Name: Secrets by Mvkeinen
Duration: 8 min 37 s
Description: The last march of the paratoxic clan after the great sonic desolation.

einfach fett!! that makes a good day with an interesting sky!

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

The last march of the paratoxic clan after the great sonic desolation.

Secrets

This is a mix of some of my favourite techno tracks from 2014, together with a couple of older pieces.

TechnoDon'tSleep (Extended Version)

Printz von Tellair - OstseeKüsse '15

Zucker und Salz

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

Zerboistenkruupen

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

[...]And still, MvK is nothing, which is far more than any of us can ever imagine

Next Gigs (Zuckerjohnny)
11. Sept Ke//er (OK15 afterparty)
18. Dez. Urban Spree (In Existase)

Secrets

Mvkeinen

Recent comments

TOCALABOCA

TOCALABOCA

TOCALABOCA

Related tracks