Time for more silly modular noises on the patching workout :) This patch is based on the idea of using quadrature square LFOs from a Cwejman PH8 to “sequence” different intervals on four oscs. The quadrature arrangement allows for some kind of “sequential trills”. Pretty fun to play around with and there are some twists to the patch. Get ready for Quadrature Sequencing :D
For the four oscs, I’m using a QMMF4 with all filters set to Osc Sat and self-oscillating (without any input). The four square outputs of the PH8 modulate the individual frequencies of the four self-oscillating filters. To be able to dial in the pitch intervals more carefully, I route the quadrature LFO outs to all channels of a VCA4MX first and then to the individual QMMF4 CM1 inputs. The first (bass) note does just an octave, the second (higher) one a fifth, the third a seventh and finally the last two octaves. Fiddly to dial in, but very much possible (using a tuner). The mix of the four oscs is then routed to a RES4 for some filtering action, from there (using the BP out) to a SPH2 for a bit of smoothing and kind of a vibrato effect; as ever so often, I route the L and R channels of the SPH2 to the two channels of a VCA2P, and the SPH2 mix out to a Doepfer A199 spring reverb and then to the pan input of the VCA2P. The VCA2P stereo outs are recorded to Ableton.
Then, there are some additions to the patch. I really wanted to see what PWM on the PH8 will do to the “sequence” when I was first thinking about the patch: The first triangle output of the PH8 is used to self-PWM the PH8. In addition, a D-LFO triangle modulates the PH8 PW as well (the two sources are mixed and attenuated via a second VCA4MX). The PWM provides some fun ruptures in the groove of the quad sequence. All four quadrature triangle outs on the PH8 additionally modulate the RES4 frequencies. Finally, the second osc on the D-LFO provides a further triangle at low audio rate (tuned to the root of the sequence) that I use to FM the QMMF4 oscs occasionally (via the main frequency CV in). And then there’s a funny last modulation for the osc frequencies (these are also mixed in with the second VCA4MX, using the remaining channels): The negative sum of the first VCA4MX is mixed in to break up the pitch sequence completely. Basically, this provides an inverted version of the sum of all those square LFOs doing the pitch intervals, but modulating all oscs at the same time. The result is almost a bit like a shift register effect - good fun to break up the patch.
That’s all the patching. In the recording, I first bring in the four oscs, one after another. Around 40 seconds, I dial in the FM quickly, after that I bring up the PWM for the first time (the PH8 triangle outs are not doing anything in the first minute or so, accordingly the PWM coming in is only from the D-LFO at first). At about 1:23 the negative sum of all “sequence LFOs” is mixed in for the first time. Then, I start to manually play around with the PH8 frequency, also bringing it up into the audio range quickly somewhere in the middle of the recording. It’s basically jamming with those parameters from there. Additionally, the frequency of the PWM LFO and the PH8 triangle offset and amplitude (affecting the RES4 frequencies and PH8 PWM) are tweaked throughout the recording. That’s pretty much it, all done in one take, no edits.
Bit of compression, EQ, delay and reverb (Valhalla Vintage Verb) in Ableton as always. Also had to notch out some annoying noises at around 8k, I guess it’s time for a PSU upgrade soon. And maybe for abandoning modular powered spring verbs, as sad as that is… Anyways, I’m pretty happy with the patch and results and hope you enjoy it, too!