Inspired by
this recently bumped Muffs thread and especially
this linked post by Dave Peck, I wanted to do something using the Cwejman SPH2 Phaser for pseudo "Yamaha style" phase mod. I've enjoyed FMing filters w/ their audio source for a long time, but I've never tried it with the SPH2. It works great, really cool patch. I figured, why stop there and not just go with a whole beat through the phaser? So here is the feedforward phase modulation patch.
https://soundcloud.com/contracommunemop ... modulation
For the bassline, we have a D-LFO sine at audio rate going to the SPH2 via a SSF Mixmode. The SPH2 L and R outputs go to two channels of a VCA4MX, then stereo out to the DAW via a VCA2P; the sum of the two channels is routed to a Doepfer A199 Spring Reverb, which is routed back to the pan input of the VCA2P and panned a bit by a PH4. Furthermore, the SPH2 mix out is routed back to the Mixmode for more feedback than internally possible (inverted on the Mixmode). The mix output of the Mixmode is multed to another VCA4MX channel, from there to the L+R Spectrum (frequency) input of the SPH2 for FM. The D-LFO is sequenced from Ableton via a KMI Qunexus, its gate triggers a CTG-VC which modulates the VCA4MX channel with the FM path.
But I wanted a whole beat into the SPH2 audio and modulation paths, so next we need a bassdrum. I used a TR909 trigger into an A162 Trigger Delay to convert it to a short trigger to ping a RES4, tuned to a kick; an envelope modulates one RES4 band from an A142-4 Quad Decay (attenuated via a channel on a second Mixmode). The RES4 bandpass out is mixed into the SPH2 path via the first Mixmode.
Then, a snare. I began to realize that I was running out of mixers and VCAs, so I had to use two channels of the second Mixmode to mix the snare and (planned) hihat into the last channel of the first Mixmode (from where it's routed into the SPH2 audio and FM path). For both the snare and the hats, an audio rate RG6 that self-modulates via the random saw is used as sound source. The snare is triggered by a TR707, using another A142-4 channel and the last VCA4MX channel. It uses the high S/H output of the RG6 as audio source. The slew on the RG6 acts as a lowpass filter on the three S/H outs. So, I also used the same A142-4 decay envelope to open the RG6 slew.
The clock and random saw outputs of the RG6 are not affected by the slew, so I could use those for the hihats. Self-modulating the RG6, as mentioned before, makes sure that the clock is not just a steady square. They are mixed into the two audio inputs of a FSH1 Frequency Shifter. I didn't have any more VCAs – I could have patched the main audio path more parsimoniously probably (not using up the VCA2P just as a “2bus” output), but there you go. So I bastardized a Makenoise Maths channel into acting as a VCA, routing the up output of the FSH1 to it and from Maths to the SPH2 path. Another A142-4 envelope (triggered by a Dark Time) is used to open the Maths "VCA" and also to the (attenuated) FSH1 carrier frequency input. The second D-LFO channel is used to slowly modulate the FSH1 frequency (via the last available channel on the second Mixmode).
Finally, there's a fun trick for the main stereo output on the VCA4MX channels. The bassline from the D-LFO didn't have any VCA gating so far (only the CTG to modulate the FM path), so the last A142-4 channel is available for that - but this is the “2bus”… So I multed all A142-4 outputs (i.e., the individual VCA envelopes) to an A172 Max / Min, using the max output to modulate the VCA4MX “2bus” channels. A bit like faking an envelope follower for the whole thing
That's the patch, then I jam up a track tweaking the "mixer" levels of the four instruments, the SPH2 feedback, SPH2 FM and envelopes, trying to get a nice slow buildup. I start with very little feedback on the phaser and bring it up about halfway in. In the beginning, I show some of what can be done with only the sine from the D-LFO. This phaser-based "Yamaha FM" emulation patch is really cool IMO. You can hear the Lately Bass in there if you listen closely

With the three-part beat into that FM path as well, it's easy to create quite a distorted mayhem of FM goodness, especially using lots of feedback.
As usual, bit of EQ, compression and reverb in Ableton to polish it all. That kick and bassline fully stereo is not something you wanna try on vinyl

I reduced the volume of the side signal a bit with the Ableton Utility and cut out some of the low sides with the EQ in M/S mode. No editing at all and I think the first patch in the series without delay!
Hope you enjoy it and cheers!
