(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

poly_mod