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Manhattan Analog – SVVCF [matttech]

Manhattan Analog SVVCF Audio Demos



A set of fairly basic demos, using the Manhattan Analog SVVCF Multimode Filter. I aimed to keep to the one-to-two minute mark as much as possible, as I do have the tendency to record way too much material!

Demos 02 to 06 were based around the same patch, to demonstrate how the SVVCF responds to a variety of tweaking, techniques and modulation. Demos 01 and 07 were slightly more freeform patches.


DEMO 01 – Lowpass Squelch

Some gloriously squelchy Lowpass meandering and wobbling.

Patch Details 

1. Three outputs from Intellijel Rubicon into the SVVCF’s three mixer inputs.
2. Slow random gates clocking the Turing Machine
3. Further random gates triggering the Makenoise Function
4. One output from the Turing Machine’s “Voltages” expander used to modulate the SVVCF’s cutoff, and the second output gradually introduced in order to modulate the BOTH input of the Function, randomly altering the envelope length.
5. Various controls tweaked during the recording: SVVCF’s cutoff, resonance, input levels, CV input level; Voltage’s output scaling.

Some reverb applied during mixdown.


DEMO 02 – Input Drive

Patch Details

1. Direct out from SVVCF, with three waves fed into the 3 mixer inputs to demonstrate how it responds to level tweaking.
2. A Saw, Double-Saw and Pulse were used, all coming from the Intellijel Rubicon.
3. Modulation was applied to the Exp FM and PWM of the Rubicon, whilst it was being SYNCed (HARD SYNC) from a Dixie, set to drone on one note.

Slight reverb added during mixdown. No EQ.


DEMO 03 – Lowpass Envelopes

Patch Details

1. Filter (LP) output used this time, with Rubicon’s Double-Saw, Zigzag and Pulse waves used – again, synced to the Dixie.
2. Two different z4000 ADSRs were used, triggered by different random gate outputs from the a149-2 – one with a soft attack, and one with a snappy attack.
3. The snappy one was also set up so that short gates would fire off its fast release stage, but longer ones would set a slow decay in motion.
4. The levels of the different waves in the SVVCF mixer, the cutoff/ resonance, and the CV attenuators were tweaked during recording.

Slight reverb added during mixdown. No EQ.


DEMO 04 – Bendy Bandpass

Patch Details 

1. For this recording, the SYNC provided by the Dixie (in the previous demos) was removed, and the Rubicon’s frequency was lowered substantially, so that it dived down into rhythmic clicking territory.
2. The Bandpass output of the SVVCF was used, with the same two z4000 ADSRs controlling the cutoff, and one of them multed to the Exp FM input of the Rubicon to further bend things.

Slight reverb added during mixdown. No EQ.


DEMO 05 – Highpass Self-Osc

Patch Details 

1. On this demo the Rubicon’s SUB was added into proceedings, combined in the SVVCF mixer alongside the Double-Sine and Pulse.
2. The Rubicon’s main frequency was set to a more reasonable range, in order to accommodate the SUB.
3. The Highpass mode was used this time, and I set the SVVCF up so that it was tracking the same sequence that was controlling the Rubicon’s pitch.
4. Gradually I bring in the resonance until it is self-oscillating alongside the oscillator waves.
5. After a while I start backing off some of the waves to demonstrate how the self-oscillation and mixer saturation combine together to create a wide range of extra tones.

No effects added during mixdown. No EQ.


DEMO 06 – Highpass Self-Osc SUB FM

Patch Details 

1. On this recording I used solely the Double-Sine wave from the Rubicon, at a fairly high pitch, and then used the SUB output to FM the SVVCF in Highpass mode.
2. Gradually I increase the FM amount, and also tweak the Resonance.
3. It’s amazing how much it sounds like i’ve actually added another waveform into the filter’s audio input, when in reality it’s merely the effect of the cutoff being modulated, bringing in lower frequencies.


DEMO 07 – Warm Plonks

This recording used a different patch from the previous 5, and is a slightly longer demo – gradually creeping out of my self-imposed one minute limit!

Patch Details 

1. Various complex random rhythmic triggers and gates were set up in a Sequential Switch, in order to clock the a155 sequencer, and also to fire off envelopes from the Function, switching between its Trigger and Signal Inputs via a Voltage Controlled Switch.
2. So…erratic patterns and envelopes were achieved, with modulation sent into the envelopes to add further variety.
3. The SVVCF was used, fed by 3 Rubicon outputs, and the a155 controled the Pitch of the Rubicon, along with the 1v/oct CV input of the SVVCF.
4. A Dixie FM’d the Rubicon to add interest.
5. The SVVCF’s Cutoff and Resonance were tweaked during recording, as were the FM settings on the Rubicon.