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

Cwejman patches

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

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 two Cwejman VCO-6’s,  VCO A’s PWM SAW output is routed into a MMF-1s. The MMF-1s is in 12db lowpass mode, saturation knob on 4, compression ration 3:1.  The pulse output of VCO B is routed to the sync input of VCO A.  One output of a D-LFO is the functioning as master clock, the other output (synced) is modulating the PWM Saw of VCO A. 

A Turning Machine is locked into a 16 note pattern, the pitch CV goes via a uScale to both VCO’s. The D-LFO is routed through a MI Branches and providing clock for an ADSR-VC2. The outputs of the ADSR are creating random accents on the MMF-1s via the VC1 and VCA/mix inputs. 

I wiggle the octaves on VCO B and thereby changing the sync frequency of VCO1. The chiming sections are made with the higher octaves on VCO B.  I also wiggle the Saw pulse width on VCO A. This moves the sound from almost brassy to chorus like. 

At some points I drop in a low repeating bass note from a BLD. The BLD is triggered by one of the clock outputs of the Turning Machine. 

Tracked in one take directly to ProTools, cut to make it less boring, and bit of reverb (Adaptiverb)  and limiting (Ozone) added.

Tada-dab-dab

It’s been quite some time since I’ve done a modular only drumbeat, so that is up this month. I wanted to add a sloppy percussion track from a synced PH8 used for pings. Here are Wowa’s Woodblocks :)

I’m using triggers from my TR808 to program the kick and snare. For the kick, we have a self-resonating Cwejman QMMF4 band in osc sat mode. Noise from an audiorate RG6 is put to a second QMMF4 band with a BP filter setting, those two sources are then mixed together with a VCA4MX and go to a VCA2P for final VCA. A CTG-VC gates the amplitude of everything on the VCA2P and slightly modulates the frequency of the self-resonating band. I’m tracking the kick through a Warm Audio WA76 to get it a bit more coherent between the individual hits. For that aim, the CTG is also set to “restart from zero” mode.

For the snare, a similar QMMF4 patch is used: Also one QMMF4 band self-resonating in osc sat mode, and another with a higher volume RG6 noise. They’re also mixed with the VCA4MX and go to the second VCA2P channel. For the envelope, we have an ADSR-VC2. One of the two envelopes modulates the amplitude on the VCA2P and the “noise” band frequency, the other the frequency of the self-oscillating QMMF4 band. Additionally, audio of the “noise” band modulates the frequency of the self-osc band (using the post VCA output to dial in the modulation on the second unattenuated CV input of the other QMMF4 band) to slightly destabilize the pitch of the snare. 

For the hihats, I wanted to use a bunch of square waves. Two VCO6 and two Addac 701 are mixed with an Addac 802 going to a MMF6 (BP filter), then back to the remaining fifth 802 channel for the final VCA. The oscs are crossmodulating each other and detuned carefully for a fun timbre - adjusting the pulse widths of the oscs is crucial here. I use an Audio Damage Sequencer 1 for the gates and another CTG-VC which is used for amplitude modulation of the final 802 VCA and for the filter frequency of the MMF6. Additionally, a Doepfer A143-3 LFO sweeps the MMF6 frequency slowly. The gate length on the Seq 1 is used to do the shorter and longer hits.

So far, all pretty simple. Finally, we have the sloppy pinging percussion track. I’m using a further trigger from a TR909 (I don’t have all three 808 trigger outputs on my patchbay) which is programmed straight on each beat to sync the PH8. The 0° and 180° outputs of the saw are mixed using a further VCA4MX and then used to ping a RES4 and SPH2 in series, which is a nice combo for those wood sounds (RES4 for the tuning and SPH2 for the woodyness). The second (180°) out first goes through a FSH1 (set to standard audiorate shifting with a tiny little bit of feedback from the down output via the first audio input) to provide a bit of variation between the two hits. A sequence from a Doepfer Dark Time modulates the frequency of one RES4 band. A D-LFO (synced to the kick trigger, set to slewed random) is used to vary the frequency of the PH8 just a tiny bit to throw it slightly in and out of the already rather wonky rhythm. Finally, the other side of the PH8 (set to triangle) is used for four things: The 0° and 270° outputs modulate two further RES4 frequencies, the 90° out modulates the SPH2 frequency, and the 180° output the frequency of the QMMF4 with the snare noise part.

Then I jam with some different patterns on the 808, the offset and amplitude of the PH8 quadrature triangle outputs, the AD Seq 1 ratchets a few times and the amount of D-LFO slewed modulation to the PH8. The PH8 offset (taking the RES4, SPH2 and snare noise frequencies up and down) is good fun, sounds almost a bit like a timbale on the snare sometimes on the lower settings. Recorded in one take with a few edits mainly cutting out the hats, and couldn’t resist afterwards to record a subtle but very effective RE201 effect track. As always, some EQ, compression, delay and reverb in the box to bring everything together.

Hope you enjoy it, Cheers!

March 17: Wowa's Woodblocks

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

Was calibrating my PSUs and VCOs and made this patch to test. Four-voice polyphony, featuring four Cwejman VCO-6s. Played via keyboard and MI Yarns. 

Four Cwejman VCO-6s; Saw outputs routed through QMMF-4 in LP OS mode, and a second layer of PWM Saw outputs routed through two DMF-2s. The PWM Saw’s are modulated by a PH-8. The brassy sound comes from the QMMF-4 and the string-type pad is created by the PWM Saws. The latter are mixed in at much lower volume, just to create more body to the brassy Saw outputs. 

Yarns translates the pitches from the MIDI keyboard, two Modcan Quad LFOs are handling VCA/Volume and Filter modulation. The outputs of the QMMF-4 and DMF-2 are mixed on two MX-4S’s. A PH-4 automates the PAN.

Recorded straight into ProTools via a RND 5059 summing mixer and Prism ADA-8XR. One take, no overdubbing. Bit of Reverb (Adaptiverb) and limiting (Ozone 7) added.

Sarah's theme

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

Soley - I'll Drown

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

Takenobu - Exposition

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)

Tada-dab-dab

poly_mod