This year’s last patch is a combination of using the Cwejman QMMF4 as a sine oscillator bank, with square LFOs providing tuned trills and feeding everything through a phaser with feedforward modulation from the audio source on the phaser frequency. Here’s the Multi Sine Phase Modulation :)
All four QMMF4 bands are put into self-resonance (using the osc mode), the main MMF out is then routed to the SPH2 phaser. The SPH2 L and R outs go to the DAW, the MIX out goes to a Doepfer A199 spring verb and is then mixed with the L and R (via a VCA2P). The first band of the QMMF4 is tuned low, with a D-LFO square providing an octave trill. Additionally, there’s some FM from the second QMMF4 band, which is tuned higher and just drones away without an individual trill. The third band is also tuned high and receives a fifth trill from the second D-LFO square. It is also slightly FMd from the first band. Finally, the fourth band is tuned very low with FM from the third band. Also, there is a third slow square LFO (from a PH8) transposing the whole osc bank via the main QMMF4 freq input, also tuned to an octave. All the trills are carefully tuned with a VCA4MX.
At the center of the patch is a RG6 driving the whole thing. Firstly, the gate out is used to sync the first D-LFO square with the SYNC G input, with the RG6 gate length carefully tuned so that the LFO is shortly cut off at the beginning of each sync hit. The RG6 clock out triggers the second D-LFO and the PH8 on the normal SYNC T inputs. Furthermore, the RG6 low S/H out modulates the frequency of the first D-LFO a tiny bit, the high S/H out modulates the second D-LFO. Finally, the mid S/H out modulates the level of the second QMMF4 band and the random saw out modulates the level of the third QMMF4 band, attenuated slightly via the last VCA4MX channel (all self-FM on the QMMF4 is via the pre VCA outs, so they are not affected by these amplitude modulations).
Finally, for the feedforward modulation on the phaser, the main QMMF4 notch out is routed to a second VCA4MX. The RG6 clock is further multed to a CTG-VC, which gates the VCA4MX. The VCA4MX out then modulates the SPH2 L + R frequencies. The patch was a bit too boring and I wanted to add some harmonics, this trick is always nice on the SPH2.
For the recording, I mainly play with the QMMF4 and CTG levels. Firstly, all levels are down and only the random saw brings up the third band in the background a few times. Then I slowly bring up the first band, always playing with the feedforward phase modulation. Then, the third band is brought up properly and the second one is faded in slowly. After that, the first band (with the higher bass) is muted, the second and third are lowered a bit and the fourth low bass is brought in. From there I just jam with everything. In the end, I quickly bring up the PH8 frequency to audio rates and then back it off again. Finally, the manual six semitone transpositions that appear a few times are done by pulling the plug on the main QMMF4 frequency in and then inserting it again :D
All recorded in one take into Ableton without any edits. As so often, I added a RE201 return track after the fact. Furthermore, some reverb (Valhalla VVV), delay, EQ and compression in Ableton to bring it all together, as always.
Hope you enjoy it and cheers!