Preset breakdown

Your new modular synth comes loaded with 50 exclusive patches handcrafted by our in-house sound designers. Let’s take a tour…

BASS CM 3 OSC Bass

A rich, detuned bass patch with loads of presence, this sound is built from a relatively basic signal path. The mod wheel adds vibrato, and incoming velocity is applied to the filter cutoff. Play with lots of dynamics.

CM Acid Base

A simple, sliding, single-oscillator sound, this one has a decidedly acidic timbre with a hint of velocity-aided distortion. Glide can be added by pushing up your mod wheel. A single envelope generator is shared by filter cutoff and amplitude – just like the old Roland monosynths.

CM FM Bass

This makes use of analogue frequency modulation to add bite. Ostensibly a dual-oscillator bass, a third oscillator is used as a source of audio-range frequency modulation over the main pair. Mod wheel controls filter cutoff.

CM Manic Modwheel Bass

At first glance, this is a straightforward variation on a typical three-oscillator bass patch, but give the modulation wheel a nudge and it gets very interesting indeed, with chaotic filter modulation and a fourth oscillator modulating pitch.

CM MW Bass

A squelchy, snappy bass with body, comprising a pair of oscillators through a 24dB filter with a healthy dose of resonance. Muted in its default state, the filter's cutoff frequency is modulated by the modulation wheel.

DRONE CM Busy Drone

A ‘playable' ambient drone, this one provides a couple of slowly filtered oscillators, the pitches of which can be triggered from incoming MIDI notes. There's also a Noise Generator that feeds both the filter and a Sample And Hold module.

CM Cosmic Signals

A slightly busy self-playing drone patch combining a pair of filtered pulse wave oscillators (with pulse width modulation) with a Noise Generator. Multiple LFOs are used to slowly modulate the various parameters.

CM Sextet

Six distinct sound sources and a whopping eight Oscillator modules make this a many-tentacled behemoth of a patch. A self-player by nature, you can control the basic pitch from incoming MIDI notes.

CM Slow Drone

This is a self-playing drone with plenty of slow motion, courtesy of multiple modulation sources, including a trio of Mini LFO modules and an Oscillator in the ‘Lo' range. You can control the base pitch from incoming MIDI notes.

EFFECTS PROCESSING CM Dual Filter Mods

Wrap this chaotic, unquantised effect around a vintage beatbox loop for a truly Chrome-plated experience. Hardpanned stereo filtering and distortion with oodles of modulation make this patch a squelchy delight.

CM Flowmotion

This percolating patch modulates the incoming left and right signals with a pair of filters controlled by two hostsynced Sequencer modules. Wet and dry mix is controlled by the mixers at the end of each channel's chain.

CM Panned Band Echoes

A hard-panning effect that splits the incoming left and right audio signals to a bank of three filters each, set to differing cutoff frequencies. The outputs of each filter are then sent to one of six Delay modules.

CM Panned Mod Ring Mod

A stereo effect with hard-panned outputs, this patch passes the incoming left and right signals through dual Ring Modulator modules, each fed with an Oscillator. Host-synchronised Oscillators act as LFOs, modulating a pair of filters.

CM Stereo Auto Pan

A standard stereo audio-panning effect created by modulating two Amplifier modules with an LFO provided by an Oscillator module. An Attenuverter module is used to flip the phase of the LFO waveform.

LEADS CM GloxLead

A simple, yet versatile lead using but a single oscillator. A bit of spring reverb adds some atmosphere. Play short, staccato notes for a tinkling glockenspiel sound. Hold the notes and push the mod wheel up for a modulated filter sound.

CM ProgLead

A typical glide lead – two oscillators and a Moog-style filter spat through some ambience courtesy of the Delay and Spring Reverb modules. Mod wheel adds LFO to filter and pitch wheel bends to fifths.

CM Sync Lead

This nasal, ripping patch feeds the output of one Oscillator module into the other's Sync input and modulates the latter with an Envelope. Mod wheel adds motion.

CM Unison Saws

Six sawtooth waves detuned for a thick burst of power. An additional six filters can be individually tweaked to add even more depth and dimension. A bit of delay makes it perfect for 1990s-style stabs. Incoming velocity controls the amplitude.

PADS CM Chord Pad

Back in ye olden days, when synths were only monophonic, owners of three-oscillator instruments such as Moog's Minimoog would fudge polyphony by tuning each oscillator to a different note in a chord, such as we've done in this pad. \

CM Low Pulse

Inspired by the rumbling string pads made famous by Sequential Circuits' Prophet-5, this patch makes use of

pulse width modulation to add some motion to a deep, groaning pad. Push up the mod wheel to make it a little bit brighter.

CM MW PWM Pad

Modulating the pulse width of a pulse waveform can make for some superthick sounds. Here, we've got a massive three-oscillator buzzy pad with some envelope-based filter modulation. Pulse width modulation is introduced by the mod wheel.

CM Prophetic Brass

A once and future classic, this honking sound is inspired by the brass patches found on Sequential Circuits' Prophet-5. Two Oscillators (one tuned five steps above the other) pump out sawtooth waves. Mod wheel adds just a touch of vibrato.

CM S+H Pad

This one has two distinct signal paths. The first consists of a thick PWM pad, while the second is a single oscillator affair modulated by a gurgling Sample And Hold modulator. Both have a generous slathering of echo.

CM S+H Swell

An atmospheric pad that gradually swells and fades thanks to the Envelope Generators' long attack and release times. Pulse width modulation adds motion, and the Sample And Hold module provides a distant layer of random chime-like motion. Hold notes for full effect.

PERCUSSION CM Beatbox HiHat

White noise, a resonant band-pass filter and a couple of envelopes are all that's needed to get a skittering retro rhythm going. This one responds very well to dynamic playing.

CM Beatbox RezKick

Traditionally, analogue kick drum sounds are created by exciting a selfoscillating resonant filter. Alas, the included filter doesn't self-oscillate, so we're stuck pumping a sine wave through it. A bit of distortion and a little layered white noise beefs it up.

CM Beatbox Snare

It's a snappy snare from days gone by. This is a good backbeat builder right out of the box, but it can also be used as a starting point for your own sizzling snare sounds. Have a play (gently!) with the filter cutoff and various envelopes to shape your own timbral take.

CM Comb Drum

Inspired by early 1980s New Wave productions, this unusual percussive effect makes use of a delay with supershort delay times and high feedback settings to create something like a comb-filtered effect. It's yet another one that responds well to dynamic playing styles.

CM CR Tamb

Taking its inspiration from the chirping, cricket-like Roland CR-78 tambourine, this one combines noise and band-pass filtering to produce a metallic tone. An Oscillator module acts as an LFO to modulate the filter.

CM NoiseDrum

This loud, resonant, noisy drum patch is aggressive. Try tweaking the topright Filter module's Cutoff for a bit of quick fine-tuning. Tweaking the envelopes can lead to an unlimited number of variations.

CM Tuned Noise

Applying a tuned resonant filter to a burst of white noise is an age-old approach to creating interesting synthetic percussion that can be played from the keyboard. At lower octaves, it resembles wood blocks; at higher octaves, it sounds more like a partially-open hi-hat.

SEQUENCES CM 2-Part Sequence

The top sequencer controls the transport and fast passage. It also acts as a master clock. The bottom-left sequencer acts as a clock divider, while the bottom right controls the slower part. You can transpose the sequence using incoming MIDI notes.

CM ARP Trio

This arpeggiated patch offers three oscillators for a full sound. The Glide module is deployed for ripping portamento, and a synchronised Sequencer simulates velcoity.

CM Dotted Eight Sequence

A stripped-down sequencer patch with a major-key pattern driving a pair of oscillators and a dotted 1/8 delay. Pitch can be transposed with incoming MIDI, and LFO-to-filter modulation is introduced with the mod wheel.

CM DRM MCHN

A skittering three-part rhythm machine. The top-left Sequencer module acts as both the timing master and the gate for the hi-hat. The faders control the filter cutoff for the hi-hats. The top-right sequencer handles kicks, while the remaining sequencer deals out the backbeat.

CM Ratchet

An effect made famous by Tangerine Dream back in the 1970s, ratcheting adds occasional bursts of rapid-fire notes to sequences. The top-left Sequencer controls the rate of the main sequence (as well as the notes' pitches), the top-right the rate of the ratchet effect.

CM Sheffield

A dark, gothic, industrial drum beat. Once again, multiple synchronised sequencers create a multi-part beat with a thudding, reverberant bass drum, echoing backbeat and nervous hi-hats. The top-left Sequencer module controls rate and transport.

SPECIAL FX CM Metal Trash

A metallic industrial percussion patch, this atonal creation makes use of the Ring Modulator module to deliver the perfect preset for scoring the soundtrack to the next robot apocalypse. Three oscillators, plenty of dynamics, and some wicked distortion do the dirty work.

CM Ring Mod Sweep

You didn't think we could pass up the chance to have some fun with the Ring Modulator, did you? A classic sweeping effects patch of the sort made famous by Yamaha's CS80, We've added in some delay to get a bit of ambience.

CM SynthiNoiseFX

A sweeping, sizzling, bubbling whirlwind of white noise gone mad, this is an ideal sound effect for the mad scientist or alien explorer. Inspired by the sorts of sounds made by countless electronic instrumentalists of the 1970s, this one uses the mod wheel to add even more modulation.

CM VelBell

A clangorous, percussive tone, this patch makes use of the Ring Modulator module to combine the signals of a pair of oscillators, producing a metallic tone. Velocity controls the pitch of Oscillator 2.

TEMPLATES CM 3 OSC

A good starting point for all manner of classic synth patches, built on the architecture made famous by the Minimoog, but with the addition of a Sample And Hold module and a Delay processor. By default, Aftertouch controls the amount of sample and hold applied to the filter cutoff.

CM Drum Template

Another template with everything you need to start crafting your own custom percussion sounds, you can think of this as a one-stop shop for building your beatbox basics. Dual layers – one for the ‘body', the other for the noise of the drum. Tweak those envelopes and filters until you have percussion perfection.