The VM-1 is a complete voice module with an oscillator, multi mode filter, amplifier and two different envelope generators.
The OSCILLATOR can produce seven basic waveforms. The pitch is controlled manually by knobs COARSE and FINE and by attenuable CV1 and CV2 inputs. The pitch CV inputs are carefully trimmed for 1 Volt/octave sensitivity.
The pulse width can be controlled by knob 'PULSE WIDTH' and by external signals inserted to attenuable input "PWM". The SYNC is provided by an external signal to input SYNC.
The Multi Mode Filter consist of an audio mixer (MIX), filter and modulation controllers for cutoff, q-peak and output morph. The MIX control mixes two signals or allows ring modulation; oscillators output and external audio signal (AUDIO). The MMF is a four pole multi mode filter. The low pass, band pass and high pass mode are mixed at filters output by morphing function; knob MODE MORPH and controllable by an external CV signal MORPH and outgoing level is attenuated by a voltage controlled amplifier."
"An ambient piece that drifts through darkness and light with minimal human intervention. The tones are mostly conventional, but the interesting part is the way that structure can be given to what could be an endlessly self-running generative patch.
The main drone is a Verbos Harmonic Oscillator through Doepfer A189-1 (in short delay mode) and uVCF (slightly resonant LP). Slow modulations affect the width and centre inputs of the HO, the BC input of the A189-1 and the filter cutoff: interactions between the harmonic movements from the oscillator, A189-1 delay time and filter cutoff produce ever-changing textures ranging from slow swells to softened digital glitches.
The quasi-melodic part is Braids in PLUK mode, with the semi-random melody coming from an A149-1, quantised to a pentatonic scale by Braids, while Klasmata generates Euclidean triggers to drive the plucks. I usually find the pluck mode a bit harsh on Braids, so I used an R52 to warm it up and a Serge Resonant EQ to roll off the lows and vaguely emulate a resonant body from an acoustic instrument. Both drone and plucks go into Erbe Verb set to massive, spacious, on-the-edge-of-oscillation mode.
There's also a couple of plonky tuned percussion parts that come in during the middle section. These start with two individual harmonics from the HO, so they'll always be in tune with the drone. These go through two channels of Optomix (though one is first ring-modded against itself to double its pitch), into Wow and Flutter for some quick warbly delays, then into a Vox Delay Lab for a longer stereo delay with reverse effects.
The structure is all driven by a Verbos Voltage Multistage, which is clocked by a uLFO to get longer step lengths than the VM can do with its internal clock. CVa controls the density of Klasmata's rhythms, from one pluck per bar through to livelier patterns in the middle. CVb controls Erbe Verb's mod depth, pushing it up into shimmer mode at various stages to create a choir-like backing. Two VM gate outs drive a sequential switch to turn the Optomix percussion on for a few stages then off again. The uLFO's sine out controls the uVCF cutoff, subtly reinforcing the stage movements with filter swells.
Within that structure, the generative elements come from the A149-1 and a Turing Machine, combined with switches and logic. The Turing's Pulse 1 out clocks the A149-1, thus controlling when new notes are generated. Its Voltage out controls pluck length while the main output controls the R52 cutoff to further mute the shorter plucks. The timing of the percussion also comes from a combination of the Turing's Pulse outs with logic and clock division. Given the shift-register-based quasi-randomness of both the A149-1 and the Turing, combined with the Klasmata rhythms, this gives subtle structure to the melodic patterns."
"Unedited Wavetable acid jam with Roland TR-808, TB-303, TipTop-Z-8000,STG/SoundLabs Time Buffer, Graphic Sequencer, Trigger Sequencer, Cwejman VM-1, Harvestman Hertz Donut, and Piston Honda.
Analogue jamming by Richard Devine & Josh Kay. :)"
"I've always loved 4ms and their approach to modular synthesis. They create modules that have incredibly musical and experimental applications.
In the video I demonstrate 3 different uses of the Dual Looping Delay.
The first patch consists of a Tip Top Audio SD808 being triggered by an Intellijel uStep. The uStep and the DLD are clocked by a Make Noise Tempi. The kick that comes in is a Tip Top Audio BD808
The second patch is created by a Cwejman VM-1, which is sequenced by a Korg SQ-1.
The third patch utilizes a drone the Cwejman VM-1. The DLD's Hold inputs are triggered by the Loop A and B outputs. The Time inputs are being modulated by two channels from the Make Noise Maths."
"The Roland VM-3100 Mixing workstation is a weird relic of the turn of the century. It's a very early mixer/converter from the early 2000s with some features that make it somewhat out of date. This thing cost 2000 dollars when it came out! Now it can be found for under 200. I was given this mixer by a friend who deemed it to be useless for his new setup. My outlook on gear is that I always think it has a purpose. So after playing some guitar through the built in effects I realized the effects are probably an overlooked section of the mixer. I think they sound really nice! This jam is just me having a little fun trying out the effects on guitar while using the mixer with my Roland SE-02, Volca Keys, and Volca Sample. Im playing a Fender Duo Sonic."
"No sound from the actual bass guitar, only the modular. Voltage outputs from the Analogue Systems RS-35 are also altering the groove of the Pittsburgh Timetable and changing the wave selected on the Piston Honda high percussion noise depending on the note played."
"Little jam/remake of the song 'Sombre Ensemble' taken from my 'Winter Piano Tape'
Gear used:
Teenage Engineering OP-1: Arps/Beat/Organ/Bass
Elektron Octatrack: Sequencer/Beats/Background Choir
Sm Pro Audio V-Machine: Piano /FX
Roland JP-08: Bass
Roland JU-06: Arp
Synthstrom Audible Deluge: Strings
Behringer XR-12: Recording/Mixing
iConnectivity iConnect Midi2+ and Audio4+: All Midi and Audio routing."
"The μscale module is a cv quantizer and musical interval generator. In this simple patch I am using four VCO's. Cwejman VCO-2RM, VM-1,harvestman piston honda, and hertz donut. Everything is being CV sequenced by the output of the μscale. Clocked from one mini ELF LFO to a Doepfer 160, 161 then out to a-151 quad sequential switch controlling the MakeNoise Brains, and two pressure points doing long slow sequences back into the CV and Shift input on the Intellijel μscale. The drums are coming from the cwejman BLD and NS-04 for the white noise snare, and high hats. Effects used TipTop Z5000, Z-DSP, and Doepfer A-187
"I thought your readers could be interested that there's such a nice place in Munich for synths.. it's not exactly Five G but then they don't have to fly to Japan for it.. :)
Hi guys, Last Saturday I have visited the music shop Musikhaus Hieber-Lindberg in Munich, Germany. I was tipped off by Florian, who said it could be interesting. You can find their website at http://www.hieber-lindberg.de (unfortunately only in German, but it's easy to find your way around, and Google Translate works well)
"Saturday morning analog synth jam. The SEM Pro is being controlled by little phatty's arpeggiator (off screen). The MS-20 is run through the the superdelay on tape setting.
Hardware:
Tom Oberheim SEM Pro
Korg MS-20
Empress Effects Vintage Modified Superdelay
Moog Little Phatty Stage 2 (used as a controller only)"
"The current modular tour setup is: Livewire Dalek Cwejman VM-1 Doepfer A-188-2 BBD Doepfer A-142-3 Quad LFO Doepfer A-155 Sequencer Harvestman Malgorithm Harvestman Polivoks VCF Plan B Mixer"
click here for the post with audio on Trash_Audio.
