I was trying to figure out parts of the functionality of the Cwejman RG6 and “accidentally” came up with this little patch. It’s based on three cross-FMed sines that are “sequenced” from the three S/H outputs of the RG6.
Three QMMF4 bands (tuned in unison) are used for the oscs. They go out to the DAW via a FSH1 for some stereo “flanging” - low frequency shifting on the FSH1, with the up and down outputs used for stereo, the mix out for feedback (to audio input 1) and a sine LFO from a PH4 modulating the mix. Cross-FM on all of the oscs: Band 1 FMs band 2, band 2 FMs band 3, and band 3 FMs band 1.
At the center of the modulation is the RG6. As mentioned, the three S/H outputs modulate the three oscs. The gate output triggers an ADSR-VC2, which controls the overall QMMF4 VCA. Furthermore, I’m not using the internal noise of the RG6, but a cycling CTG-VC envelope at the external signal input (to get “staircase” modulation). The attack and decay of the CTG are modulated by two slewed S/H signals from a D-LFO (slightly attenuated on the attack CV with a VCA4MX). That’s almost the whole patch already, very simple.
Now, on the RG6, the random saw is used to self-modulate the clock rate (which is prepatched on the module). I did the patch initially to find out whether the random saw is influenced by an external input (or whether the external input only goes to the S/H signal input), and it most definitely does: The random saw sort of “kicks in” according to the amplitude of the external signal. So, the RG6 clock tends to get faster with higher inputs from the cycling CTG (but not consistently, as it’s still a random saw). To further add to this effect, I’m using the inverted random saw to modulate the ADSR decay and release, so that they get shorter as the RG6 clock gets faster.
For the recording, I’m mainly jamming with the CTG output level to bring the random modulation in and out, and the three attenuators for the cross-FM on the oscs. Occasionally, the RG6 clock and intensity of the self-modulation from the random saw are also changed manually. Recorded in one take to Ableton without any edits, plus of course a ton of super long Valhalla Vintage Verb plate, some delay, compression and EQ to spice it up a bit and bring up the levels.
Still a few mysteries with the RG6, for example I’m not exactly sure what it does with negative voltages only present at the external signal input… Not what you’d expect from a S/H normally. More like just offsetting the outputs negatively. Not sure whether there’s some rectification going on with that input, maybe… Also, I discovered doing this that the three S/H outs are slightly offset from each other with the knob at zero, respectively it could also be that they still bleed a tiny bit with the signal knob all the way down and all have an offset (slightly varying in amplitude between the three outs). (I had to retune oscs two and three after applying the - “fully” attenuated - modulation.) The bleeding would make some sense, given that we know that the S/H input signal bleeds a tiny bit into the clock out as well. Gotta investigate that further.
Well, hope you enjoy the patch despite it being pretty simple bleeps and bloops :)