Cwejman patches

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Mastered by Neel at EnissLab, Rome

Abdulla Rashim - Aksum EP, Abdulla Rashim Records 006

Roman Flügel - The Odd Lobster

Inside the mind of a contemplative techno artist.

For more, visit Resident Advisor: http://www.residentadvisor.net/podcast-episode.aspx?exchange=276

@recondite_music

EX.276 Recondite

The two sound sources in this patch are the Cwejman PH-8 and QMMF-4. The four SIN outputs of the PH-8 are routed to the audio inputs of the QMMF-4. The four PULSE outputs of the PH-8 to the CM1 inputs of the QMMF-4.  The QMMF-4 is tuned to a chord and set to OSC SAT / LP mode.

A Turing Machine is locked into a pattern and its CV output goes through a uScaleII into the master frequency input of the QMMF-4. This creates the parallel chord patterns. The Turing Machine gets a clock from a Cwejman RG-6. This causes the sudden syncopes in some of the excerpts. 

The random SAW output of the RG-6 is routed to the PWM input of the PH-8. This creates the clicks and rhythmic bleeps. The random high output of the RG-6 is routed to the LEVEL input of the PH-8.

A midi keyboard is connected to Yarns and its pitch CV goes into the FM2 input of the PH-8. During the patch I play the keyboard and thereby change the frequency of the bleepy SIN loop that modulates the QMMF-4. I jump to a really high octave on the keyboard and FM-type bell tones or distortion appear, and if I play the lower octaves your hear the slow pulse bleeps.

I wiggle the PWM level on the PH-8 and lock the Turning Machine in different loops. 

The outputs of the QMMF-4 are routed to a MX-4S. The pan inputs of the MX-4S are slowly modulated by a PH-4 to create a nice stereo image of the 4 voices. The stereo outputs of the MX-4S go into a Neve 5059, Prism AD, and were recorded into ProTools.  A bit of limiting was done by Ozone 7, and some Adaptive reverb was added.

Stuck parallels

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

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

Marc Houle needs little introduction, with previous releases on M_nus, Innervisions and his own label Items & Things. We were humbled by the fact that he sent us a bunch of amazing tunes, and were very happy to release them. Banging, melodic, moody... It's all there, pitch-black.
Tracklist:
A1. Marc Houle - Medic
A2. Marc Houle - Dancing Days
B1. Marc Houle - Yummy
B2. Marc Houle - Slater

Out now!

Marc Houle - Medic EP (snippets)

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

Pre-order vinyl: 
https://clone.nl/item56202.html 

COMES WITH A LOCKED GROOVE!!

Preorder VINYL

RHR // Nocturnal Fear EP // OMD021

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

Cin Cin arises from quarantine for the first time in 2020 to deliver four Acid Techno bombs courtesy of Vidab Records head Oliver Deutschmann and Vancouver's Overland. 100% Covid proof for your next Livestream or 4am existential freakout.
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Release Date : 22/5/20
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https://cincin1.bandcamp.com/
https://www.beatport.com/release/clouds-emotional-propaganda/2939006

Oliver Deutschmann - Tunnel (CLIP)

Label. International Day Off
Artists. Kuba Sojka
Title. Espiral
Format. Digital
Cat.Number. IDO 012
Release Date: September 28, 2020
Distribution. DBH
Domain. www.internationaldayoff.org / www.facebook.com/international.day.off
Artwork by Maciej Lustyk

Stuck parallels

poly_mod

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