Cwejman patches

Dadub - Life (Rrose Remix) [Stroboscopic Artefacts SA016]

Pact Infernal's debut release 'The Descent [Chapter I] arrived in early 2015 on Samurai Horo. A slow flock of unexpected, but very welcomed, fans from outside of the labels normal market began to build. One of the more exciting admirers of the Pact Infernal EP was Berlin based Lucy who offered to rework 'Chapter I' into his own stylistic interpretations. The resultant 2 remixes incorporate elements from all 4 tracks on the first EP into 2 long pulsing, hypnotic grooves. If subtlety was the main instrument of the originals, Lucy's versions refine that instrument into a new form and sprinkle carefully plucked references delicately around his sinuous rhythms. Over 25 minutes of delightful audio hypnosis from one of the electronic worlds favourite individual voices.

http://www.samuraimusicgroup.com/products/pact-infernal-the-descent-chapter-1-lucy-remixes-vinyl

Pact Infernal 'The Descent' (Lucy Subterranean Remix) [Samurai Horo]

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

Artwork by olgavandijk.com
Distributed by triplevision.nl

Releasedate: 23-6-2017

Datum Plano

"All I saw was an infinite maze of bright lights and even brighter shadows, ten thousand cities arrayed in four dimensions.
I had no arms to hang on to and nothing physical in this universe to grasp, but I concentrated on the waveform shades."

OBQ005 - Koen Hoets - Datum Plano EP

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

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

JT022 / Various Artists - Broken Promises Part 5

JT022 / Various Artists - Broken Promises Part 5

Milan based collective Just This return with their biggest compilation yet, a twelve track package featuring varied entries from label regulars and esoteric talents alike. JT022 is due for release July 20th.

Melodic fragments and melancholic harmonies spiral through ricocheting drums and marching kicks. Contributions from Skudge, Hiver, Hunter/Game, Artefakt, Pizetsky and many more combine to forge a formidable package channelling moody, hypnotic techno for darkened dancefloors.

Artefakt  - Sidereal Time

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

Out July 2018 on Be As One. 12" vinyl and digital.

The Abyss And Beyond

Play With Deaf Cats

Globe (Marcel Dettmann Edit)

The title track of long-time UK unsung producer Aubrey's forthcoming album 'Gravitational Lensing LP', out end of February.

Two more albums will be also due this year, via our sub label @pregnantvoid: the experimental R&B 'Movente LP' by long-time experimentalist #Cleptophonic, and 'Lost Sunsets LP' by electroacoustic sculptor @mono-drone.

Resident Advisor news: www.residentadvisor.net/news/42922

Gravitational Lensing LP

Aubrey - Gravitational Lensing

Press Release

Label: ANAØH
Artist(s): !nertia
Remixer(s): Deepbass, Fixeer, Massa
Album/Single: From The Peace To The Hysteria 002
Track(s): Desire Of The Mountain, Forest Of Hope, Night Sea Of Faith
Genre: Techno
Format: MP3/WAV
Catalogue Number: ANA044
Release Date: 20/05/2019

We are happy to share with you all, the video teaser of the second chapter of our series "From The Peace To The Hysteria" in which we invited artists to perform environmental music or drone works, inspired by the peace of our beautiful nature. At the other extreme are remixers who perform techno reinterpretations of the original tracks, focusing on the dance floor and that thin line, that divides it between peace and hysteria.
On this occasion we have the immense pleasure of presenting Inertia a great and talented Producer, originally from Colombia, but based in Barcelona, presenting his musical vision on this series. Likewise, we welcome the artists in charge of reinterpreting the works on this release: Deepbass, Massa and Fixeer, who have prepared works at the highest quality.

!nertia - Desire Of The Mountain (Deepbass Remix)

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)

Hand-held sonar

poly_mod

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