This month we have a patch using the Cwejman PH8 as a central modulator and the QMMF4 as an oscillator bank. It is also exploiting the QMMF4 gain-staging that can easily be overdriven with CV on the VCAs.
The QMMF4 is set up for self-oscillation, with the first band using the Osc Sat mode and the other three the normal Osc mode. The first band is tuned to a low fundamental, the second is two octaves above, the third band is tuned to a fifth and the fourth band to a minor third. The main QMMF4 MMF output goes to a SPH2 to smooth out the edges, the SPH2 L and R outs are used for the final stereo recording.
For the modulation, a PH8 and CTG-VC are used to open the individual QMMF4 VCAs. The right side of the PH8 is set to a rising sawtooth and the first (0°) output is used to trigger the CTG-VC, which in turn opens QMMF4 band one with the bass note. The 90°, 180° and 270° outputs of the left PH8 side (set to sine) open the other three QMMF4 bands. Finally, for a simple FM path, the Pre VCA output of the second QMMF4 band is routed to a VCA4MX and then to a CV input of the first QMMF4 band. The FM path is opened with the 180° saw output of the right PH8 side, so the FM comes and goes in time with the quadrature action.
Finally, there is a separate pinging sound to make the whole thing a bit more interesting. The source is a D-LFO saw, which is routed to another VCA4MX channel, from there to a RES4, to a Doepfer A199 spring reverb and (separately from the main drone) out to the DAW for recording. The PH8 90° saw out is used to gate the D-LFO source via the VCA4MX, while the 270° saw out of the PH8 modulates the D-LFO frequency.
For the recording, I basically only play with the levels (via the QMMF4, CTG and PH8, mainly). First, only the pinging sound is in, then the bass note is faded in. After that, the other three QMMF4 bands are brought in without modulation first to create a chord, and finally the quadrature modulation is introduced to crossfade between the oscillators. As mentioned, the gain-staging is exploited to slightly overdrive the whole QMMF4. Furthermore, I slowly bring up the PH8 rate towards the end of the recording and then back it off again. That’s it, recorded in one take without any further edits, but some reverb, delay, compression and EQ in Ableton as always.
Hope you enjoy it and cheers!