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

poly_mod