A patch centring around a Cwejman PH-8 modulating four VCO-6's.

Chords: 
MIDI keyboard -> MI Yarns -> four Cwejman VCO-6’s / Pulse output -> VCA-4MX -> two DMF-2 -> MX-4S. 
- a Cwejman PH-8 modulates the PWM inputs of the VCO-6s via the triangle outputs. The Pulse outputs of the PH-8 modulate the VCA-4MX creating the distorted FM type pulses.
- the pulse outputs of the PH-8 are also modulation the two DMF-2s via CM1.
- the offset CV of the PH-8 is modulated by the S&H output of a Cwejman NS-4
- a Cwejman PH-4 modulates the panning of the 4 voices on the MX-4S.

Rhythm:
The Master-clock is a Cwejman D-LFO. One side is triggering a 4ms QCD, the other side modulates the PWM input of the PH-8.
- a Modcan QuadLFO is synced by the QCD. The module is in Quad mode and the 4 outputs are modulating the RES inputs of the two DMF-2s. This creates the Arpeggio that sometimes fades into the chords. 

The QCD outputs lead to the modules that create the drum sounds:
- bass-drum: Cwejman BLD -> DP-2 -> MX4S
- hihat/shaker:  Cwejman NS-4 (white noise) -> VC-FC -> FSH-1 -> MX-4S (opened by ADSR-VC2 via QCD)
- snare/rim:  Cwejman RG-6 (pos SAW) -> MX-4S. |  QCD -> MI Branches -> ADSR-VC2 -> MX-4S.  Slope on RG-6 modulated by NS-4. 

The DMF-2s are in low-pass mode for excerpt 2 and 4, and in bandpass mode for excerpts 1 and 3.

I wiggle the frequency of the PH-8, and the divisions on the QCD. I mute/unmute the percussive elements. I also wiggle the frequency of the two DMF-2s opening and closing the filters. And I wiggle the output level of the QuadLFO to add an arpeggio now and then.

Everything is recorded in one take and played live. No overdubbing. This was a 2 hours wiggle trip that I’ve cut to 4 short excerpts. 
Recorded into Protools via a Neve 5059 and Prism AD. Bit of reverb (Adaptiverb) and limiting (Ozone 7) added.

Pulsating

poly_mod