I’ve been experimenting with PH8 rhythms a lot lately, so here is an example. There are six different ping sources from a Cwejman QMMF4, RES4, and SPH2.
The audio routing is rather straightforward: The main out of the QMMF4, bp out of RES4, and mix out of SPH2 are patched to a VCA4MX (the SPH2 is doubled up on the remaining channel to make it a bit louder). The sum out is then taken to a Doepfer A199 for a bit of spring reverb and out to the DAW.
To create the ping triggers, a RG6 and PH8 are used. The RG6 clock out syncs the PH8 and triggers a CTG-VC which is routed to the RES4 audio input for pinging (the RG6 clock out is a bit weak, so using a short envelope is a workaround). All four PH8 saw outputs are used to ping the individual QMMF4 bands (in LP and RES mode). Finally, the RG6 clock is further routed to an ADSR-VC2 with some attack and a very short decay for some kind of gate delay to produce the sixth ping trigger for the SPH2. The PH8 tri outputs are modulating the four individual QMMF4 resonances which provides a nice curve for the pinging length (and some manual control over all four with the offset control).
Furthermore, some modulation is applied. The RG6 s/h outputs modulate the RES4 frequency (high out), QMMF4 main frequency (normal out), and SPH2 frequency (low out). Two somewhat fast slewed s/h LFOs from a D-LFO further modulate two QMMF4 bands that are tuned high and low via a VCA4MX for manual control. And finally, there’s two FM paths: Firstly, the RES4 notch out modulates two QMMF4 bands; secondly, the 1+2 sum out of the VCA4MX used for the audio mixing (containing the QMMF4 and RES4) is used to modulate the other two QMMF4 bands.
For the recording, I only jam with the random and audio rate modulations (on the second VCA4MX and the RG6 sampling signal level), PH8 tri offset and amplitude controlling the QMMF4 resonances, and the audio levels of the six sources (via the individual QMMF4 controls, CTG output, and SPH2 input). Firstly, you hear only the RES4. The SPH2 is brought in secondly, and then all the QMMF4 bands one by one (actually, the last two together). Next is the PH8 tri level to bring in more resonance, then the slewed random LFO on the higher QMMF4 band. Finally, after the second slewed random LFO on the lower QMMF4 band is brought in, some FM is applied and then the main s/h modulation from the RG6 outputs. Then I play a bit with all of it for slightly too long :)
All recorded in one take, no cuts. As always, some EQ, compression, reverb and delay are used in Ableton to bring it together. Hope you enjoy it and cheers!