Shifter Shootout

A comparison of two frequency shifters: the Cwejman FSH-1 and Synthesis Technology E560 'Deflector Shield'.


Two 'Klangumwandler': one analogue, one digital. One is capable of wide shifts, the other of going thru-zero.

To kick things off, here's a multi-tracked recording featuring both: 


Download the album for €1 or more to access the examples.

Internal make-up aside, the key difference between the Cwejman and Synthesis Technology modules is the range of available shift. The FSH-1 is quoted as spanning 0.02Hz to 12kHz. The E560 concentrates on lower frequencies to take advantage of the stereo effects made possible by shifting thru-zero.

Take care of your ears and speakers with these recordings!
Here's a quick manual tweak of the frequency.
(range, MMF-1 sine. FSH-1, then E560).

While the Cwejman has a switch to toggle between LFO and audio rates and a fine tune dial, the SynthTech relies on a single frequency knob with a highly-exponential response. This makes it easier to dial-in slower rates, but, as you can hear, the jump in the last 10 degrees of the pot's rotation makes it harder to set higher frequencies.

Unlike the FSH-1, the E560 is capable of thru-zero shifts, offering enhanced stereo images. Modulated with a bi-polar CV, the up & down shifts swap sides; what's up, goes down and vice versa:
(e560_thruzero, MMF-1 sine. E560, manual tweak, carrier 8).

Due to it's highly exponential response and clamped range, the E560 seems happiest at slow rates, producing lush tremolo effects. Here's an example, isolated from the first recording:
(e560_slow, RES-4. E560 carrier wave changed near end).

By contrast, the FSH-1 will track higher changes:
(hitrack, MMF-1 sine, CV to FSH-1 then E560).

This opens up timbral possibilities which, given a suitable offset, can sound similar to linear FM:
(fsh-1_tone, MMF-1 sine, FSH-1. 50-50 mix. Eos reverb).

These last clips show what's possible when putting a FS in the feedback path of a delay:
(e560_fsdelay, EHX SMMH, E560 plus feedback).

Carrier bleed is the bane of the analogue FS. The E560 does not suffer from this. The FSH-1 quotes good carrier suppression, but I initially couldn't get the above patch to work. The more feedback I introduced, the louder the howl of the carrier. I asked Wowa Cwejman who suggested calibrating the FSH-1 to my system/ power supply. Two trim-pot tweaks later and the carrier was as good as gone:
(fsh-1_fsdelay, EHX SMMH, FSH-1).



The build quality of both modules is excellent. The Cwejman has attenuators for its inputs and a VC-able up/ down mix output. The SynthTech has a built-in feedback path and dry/ wet control. To my ears, the FSH-1 has the superior sound, but it is almost twice as expensive. The E560 offers thru-zero shifting but, in practical terms, is limited to low frequency shifts. Both modules have a ring-mod mode, offering out-of-phase outputs for extreme panning effects. The E560's phaser mode might not be as pronounced as a dedicated unit like the SPH-2, but it is a nice bonus. The FHS-1 can also be pressed into phaser-like duties by mixing dry and wet signals and introducing some single sideband feedback. The E560 alone offers morph-able carrier waveforms, a unique feature in a hardware FS.

Thanks to Paul Schreiber and Wowa Cwejman for taking the time to answer my questions and to Schneidersbuero for the loan of the modules.

Schneiders London Testsalon Opening

Some pictures from the opening event at Rough Trade East last Sunday.









It's been a while since I've been down Brick Lane and I was amazed at the buzz on the streets. Rough Trade East is a great location for the Testsalon and I wish Andreas and the lads every success with the venture. Thanks to everyone who came along - it was great to meet you!



TOP: Cwejman RES-4, MMF-1, Toppobrillo TWF, A-132 VCA, Harvestman Hertz Donut, VCA-4MX; BOTTOM: A-147 VCLFO, A-160/1 clock divider/ sequencer, Fonitronik Attenuverting Mixer, Analogue Solutions SH-NZ, Make Noise Wogglebug & Maths, Bananalogue/ Serge VCS.

Above is a picture of the 6U case I took with me. I can happily confirm that it met Easyjet's carry-on luggage regulations. There was a sharp intake of breath from the passengers behind me as I opened the case at security in Berlin - the people at Luton didn't even bat an eyelid. I asked Easyjet about taking a 9U as carry-on: unfortunately, it's too big.

Putting together a 6U performance case was a real challenge. My normal approach is to ensure that I have all eventualities covered e.g. VCAs, polarizers, mixers etc., but this time the solution was to think in terms of the set I wanted to play and populate the case accordingly. Anything I hadn't used in rehearsal (mults, logic, sound-shaping filters, complex envelopes etc.) was easily left out.

My set comprised of three sections and relied on re-patching & repurposing the modules e.g. filter as oscillator, envelope as trigger delay etc. Rather than using LFOs, a joystick or keyboard/ Pressure Points, I made all changes manually.

Section one: white noise tuned by the RES-4 to provide a pad, the MMF-1 randomly pinged by the Wogglebug (the Allen Strange 'tail-chasing' patch); section two: my faux binary zone patch (MMF-1 through TWF as bassline), RES-4 pinged by clock divider for 'Berlin-style' stabs, high-pitched waveform discontinuity sound from Hertz Donut principal as high hat, modulator as kick drum and, section three, the RES-4 excited by the VCS and run through the TWF for some distorted klonks, with the HD providing some 'stupid' accompaniment and the MMF-1 rumbling the subs.

Part workshop, part gig, this was an interesting experience - despite rehearsing, the one thing I wasn't prepared for was shaky patch-hands. On more than one occasion, I missed the jack and hit the face-plate! Self-contained instruments like Maths, the Wogglebug & Hertz Donut are perfect for small systems (although the latter's secondary CV inputs, which need to be activated, are hardly performance-friendly!). The biggest lesson, though, was to bring your own monitoring: if you can't hear your music properly, you can't respond. Next time, I'll be wearing headphones!

Cwejman Update

For those of you for whome the MMF-6 demo recordings were too 'heavy metal', here is a recording of some of the more subtle shades of saturation Cwejman's new filter is capable of:


MMF-6 Subtle Saturation

Low Pass 'clean' output. An analogue sequencer was used to modulate the cutoff frequency while the resonance and symmetry parameters were manually tweaked. The VCO's frequency was constant.

I liked the effect of this 'harmonic sequencing' so much, I tried it with my MMF-1. In the following example, I manually tweaked the frequency, resonance and 'spacing' while in dual-peak 12 dB band pass mode:


MMF-1 Dual Peak Harmonic Sequencing

Some more information on the CTG-VC and new look:

With no gate applied, the CTG's sustain is 'high' and can be used as an offset.

Despite lacking a D-Slope CV input, this parameter can be voltage controlled by taking a mult of the envelope and feeding it back to the decay CV. This is exactly the same patch trick I used to attain CV control over Math's curves. Depending on whether the feedback is positive or negative, one can change the response from exponential to logarithmic. Again, +1 for Doepfer's A-133 VC Polarizer!

And finally, Wowa says he plans to successively change all panels to the new, classy 'pearl white'.

Patch of the Day - Ping

Live patch featuring a modified Doepfer A-162 Trigger Delay to ping filters, including a Cwejman MMF-1, RES-4 and a Metasonix R-54.





I love the sound of a pinged filter and normally use Maths' EOA to convert a gate signal into the short pulse necessary to achieve this. Having only one Maths in my system, this can be an 'expensive' use of the module, so I wondered whether the A-162 could be a cheap alternative.

At 10V, the A-162's output is hot enough to push a filter into oscillation. Unfortunately, the stock module's minimum time is only just short enough to avoid a double-trigger. I first replaced the standard 10 uF timing capacitor with a 1 uF, but, despite shortening the range by a factor of 10, it didn't give the scope I wanted, so I settled on a 0.1 uF blocking cap!

At the beginning of the recording, you can hear the effect the pulse width has on the MMF-1's ring as I increase the length up to the point where it double-triggers and back. With a 0.1 uF cap, the pulse is so short it can also be used to FM the filter to add a percussive edge.

If you want to try this mod on your Trigger Delay, or other Doepfer module with a timing capacitor, there's more info here.

See an update to this post here.

Clash of the Borgs

A quick comparison of the Malekko Wiard Borg 1 & 2, also featuring Plan B Models 12 & 13.



The Borg 1 (white knobs) employs slower vactrols, allegedly giving it a mellower sound and longer decay than the more aggressive, black knobbed Borg 2. I'm a big fan of the Plan B Model 12, but sometimes find it's response to CVs either too linear or lazy, so I was keen to hear the Borg 1 for myself.

Here's a fairly representative recording of the difference between these filters:


(Borg 2, Borg 1, Model 12)

I really liked the Borg 1's soft edges and muted tones. Its response is slower than the Borg 2 and this makes it a more natural sounding LPG. It might even have the edge on the M13, which tends to lose the initial transients. I don't find either Borg particularly useful for BP or HP duties and this is where the M12 shines. I tried patching both Borgs in a BP series, but didn't find the results as interesting as the dual-peak BP mode of the Cwejman MMF-1. That said, both Borgs are fantastic LPFs with attitude and character. Sonically, the B1 sits squarely between its more aggressive sibling and the rubber-funk of the M12.

You can download the full set of recordings, including the obligatory LPG 'thwap' test, here (3.2MB), but be careful with your speakers on the 'rumble' MP3!

Thanks to Schneidersbuero for the loan of the module.

Patch Tips #15 - Non-Linear Distortion

I recently stumbled across the Nord Modular's exponential shaper module while looking for something to bend a signal. The ShpExp works with transfer functions to generate non-linear distortion. This can give a sound edge, without totally shredding it. Of course, my next thought was whether it would be possible to patch something similar with my system. As usual, Rob Hordijk had the answer.



The trick involves generating a signal at twice the frequency of the source, which will then be used to modulate the amplifier. The easiest way to do this is to patch multiples of the source to both inputs of a ring modulator, effectively multiplying the signal by itself. This performs full wave rectification and, in the case of sine waves, frequency doubling. Patched to a linear VCA, a sine wave is bent like this:



Here's how it sounds:


Mono- then Duo-phonic signal. Clean Cwejman signal path (MMF-1 sine, VCO-2RM RM, VCA-2P)


Mono- then Duo-phonic signal. Dirty Doepfer signal path for added crunch (MMF-1 sine, A-133 as RM, A132-1 VCA)

Feeding the rectified, frequency-doubled signal back to the source, rather than the VCA, will bend the sine into a triangle, albeit with a different pitch. Try varying the FM-CV amount, other VCO waveforms or even polyphonic signals for seriously warped shapes.

I used the VCO-2RM and A-133 which, being dual, allows one to cascade and further multiply the modulator. Frequency doubling or rectification can also be achieved by feeding +ve & -ve signals to a min/max analogue logic module like the A-172 & Maths' OR processor or Doepfer's A-119 ext. input module, as per this Patch Tip. Like the A-133, Fonitronik's forthcoming mh31 and Makenoise's modDemix provide one-stop solutions.

I'm not sure if this process is in fact single-sideband modulation as the modDemix description suggests, but it's certainly closely related to Amplitude Modulation which will be the subject of the next Patch Tip.

Release: Basic Electricity #1 Live EP

For those who couldn't make it to the recent Basic Electricity event at the Auxxx in Berlin, here are the recordings of my set.





Making their debut at this gig were the Doepfer A-199 Spring Reverb, A-112 Sampler/ Wavetable Osc. & Cwejman FSH-1 Frequency Shifter. They were supported by the usual suspects: RES-4, MMF-1, Toppobrillo Triple Wave Folder & Sport Modulator, Harvestman Hertz Donut, Makenoise Wogglebug and, of course, the EHX Stereo Memory Man w/ Hazarai.

Patch of the Day - Harmonyhertz

I twisted my knee and had to undergo an MRI scan this week. For those of you who haven't had the pleasure, this is what it sounds like:

Harmonyhertz-PotD  by  navs

Having entered the machine, you're given a pair of noise-canceling headphones. The classical music that is piped through these is supposed to calm and distract you from the grunts and buzzes generated by the scanner. Don't know which device was responsible, but the kick and hi-hat pattern was a bizarre counterpoint. Sort of like a Clockwork Orange warehouse party. Someone with a sense of humour at Siemens, the company that built the contraption, decided to call it 'Harmony'. The nurse told me that the larger unit is called 'Symphony'.

THE PATCH

The patch features four voices: kick and hi-hat, ring modulated squarewaves, FM klunk and some 'ducked' classical music. Although I managed to use up nearly all of my patch cables, it was actually fairly straightforward.

Drums: MMF-1 sine wave kick, M12-filtered-noise hat. LFO provides rhythm, VCS provides gate delay for 'swing'.

Buzz: Wogglebug stepped out provides slow pitch changes for VCO-2RM. Two square waves, with a touch of XMod and manual pitch and PWM tweaking, are output from the ring modulator. Timing is generated by the burst out of the WB which is patched to a clock divider. The /8 gate signal triggers one Maths channel. An inverse /8 gate is fed to a second Maths EG so that the klunks are timed to occur after each buzz has sounded.

Klunk: M15 & AFG lin FM plus some pitch woggle and envelope thwapping from Maths and the mix out of an A-143-1. Maths' EOC used to trigger the Doepfer, klunk gated by M13 LPG.

Classical: Borg-filtered with a bit of FM from the combined buzz & klunk CVs. Vactrol speed in evidence as the CV takes a while to fade away from it's peak.

Ducking: this was achieved by sending the classical sample to the first channel of an A-134-2 VC Xfader, the audio mix of buzz and klunk to the second and applying the combined buzz and klunk CVs to the (asymmetrical) Xfader.

Hope you enjoyed the sounds and remember to look after yourselves!

This PotD dedicated with thanks to the docs and nurses.

Cwejman RES-4 Demo

Recordings of the quintessential Cwejman module, the Quad VC Resonator.




Download the album for €1 or more to access the audio examples.

For an overview of what the module does, read this Sound On Sound review and for some practical tips on how you might use the RES-4, read this chapter of the classic Synth Secrets series. If the formant techniques described by Gordon Reid sound too much like hard work, you could, of course, just patch a sawtooth into the RES-4, twist the knobs and see what happens.

Listen to the 'Oriental' and 'Formant' examples. The recordings not only show off the sort of vocal effects the RES-4 is capable of, but also the stereo spread caused by the phase cancellations and additions of the four filters when mixing the BP and Notch outputs. 'Voice' and 'Breathing' are similar, using higher Q settings for some resonant phasing. As you can hear, the RES-4 can be used for frequency-dependent panning.

Unlike the MMF-1, the RES-4 needs an input to start oscillating or ringing. A little white noise or short trigger impulse from Maths' EOR does the trick nicely. Listen to the 'Ping' and 'Shiftregister' examples. For me, this is the quad resonator's trademark sound. I know it drives some people nuts, but I love it. Higher Q settings will yield longer rings, using Pressure Points or an analogue shift register allows you to play four-note chords or complex cascades.

Feeding the result into a wavefolder can add bite or bring out steel string-like qualities. Tuning the resonant frequencies and adjusting the gain levels gets you into physical modeling territory. Listen to the 'TWFolded' and 'Logdrums' examples.

'Spacejam' show-cases some of all of the above. It's a single pass, live recording featuring just one VCO, the RES-4 and maybe a touch too much EHX SMMH delay. When the oscillator is slow and the Q high enough, the filter is pinged. At audio rates, the effect is similar to the first couple of recordings.

One last feature that should be mentioned is the amount of voltage control this module offers: frequency and volume on master or individual level, bandwidth per filter. As stretta expertly shows, this allows dynamic and precise settings, although so far, I've been happy enough making manual changes.

I ignored the RES-4 for many years, in part due to its price, but in the time that I've had it has become a firm favourite. The build quality is top notch and the sonic results unique. For more RES-4 examples, listen to the 'dampf', 'nutong' & 'eszieht' tracks from my Synthetic Nature EP or run this search.

First Patch of the Year

Dusting off the cobwebs after a week on the Baltic Sea island of Rügen

Der Rasende Roland by navs

Another P3 driven track featuring four elements: VCO-2RM cross-modded and 'thwapped' by a VCS to a Model 13 LPG and gated by an A-143-1, AFG FM'd by an A-105, MMF-1 dual sine pinged & VC'd and some white noise sweeps.

Happy New Year to all!

A-162 Trigger Delay Modification

An update to this post on how to modify a Doepfer A-162 Dual Trigger Delay for perfect filter pings.



Replacing the A-162's stock 10uF capacitor with a 0.1uF helped, but meant that most of the useful range for pinging filters (0.5 - 2ms) lay within the first 10% of the pot's throw i.e. settings between zero & 1.

An attempt to reduce the resistance of the pot failed to help, so I replaced the 0.1uF with a 0.01uF/ 10nF cap. This did the trick: a setting of 5 now yields a ca. 2ms long pulse.

Here's a clip of three filters being pinged with various pulse widths:


Cwejman MMF-1, RES-4 & Metasonix R54.

As you can hear, the tone and volume are affected by the length of the pulse. This is even more apparent when the filter additionally receives pitch CV. The R54 shows the most dramatic response to changes in pulse length, especially when an attenuated multiple of the trigger is used to apply some pitch bend or 'thwap'. The A-162 is also perfect for pinging low pass gates.



Above is a picture of the solder-side of the board. I've marked two possible connections, depending on the type of capacitor you want to use. The two holes marked in pink are connected by a trace to allow for 'extra leg room'. The cap should be connected between the green and one of the pink holes. Pay attention to the polarity if you're using an electrolytic cap.

Needless to say, this mod will void your warranty and is your own risk. It's not difficult, but if you don't want to do this yourself, Doepfer offer a modification service on most of their modules at very reasonable rates.

Thanks to the Wigglers who helped in this thread.

Patch of the Day - Automation Uncertainty

Three VCOs running as External Instruments in Logic, random CCs & pitch information generated by a Sequentix P3 to various plug-in parameters.


Automation Uncertainty

The patch:
1) Livewire AFG linear FM'd by Cwejman MMF-1,
reverb depth modulation.
2) Cwejman VCO-2RM > Plan B M13,
delay time & level modulation.
3) Cwejman VCO-2RM > Doepfer A-105,
flanger feedback-level modulation.

Shame there aren't any decent, fully CV-able stereo effects in Euro format yet, as I'd far rather do this in the modular realm than faff around with assigning CCs. But in terms of flexibility and price, it's a good compromise for adding some modulation madness to your patches.

Welcome to Navs Modular Lab!

Welcome to navs.modular.lab, a resource for Euro format module reviews and samples.

Over the past year, I've tested more than 20 different VCOs, VCFs, VCAs, Modulators and Manglers and posted the results over at the Canecutters website. I'll be moving the tests from their old home during the next couple of weeks and adding some new ones. You can look forward to Plan B's Model 10 Polyphonic Envelope, Doepfer's Source of Uncertainty and some lovely examples of the Livewire AFG's FM capabilites.

This site will also be home to Patch of the Day, my modular patch diary which has just celebrated its first birthday.

But to kick things off, I've got some demos of Bleep Lab's Thingamagoop which I bought here in Berlin at General Robots - a great shop full of things you didn't know you needed.



Not exactly modular, but fun nonetheless!


Thingamagoop Rises


Thingamagoop Flies


Thingamagoop Modulates

Thingamagoop did his thing through Cwejman's MMF-1 filter and a Roland Space Echo. On track 3 I ran him through an envelope follower and took the signal to stimulate a pair of ring modulating VCOs (Cwejman's VCO-2RM).

Hope you enjoy the sounds & site and look forward to your comments!

Cheers,

Navs

Release: Trans Europa Exzess

Studio version of my set at the Schneidersbuero Superbooth event at the Saasfee Pavillion last week.


I took a 6U system to Frankfurt, which was the same rig I used for the above recording: 4MS RCD + breakout, Analogue Solutions MX224 & SH-NZ, Cwejman RES-4, MMF-1 & VCA-4MX, Doepfer A-133, Makenoise Wogglebug & Maths, Plan B M15 & M12, Toppobrillo Sport Modulator & Triple Wavefolder and, of course, the EHX Stereo Memory Man w/ Hazarai.



This was the first time I received the full security check the airport, involving a visit to a special room and swab test on the case. A tip for modular travelers: when asked whether you are a DJ and your equipment is a mixer, answer 'yes' to both questions.

Thanks to Andreas and all involved - it was a great evening!

Patch of the Day - Define Time

Thru-zero linear FM fun with the Cyndustries Zeroscillator and Toppobrillo Sport Modulator.





Today's PotD showcases some of the lovely linear FM timbres and stereo effects that the ZO is capable of. It's a single-pass recording of the 0 and 270 quadrature outs, panned hard left and right, with only a little plate reverb from Audio Damage's Eos added. I used a self-oscillating Cwejman MMF-1 filter as modulator, manually offsetting its pitch with four pre-set voltages from a Fonitronik mh01.

The Sport Modulator drives the patch, delivering both CVs and gates. The cycle/ sample times were nudged manually, with some cross-modulation and the stepped random signal of a Wogglebug. The latter's smooth out modulated the attack time and loop trigger of a Cwejman CTG-VC. At high speeds, the envelope amplitude modulates the VCA-2P used as the final gate, adding further sidebands to the mix.

Patch Tip #4 - Gate to Trigger Converter

Using Maths to convert a gate to trigger to ping a filter.

To get really percussive sounds when pinging a filter you need an extremely short impulse. Envelopes are either too long or generate a decay phase which can lead to a misfiring of the filter.

To get clean, short spikes feed your gate signal to Maths' channel one, set R&F to zero and patch the EOR out to your filter's audio input. You can vary the trigger length by altering the fall time or, for more subtle changes, the response curve from log to exp.



In the example I've used the Pressure Points to generate the gate signal which is fed to Maths for conversion, row one to provide a pitch CV and row two to set the dual peak spacing on a Cwejman MMF-1.

PotD - We All Pass Out

Using the All Pass output of one of favourite filters - Plan B's Model 12 State Variable Vactrol Filter - to create a phasing effect. Inspired by this old thread at modularsynth.net




PotD - We All Pass Out

FM'd self-oscillating Cwejman MMF-1 filter sent to both a mixer and the M12, All Pass out returned to mixer. Gated by a Bananalogue/ Serge VCS which is responsible for much of the sequence's funk due to its inability to re-trigger.

The phase cancellations are clearly audible at around the 10 second mark as I fade in the all-pass signal to the mix.

The balance between original and all-passed signal is key to getting the phasing right. The M12 is capable of some very musical distortion (more on this below) and I think I pushed the filter's input too much in the first example. To compensate for the source material's lack of harmonics and to help set a better balance, in this example I first processed the sequence with my Ken Stone Lockhart wavefolder:


M12 as Phaser

This last clip demonstrates the Model 12's characteristic 'vactrol fuzz'. An FM'd Hertz Donut is fed into the filter, Maths sweeps the cutoff while I manually adjust the filter input level. I also compensated for the increased volume at higher fuzz levels by turning down the final VCA accordingly.


M12 Vactrol Fuzz

Normally, this is just the right amount of fuzz for my liking but, if you remember this, you'll know that the M12 is capable of some truly molten sounds.

Patch of the Day - And The Bells Rang Out

A festive Patch of the Day -

AFG FM'd, MMF-1 pinged, Super Jupiter XModded & Sunsyn plain old filtered, all sequenced by a P3.

and the bells rang out by navs

Peace & prosperity to you all, Navs.

Patch of the Day - Highly Strung

Kicking off the new year with the rediscovery of the Doepfer A-137-2 Wave Multiplier and a frenzied take on a duet for two acoustic guitars:



I bought this module when it first came out, then sold it two years ago because I'd run out of space. I've been working on a track that needs a big fuzzy, 'super-saw' bass but wasn't getting the right sound with multiple VCOs and wondered if the A-137-2 might fit the bill. As you can hear from today's PotD, that's not what I ended up using it for: the A-137-2 will do phasing saw sounds, bar the subtle detuning, but I found it's also great for EML-sytle abrasive tones that can then be tamed with a filter.

The patch involves CV-ing the WM II at audio rate, LP filtering the result with the Cwejman MMF-1 and then accentuating various frequencies with a low-bandwidth setting RES-4. Gordon Reid goes into much detail about how to achieve this in his synth secrets, but I just used my ears. A Wiard/ Make Noise Wogglebug generated the timing and note information. It was kicked about by one channel of Maths, which received a mult of the stepped output, thus varying the pace and intensity of the ratchets and completing a timing feedback loop. I recorded two passes of the result, varying the patch by hand.

Patch of the Day - The FM Ratio Stepper

Who says you can't do decent Linear FM in the analogue domain?


The FM Ratio Stepper

Today's patch was inspired by my GAS for a Modcan VCDO and William H's excellent FM tutorial.

The idea was cribbed from the lovely 'harmonics' VCDO demo, with William H's ratio to pitch conversion PDF proving invaluable.

I used two channels on my Kenton Pro 2000 II to provide the separate CV's which were fed to my Livewire AFG (carrier) and Cwejman MMF-1 (modulator).