Synthetik Suede

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

old school electronic

OGrooves&Tunes_003

Cwejman patches

Felipe Valenzuela - Deau

Maki Polne - Anyway (Original mix) :: Melisma 19 V.A. Vol.2

Libe & Octave - Sunrise In The Night (Original mix) :: Melisma 19 V.A. Vol.2

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

Heavy on the new Valhalla DSP reverb on this one.  I'll Have to learn some restraint.  The chordal 'hits' is a modular patch using the Mutable Instruments Yarns to play 2 Rubicons and 2 Dixies.

The Moon Delicately Hangs

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

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

peak&hold - res4

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

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

Bit ce savrseno

From a collection that has yet to be assembled.

Fragile Gloss

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

Getting familiar with the wonderful Cwejman SM-1.  All sounds are solely from the SM-1. 

The two VCOs are tuned in a fifth, first one is a SAW, 2nd a PWM Saw. The PWM is done by LFO2. LFO1 modulates the cutoff of the filter as well is the spacing of the filter.

I'm playing through several filter settings, first clean and at the end SAT1. 

I've played keyboard through a Yarns in ARP mode to provide the pitches.
Recorded in one take in Pro Tools, added bit of delay (Echoboy) and reverb (Adaptiverb)

SM-1 arp

Returning to my roots to produce some psychedelic, dub-delayed business with a little arabesque-miami-vice in the middle. Enjoy responsibly.

Perihelion Dub

Main elements of the piece:
Main sequence generated by Turing Machine, Pulses & Voltages, quantised by a Quantimator.
S&H’d to a Rubicon baseline, then through a QMMG.
Lead lines from a dual 258J oscillator feeding into various parts of a CGS MSU then an L-1 Microcompressor, and finally through a Modcan dual delay in stereo mode.
Doepfer Quadrature LFO modulating the filter in the Modcan dual delay.
Envelopes from a CGS QUSG controlling the QMMG and MSU filters
Drums from MFB SEQ01 and TipTop drum modules.
Pressure points used to transpose the sequence, open and close the MSU filters, change the settings in the MSU wave folder, and control the wave shaper on the 258J.
Recorded in one pass (no overdubbing).

Ended up in Berlin

poly_mod