Jun 18: FSH FM Percussion by C C O published on 2018-07-01T08:22:13Z Another patch with the Cwejman FSH1 frequency shifter. It is based on a sine source that is modulated by the same mix of different CV sources as the frequency shifter it is routed through. For the audio path, a D-LFO sine at audio rate is firstly multed to channels 1 + 2 of a VCA4MX. Channel 1 goes to input 2 of the FSH1, then from the mix output to channel 4 of the VCA4MX. From there, it is routed to a SPH2 and then stereo out to the DAW from the L + R outputs and mono from the mix out to a Doepfer A199 spring reverb and then to the DAW (mixed with a VCA2P). At the center of the CV patching is a RG6 that triggers a CTG-VC from the clock out. The CTG opens channel 4 of the VCA4MX (the audio path just before the SPH2). The RG6 clock also resets a PH8 and the second LFO on the D-LFO (set to S/H). The second VCA4MX channel with the multed D-LFO sine is used for FM: It is routed to the attenuated FSH1 CV input, while the VCA is opened by the 0° square output of the PH8 - opening and closing it regularly. The FM shifts the frequency shifter pitch up, so it almost feels a bit like sequencing when the FM is brought in and out by a square LFO. For the rest of the modulations, a mix of several sources is used and routed to a lot of destinations. I’m using a second VCA4MX to do the mixing. The first input is the normal S/H output of the RG6 for synced random sequencing. On the second input, we have the 180° square output of the PH8 for some more transposing. The third input sees the S/H from the second D-LFO side, which is set faster than the main clock (and reset by it on the trigger sync input). Finally, a PH4 is just used for some manual offset on the fourth VCA4MX input. The mix is routed to several destinations: Firstly, the D-LFo sine and FSH1 for the pseudo-sequencing; furthermore, to the SPH2 frequency and modulator rate (the later is set pretty fast to manually FM the SPH2 with the corresponding knob); and finally to a second PH4 that is used to modulate the mix on the FSH1 for some tremolo. Last but not least, the FSH1 up out is routed back to input 1 to patch a resonance (controlled by input level 1). For the recording, all modulations are turned off first and we just hear the sine through the FSH1 with the CTG gating. The first thing I bring in is the modulation of the FSH1 mix with the PH4 for tremolo. Then, the FM path to the FHS1 that is opened by the PH8 is activated. Next up is the main pseudo-sequencing from the RG6 S/H, after playing also a bit with the FSH1 resonance. After some manual tweaking of the PH4 offset and again resonance, the 180° PH8 square is brought in first and then the faster S/H from the D-LFO. The last to show up is the (internal) FM on the SPH2. Then I just play a bit with the whole thing for the rest of the recording. It’s done in one take without cutting anything, as usual I added some EQ, compression, reverb and delay in Ableton to bring it all together. Finally, there’s also a subtle RE201 return track. Hope you enjoy it and cheers!