patched to a second MX-4S. Two Modcan Quad Envelopes take care of the velocity on the MX-4S’s. A Cwejman PH-4 pans the voices on both MX-4S’s.

Modulation happens through three modules; two Cwejman PH-8s, and a Modcan Quad-LFO.
The four Triangle outputs of PH-8 number 1 are modulating the PWM of the PWM Saw of the four VCO-6s. The Quad LFO is sending pulses through the CV1 inputs of the DMF-2s, this causes the arpeggios. 

The four Saw outputs of PH-8 number 2 are FM-ing the QMMF-4 (via a VCA-4MX). Sometimes in audio rate, sometime LFO speed. This PH-8 is in Saw -direction switching mode, one of the pulse outputs of PH-8 number 1 is modulating the Saw direction of PH-8 number 2. 

Then there is a 5th voice, the ostinato bass, this is a Cwejman BLD routed through a DP-2 for some compression, and then routed into the main audio input of the QMMF-4. I wiggle the level and at some points add this voice and mute it again.

A Cwejman D-LFO is the master clock, syncing the Quad LFO, and both PH-8s.

Recorded straight into ProTools via a RND 5059 summing mixer and Prism AD. One take, no overdubbing, just cut down in time a bit. Reverb (Adaptiverb) and limiting (Ozone 7) on the masterfader.

Hand-held sonar

Patch featuring the Cwejman RG-6.  All sounds are generated with three modules in a feedback chain; Cwejman RG-6, MMF-1s and FSH-1. 

The RG-6 does most of the triggering and sound generation in this chain. The MMF-1s is in dual band pass mode (24db). The negative Saw of the RG-6 is routed to the Audio-in of the MMF-1s, the HIGH of the RG-6 into Spacing CV of the MMF-1s, and the Gate of the RG-6 into Q-peak of the MMF-1s. The MMF output is routed back into the Ext signal input of the RG-6. 

The VCA-mix output of the MMF-1s is routed into the FSH-1. The Gate output of the RG-6 is routed to CV-1 of the FSH-1. The mix output of the FSH-1 is routed back into the CV1 of MMF-1s. 

It’s a highly unstable feedback loop uncovering the Swedish wild-life in Wowa’s garden. If you listen well you can even hear Wowa on the mond harmonica  :-) 

Recorded straight into ProTools via a RND 5059 summing mixer and Prism AD. There are two layers multi-tracked. Reverb (Adaptiverb) and limiting (Ozone 7) on the masterfader.

Swedish wildlife

Patch featuring the glorious Cwejman DMF-2 (two actually).

There are two voices; 

1) A Cwejman VCO-6 is routed to both channels of a DMF-2. The Saw output of the VCO-6 is routed to one channel of the DMF-2 in low-pass mode. The PWM Saw output of the VCO-6 is routed to the other side of the DMF-2 in bandpass mode with a high resonance. The PWM Saw is modulated by a D-LFO. The VCO-6 is played live via a MIDI keyboard and MI Yarns. Yarns is in arpeggio mode.

2) A second VCO-6 is triggered by a Turning Machine routed through a uScale. The Saw output is of the VCO-6 is routed to a second DMF-2 in low-pass mode. This creates the slower patterns.

The gate output of the Yarns is routed to a 4ms QCD, the gate is subdivided and this triggers two CTG-VCs. These are modulating voice 1 via the DMF-2’s CV inputs.   A Modern Quad-LFO is also clocked by the QCD and modulating the DMF-2 of voice 2.

Both voices are mixed in a MX-4S. A PH-4 modulated the panning of the MX-4S. I wiggle the tempo divisions of the QCD and open and close the DMF-2 filters. Please note that these are just two VCOs, much of the polyrhythms happen due to rhythmical modulations of both filters.  
 
Recorded straight into ProTools via a RND 5059 summing mixer and Prism ADA-8XR. One take, no overdubs, just cut down in time a bit. Bit of delay (Echoboy), Reverb (Adaptiverb) and limiting (Ozone 7) added.

Ended up in Berlin

(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

Lazy summer patch inspired by a Cwejman CTG-VC / FSH-1 / BLD feedback loop, and a Cwejman RG-6 / MMF-2 feedback loop.

Layer 1
Feedback loop between CTG-VC (in loop mode), FSH-1 and BLD. 
Creates the noisy, electric drones and percussive noise hits.

Layer 2
Cwejman RG-6 pinging a MMF-2. Random SAW of the RG-6 is routed to Audio In 1 of the MMF-2. The High Output is routed to Master CV1 of the MMF-2 and the Normal and Low outputs of the RG-6 are routed to the Left and Right CV inputs of the MMF-2.  The RG-6 is in audio rate and I wiggle pretty much every knob until something interesting happens. :-)
This layer is most the higher, clicky percussive pulses, bass drum plucks, sine-type loops and skin type sounds.

Layer 3
Classic voice patch of VCO-6 (saw), DMF-2 (dual LPF), played via MIDI keyboard and Yarns. 
This is used for the lead melody and ARP
 
Recorded straight into ProTools via a RND 5059 summing mixer and Prism ADA-8XR. Overdubbed in 3 layers. Bit of Reverb (Adaptiverb), delay (EchoBoy) and limiting (Ozone 7) added.

The smouldering hammock

Here’s a Cwejman PH-8 wave-shaping four VCO-6s. The VCO-6s are tuned in fifths. The Triangle outputs of the PH-8 trigger the VCO-6s via FM2, the pulse/saw outputs of the PH-8 (45 degrees shifted) are routed to the PWM inputs of the VCO-6s.

A RG-6 creates the pulse, its Gate output is triggering a D-LFO, which is modulating the Offset level of the PH-8. I wiggle the waveform of the D-LFO, this reduces or increases the attack of the pulse. The Random SAW output of the RG-6 is modulating the PWM of the PH-8. The High output of the RG-6 is triggering the Sync input of the PH-8. 
The Sine Output of one of the VCO-6s is routed to the External Input of the RG-6. Sampling signal level is at about 50%.

The four PWM Saw outputs of the VCO-6s are routed to a MX-4S. A PH-4 is modulating the panning. The gate output of the RG-6 is modulating the Rate of the PH-4.

I wiggle the frequency and pulse-width of the PH-8. And I sometimes change the octave of the fifths. 

Recorded straight into ProTools via a RND 5059 summing mixer and Prism ADA-8XR. No overdubbing. Bit of Reverb (Adaptiverb) and limiting (Ozone 7) added.

Fifth twister

Percussive patch featuring a Cwejman RG-6 as the rhythmical brain. A trio of Cwejman FSH-1, RM-2S and MMF-1S are used as sound sources, modulating each other, and shifting between skin-type sounds and glassy or metallic tones. The FSH-1 is wiggled between ring-mod and freq-shift modes. The MMF-1 is in dual slope mode and its spacing and resonance are modulated by the RG-6. The RG-6 also modulates the rate and lag of a Cwejman NS-1. The S&H output of the NS-1 is routed to one of the audio inputs of the FSH-1. The gate output of the RG-6 triggers a CV-CTG that feeds a percussive pulse to the other input of the FSH-1. A Turing machine is synced to the RG-6 and locked into patterns, its Seq output modulating the pitch of the MMF-1S.

Recorded straight into ProTools via a RND 5059 summing mixer and Prism ADA-8XR. No overdubbing. Bit of Reverb (Adaptiverb) and limiting (Ozone 7) added.

Shards

Patch featuring two Cwejman PH-8’s. There are two layers:

Melodic layer: two PH-8s acting as VCOs and modulating each other. The Pulse outputs of PH-8 no.1 are routed to the audio inputs of a VCA-4MX, the Triangle outputs PH-8 no.2 are routed into the CV inputs of the VCA-4MX. The 0 degrees Sine output of PH-8 no.1 is routed to the PWM input of PH-8 no.2  Both PH-8s also modulated each others offset inputs. A Turing Machine is locked into a pattern and modulating pitch of both PH-8s through their CV2 inputs. Both PH-8s are synced to different pulse outputs of the Turing Machine. The four individual outputs of the VCA-4X are routed to a MX-4S mixer and the voices are panned by a PH-4.

Rhythmical layer: The bass drum and woodblock type sound are done with a MMF-1S pinged by one of the pulse outputs of the Turing Machine. The output of the MMF-1S is compressed by a DP-2. The hihat / snare type sounds are done with CTG-VC shaping the envelope of noise from a NS-4. This is modulated by a FSH-1 and panned in stereo to the MX-4S mixer. The rhythm is triggered by another pulse output of the Turing Machine. 

This was a jam of about an hour recorded straight into ProTools via a RND 5059 summing mixer and Prism ADA-8X. Then cut up to this bite-size snack. Bit of Reverb (Adaptiverb) and limiting (Ozone 8) added.

Miah's Place

Here’s a patch with at it’s heart the Cwejman MBC-3, it is used for compression, colouring and sound design. 

There are two layers:

1. The rhythmical source is a RG-6 clocking a PH-8. The 0 and 270 degrees Saw/Square outputs of the PH-8 are routed to two FSH-1’s. The outputs of the FSH-1’s are routed to a MX-4S which is panned by a PH-4. The RG-6 modulates the two FSH-1’s via the CV1 inputs, and also modulates the PWM input and FM1 input of the PH-8. 

2. The gate output of the RG-6 triggers a CTG-VC, which pings a MMF-1S. This creates the percussive layer and bell-type sounds. The VCA/Mix output of the MMF-1S is routed to the MBC-3. Two of its compressor bands are routed to the audio inputs (no2) of the FSH-1s and are mixed with layer 1. The third (upper) band of the MBC-3 is used to FM the PH-8 via FM input2. The RG-6 also triggers a Turing Machine that is locked into loops. The Seq output of the Turing Machine modulates the frequency of both the MMF-1 and PH-8. This creates the repeating motives.

I wiggle the two frequency knobs of the FSH-1s and the frequency knob of the PH-8. The PH-8 is used in audio rate as well as LFO mode. The latter creates the clicky percussion sounds. 

Recorded in one long take into ProTools via a RND 5059 and Prism AD. Then cut up to make it slightly less boring. Bit of reverb and limiting added on the master fader.

Spil - Plunge

A Cwejman RG-6 triggers two FSH-1's and a CTG-VC.

Two layers, recorded in ProTools via a RND 5059 and Prism AD. Then cut up to make it slightly less boring. Bit of reverb and limiting added on the master fader.

C73a's Clock

XP, NOiSE, Improvised Music, Modular synth, since 1998 /

Synthetik Suede

Cesario Fa