Here’s a patch showing the new Analogue Systems rs450 CV Recorder/Sequencer and the Cwejman MMF-2 Stereo Multi-mode Filter module. The Cwejman MMF-2 is filtering a basic saw wave bass from the Cwejman VCO-2RM running into a version of lowpass on the MMF-2. The kick and snare were created using Analogue Systems modules. The sixteenth note percussion is a modulated Cyndustries Zeroscillator through a Cwejman VCA, opened by the Cyndustries Four Transients module.
They’ve pre-recorded a few CV sequences into the incredible new Analogue Systems rs450 CV Recorder/Sequencer. It’s being clocked by an A.S. rs200 sequencer (which is running the whole patch actually). They are switching between four or five preset sequences which in turn is controlling the pitch of a Cwejman RES-4 module.
The rhythms for this patch are derived from the 4ms Shuffling Clock Multiplier and we’re also using a 4ms PEG module as a slow modulation source for the MMF-2. Rad!
Background data below:
Flame CHORD MACHINE test run 6
‘CM’ pitch & chord input cv by Doepfer A149-1
4ms Peg blue ‘CM’ arp trigger Peg red to VCAMatrix to RS 110
‘CM’ chord out to Malekko 4x Uncle Oscillator
‘CM’ arp out to Quantimator to 4x Anti Oscillator
Analogue Systems RS 110
Make Noise Moddenix QMMG Wogglebug
Toppobrillo Quantimator Sportmodulator
A134 pan by Moog MP 201
Master Clock Logic via Kenton Pro 2000II and 2x 4ms RCD
Apart from some weird sounds, the Flame Chord Machine performance really awesome in this video. Here’s the background data:
Flame CHORD MACHINE test run
4ms Peg CM arp speed
Malekko 4x uncle chord out 4x anti arp out
Analogue Systems RS 110 RS 170 Multiple
Make Noise René CM Pitch in
Maths Moddemix QMMG Wogglebug
TipTop Audio Z 8000 CM chord in
Doepfer A 134 pan by Moog MP 201
2x A 170 2x A171 chord slide
Noise by Flame Talking Synth Module
Master Clock Logic via Kenton Pro 2000II and 4 MS RCD
thanks Per Salzwedel & Flame
Machines in action:
Modular Synth Clavia ddrum 4se & Nord Modular (Vocoder)
4ms Peg RCD
Analogue Systems RS 100 RS 110 RS 360
Boss RV 5 & SL20
Buchla System #1
Doepfer A 114 A133 A134 ……
flight of harmony choices
Kenton Pro solo & 2000 II
Line 6 Filter Pro
Make Noise Maths Moddemix Optomix QMMG Wogglebug
Malekko AO Jag Uncle
Moog CP 251 FreqBox(bass) MP201
Simmons Clap Trap
Logic sequence by Korg micro X arp
Wiard AO Uncle
Toppobrillo Quantimator TWF
Make Noise René Brains PP Wogglebug QMMG Math
4ms Noise Swash RCD
Analogue systems RS 110
Doepfer A 117
A 134 cv from Moog MP 201
Featured hardware – RS 110:
The RS110 consists of a two channel audio mixer followed by four, parallel, resonant filters with voltage controlled frequency and a unique “insert” point in the feedback path that generates and controls resonance.
The RS110 offers four filter modes. These are 24dB/oct low-pass, 24dB/oct high-pass, 12dB/oct band-pass and 12dB/oct band reject (often called ‘notch’) filtering, with the cutoff frequencies (Fc) of the high-pass and low-pass outputs being the centre frequencies of the band-pass and notch outputs. Each of these filter characteristics is described in appendix 2.
There is no switch to select between the modes because all four are available simultaneously from the appropriate output sockets. However, the cut-off and resonance can not be defined individually for each, and the controls act upon each mode equally
You can control the cut-off frequency manually using the FREQUENCY control. In its fully anticlockwise position, Fc is approximately 30Hz. As you rotate the knob clockwise Fc will increase until, it its fully clockwise position, it exceeds 15kHz. These extreme positions are called ‘closed’ and ‘open’ respectively. You may also control Fc using one or both of the CV inputs:
If you apply a CV conforming to the 1V/oct standard, Fc will track the CV in exactly the same way as an RS90 VCO would if you applied the same CV to its CV-IN 1V/OCT socket. If the CV is supplied from a keyboard then, in common parlance, the filter is tracking the keyboard 100% and, with the resonance at maximum, you can ‘play’ the filter as if it were a conventional oscillator. You can also use this facility to make a notch or band-pass filter “track” the notes you are playing, and this can be used to create many special effects.
You may wish Fc to track incoming CVs differently, so the CV-IN VARY input is provided. This socket and its associated LEVEL control allow you to specify the filter’s sensitivity to CVs within the range ×V/oct to approximately 0.4V/oct. The former of these makes the filter invariant to incoming CVs, while the latter makes it over-sensitive compared to CV-IN.
You can determine Fc in the range 3Hz to 50kHz using combinations of the frequency control knob and the voltage control inputs.
The filters have a common resonance, ‘Q’, that you can control using the RESONANCE knob. In its fully anticlockwise position, Q is approximately zero, and there is no emphasis of the signal at Fc. As you rotate the knob clockwise Q will increase, whereupon every mode of the RS110 will accentuate the harmonics that lie close to the cut-off frequency, Fc. Increasing Q further, the filters will exhibit ringing, and will severely colour any signals passed through them. Finally, if you continue to increase the resonance beyond a certain point, the filter will itself begin to oscillate, even in the absence of an input. Each mode will now produce a stable tone at the cutoff frequency determined by the various controls. This oscillation takes the form of (approximately) a sine wave, and it is produced by all four of the conventional audio outputs. The exact nature of the wave varies slightly from mode to mode, and you can use these subtle differences to create tonal variation when using the RS110 as an oscillator.
Given that it was an early electronic instrument, the Ondes Martenot was singularly playable, so it’s not surprising that composers such as Barry Gray (see the box on the penultimate page of this article) continued to experiment with it throughout the ’50s, ’60s and 70s. Even today, its unique method of control and expression attracts musicians keen to develop new sounds and playing styles. So when Johnny Greenwood of Radiohead asked Analogue Systems to develop a Martenot-style controller for his modular analogue synthesizers, the company was keen to oblige.
Named the French Connection, Analogue Systems’ design adopts the control mechanisms of the classic Martenot, but leaves the sound generation out, and packages everything in a neat unit designed to sit in front of any of the company’s RS Integrator modular synths or, for that matter, similar modulars produced by other manufacturers. The keyboard itself is four octaves wide, and in front of this you’ll find the wire controller with the small ring through which you insert your index finger. The wire (which is actually a fine nylon cord) is stretched above a fingerboard in which you’ll find small circular depressions that represent the white notes on the keyboard; and protruding metal studs that mark the positions of the black notes.
To the left of the keyboard and the wire controller, there’s a control panel reminiscent of those that you’ll find on other Analogue Systems products. To the far left of this, there’s a sprung X/Y joystick that returns to the central position when released. Above the joystick itself you’ll find two knobs that determine the output range for each axis, with a maximum maximum (if you see what I mean) of approximately 10V. There are four joystick outputs, two each for the ‘X’ axis and for the Y axis. These, like all other Analogue Systems devices, use 3.5mm sockets. To the right of the joystick you’ll find the large, sprung wooden button that also harks back to the original Martenot. If left untouched, this sits in its uppermost position, and generates an output CV of 0V. As you depress it, the CV rises progressively to a maximum of approximately 10V. Again, a knob located above the button itself controls the actual range of operation.
There are just two further controls on the French Connection, and these are the switches located immediately to the left of the keyboard. The first of these determines whether the pitch CV is controlled by the keyboard or by the wire controller. The other determines whether the keyboard produces a conventional trigger and gate, or whether the button produces an amplitude CV. There are eight physical outputs for these – three pitch CV outputs, three button CV outputs, a trigger output, and a gate output. And that’s all there is to it. Add an IEC mains input and an illuminated on/off switch to the right-hand side of the unit, and mount everything in a gorgeous, polished wooden case, and you have a French Connection.
In this video:
I had the oppurtunity to mess around with an Analogue Systems “French Connection”, an imitation of an early electronic instrument called the Ondes Martenot. This controller is CV’d up to an MFB Kraftzwerg. Just a demonstration of some of it’s capabilites. I’ll make a more musical video soon.