 Hello, Oslate Sync here. As part of the recent 2.0 update for the Mini Freak Hardware Synth and the Mini Freak V Software Synth, Autoria launched their Mini Freak Sound Store where you can find new patches for your synth. Earlier this year I was very honoured to be approached by Autoria to make one of the five packs that are available at launch and if you head over to the Sound Store in the Mini Freak V Software you can find my pack which is called Deserted Lands which is available for free. You should also check out the other packs, all of which are made by really talented sound designers who I'm humbled to share a platform with. In this video I'm going to go through each of the patches in the pack, have a listen to them and talk a little about the intent behind them as well as showing what the all-important macro controls do. The video is kind of long because a lot of the patches are also big long ambient things that I hope are worth taking the time with. Before we get going while I have you here, I don't do sponsor spots in my videos nor do I have a Patreon, so if you've ever wanted to support the channel probably the best way to do it is through buying my music and to that end I've just put out a new EP called The Shuddering Machine. You can find it on Bandcamp and I'll put a link to it in the description of this video. If you enjoy the darker ambient drone sounds which make up a good proportion of this patch pack, then you might also like this EP. I hope you can check it out. Anyway, time for the patches. So this is a darkening. This one's based around two of the bass oscillators which ProTip are not just for bass, I love them for pads because they get so textured and rumbly. I have to touch there just to darken things up and bring that pitch down a little bit. All the macros, a second one here will brighten things up. And this first one introduces modulation of the resonance and the filter which gives you more movement in the sound. This is a warmth which is a bass oscillator running into the comb filter this time. I really love using the comb filter to process another oscillator. It can add so much character to it. After touch here introduces kind of like a noisy, unstable modulation. Macro two here, brighten things up again. And macro one affects the comb filter so you can find all these different resonances and tonalities or move them around. The two are quite interactive, like a manual flanger. And Gallic Bloom, this one's all about the destroy oscillator and oscillator 2 having those sort of bitcrushery noisy sounds. And I think there's also a bitcrusher in the effects as well. That post reverb, so it's also affecting the reverb. So this one's all about the bitcrush but it has this quite haunting, gentle, almost like vocal thing going on because of that bitcrushing. The macro two darkens things up a little bit. Many things warmer and hiding some of the artifacts. And macro one is bringing in a different set of artifacts I think by affecting the individual oscillators more than the main output. One of my favourites in the pack actually I think, because I really like bitcrushing and sample rate reduction. I think it can sound quite beautiful. Bad Tempera, this one is kind of an E piano patch but I've messed around with the spread of the pictures across the keyboard to get something like a 19TT I think. But certainly an octave is not an octave here. So you have all of these interesting in-between tones and you can kind of just find your way around the keyboard to find these weird chords and intervals. So macro two is making things more plucky. A little bit more digital sounding maybe. A bit more of a synthesiser sound. And macro one is a bit noisier textured, yes. A good one if you're trying to mess around with different temperance. Bad news is a dirty barking bass. How much bark you get is quite dependent on the velocity. On the macros, macro two kind of brings in this sort of metallic overtone to things. Which again is more evident the harder you play. And macro one gives you more of a soft onset. Quite nice when you use the two of them together actually. A bit portamento. Never hurt anyone. Bones and horns is kind of a self-playing kind of thing. Let's just hold those notes down shall we? You can hear that it's playing its own sort of rhythm. Both sort of these swooping sounds but obviously these kind of woody donks and those woody donks are coming from the phaser oscillator on oscillator two. Which if you turn the feedback up high you can sort of ping into and get these nice woody things happening. On the macros, macro one is going to speed things up. The overall kind of rate is affected by the incoming midi clock as well. And macro two gets these kind of brighter and sort of more harmonic sounds happening. Which are quite interesting but you can kind of just hold some some keys down and let this one do its thing. High notes have these nice woody things going on as well. Almost a still drum sound over the top of macro two. Tude tape is probably one of the most classic oscillator sync style patches and that we have kind of like a broken tape pad here. The big thing here is of course that sort of rapid sample and hold pitch modulation to try and emulate that broken wobbly tape. Macro two gives you more ambience. Macro one introduces phaser and a darker sound probably a bit much of at the very top. And it kind of gives you that string machine vibe but you know through a phaser and broken. Creeping Fear is one of the first patches that I did for this set. And it's you know kind of unpleasant in a way. This sort of string section with discordant harmonics coming in in there and someone like the violinist is playing harmonics rather than the actual note. It's actually quite plucky on its attack if you play harder. This is another bass oscillator into comb filter patch actually it's just a combo that I really enjoy. As on many of the patches macro two brightens things up but it also softens the attack to make it more stringy. Macro one introduces this kind of tremolo but it's inside the comb filter so it's quite unstable like someone's tapping on the strings ominous down at the bottom end as well. Quite cinematic I think. D-Clock Gain is an 8-bit organ sound and has one of my favorite sequences that I wrote. So I'm just gonna get that going. Yeah so on the macros we have some flavors of bit crushing on macro two also affecting the bottom end. Macro one is messing with the harmonics on the harmonic oscillator which is on oscillator one which kind of gives you that sort of subtle octave shift as we move up through the harmonics. Yes one of my favorite sequences if nothing else. Doom flute is so named because it did start out as a flute patch believe it or not not so much of a flute patch now but it does maintain one aspect of the original flute patch which is that at lower velocities you get kind of a slower onset as if you're blowing gently on the flute or as if you play harder you get a more sudden onset. But it ended up being kind of a doomy bass sound maybe a distorted flute off at the top. Macro two brings in some bit crushing which gives you some interesting times especially down at the bottom end with those slow onsets playing gently. Macro one is introducing more ambience. Doomy. Dino breaking is kind of an E piano patch but I wanted to make it like really broken so we've got distortion and sort of an unstable reverb going on in there. It's quite nicely responsive to velocity. On the macros macro one turns it into a pad essentially and quite a nice pad as well because those harmonics that made it into an E piano are nice harmonics to hear inside a pad as well kind of get two patches for free. Macro two breaks things more so more distortion more ambience like things that basically disappearing into the background particularly nice with macro one turned up distortion might be a bit much for some people so you can always turn it down in the effects but I just like distortion. Ezel is it's a riff on a Buchler music easel it's a self-playing hatch and I've tried to mostly replicate the architecture of a music easel inside the mini freak I did a video on this idea a little while ago. The macros macro two is all about ambience putting things in a big reverb there which is nice to just kind of swoop in and out. Macro one affects the overall tone of the patch in particular it brings up that resonance so the things have it all sort of vocal but a nice one to start twisting the knobs on and finding and new ideas in there for sure. Empet is a broken trumpet sound basically again kind of trying to make it sound like it's on sort of a broken worn out tape in terms of what we have on the macros. Macro two is kind of like ambience but also makes things darker and broken in a kind of different way kind of makes things softer more sort of nostalgic. Macro two gives us a more plucky attack so it becomes less of a trumpet sound sort of outright but more of a kind of a key sound because I kind of like to have that kind of trumpet rasp to it but somewhere between that and like a harpsichord kind of thing or a clavo. The lower octaves sound good as well especially for having that sort of bed quite evocative I think. So this is gazed and check it out it's another pad sound making use of two bass oscillators because they are amazing for pads and I was going to try and draw influence from techniques used in shoe gaze a little bit on this one although it didn't end up being quite as rooted in those ideas it kind of has that kind of swelling idea of having reverb behind distortion very textured. On the mod two we have sort of more distortion and a little bit more brightness a little bit more ambience everything becomes a bit more intense and the way that the notes kind of bloom together becomes more important. Macro one kind of just breaks the sound in interesting ways brings in more sort of modulation to everything kind of makes it more paddy and less kind of distorted as well in a way or less I don't know less something but there are lots of sweet spots in the macros. Grave keys started out more as a kind of intellectual challenge because I wanted to create kind of a bouncing ball thing and I wasn't even sure when I started making it whether it was going to be in the pack because it was more like I wonder if I could do this thing but what the bouncing ball physics which is just a manipulation of some envelopes and and some LFOs really but it creates this sort of lovely pseudo delay which doesn't really establish itself with a tempo which turned out to be quite a nice thing. Macro one gives us more ambience sort of adding real delay on top of the bouncing ball delay so a fun experiment but one that turned out to be quite a nice sounding patch. So harp C chord asked the question what if harp C chord but like eight bits or less than eight bits even I don't know how much it sounds like a harp C chord anymore actually but in terms of a kind of an eight bit sound it has quite a nice character to it. In terms of its sort of response it's quite responsive to velocity which of course a harp C chord wouldn't be as well so again further and further away from being a harp C chord. Macro one introduces this square wave modulation which again isn't very harp C chord like but is quite evocative though sort of eight bits. Eight bit sounds. Macro two gives us a bit more ambience which works really well with the square wave. Sounds nice on its own but with the square wave and things pinging around. I think the extra ambience really comes into its own. Clang 1965 is all about texture and trying to evoke sort of sci-fi soundtracks from the birth of electronic music being used to create these dangerous alien sounds. It's obsessively a self playing patch but each time you play a note you're going to get some different sound effects this one might be great sample fodder. It has quite a nice clangy kind of attack if you play hard or a gentle onset if you play gently. Macro two increases the brightness and the weirdness. Macro one also increases the brightness but in a different way a more conventional way I guess by just opening up the filter things can get a little spooky with both the macros up high anyway we should probably return from the effort and product. So Odysseyq is kind of drawing inspiration from the art Odyssey in terms of some of its architecture but then applying a bunch of effects as well. So again it's kind of a self playing patch this isn't actually an arpeggiator it's all been done using LFOs instead although they are tempo synced. You can hear how on that one note we're having different swells and one thing I've really got into when I was making this was the idea of modulating the effects quite heavily especially with like sample and hold oscillators and as long as you have a mono sound which this is you can get these kind of quite discreet things happening within the effects you can hear that reverbs are getting drier or wetter and like the delay time is changing I think as well. So Macro two brings in a lot more modulation and Macro two also brings in more modulation but again a more sort of conventional modulation I guess again between the two there are lots of different things going on in there to get more or less weird. This sounds really nice played low as well. If you wanted to change the sort of implied scale here I think you could do it by changing the oscillator one mod quantization to get to a major sound instead you need to do it for both oscillators perhaps a bit to a particular scale that you want to use it with. Pump change started its life as kind of like a pump organ style patch I kind of morphed on from there it's kind of this kind of dark organ sound quite warbly. Macro two brings in more ambience one brings in more distortion and grit also affects the envelope of the patch after touch to bring things brighter. Quiet Chat is a patch which asks the question what if an e-piano was talking to you so you've kind of got these vocal resonances along with this kind of e-piano style and these sort of vocal resonances starts are really pretty higher up the keyboard because they kind of give you this lovely almost hollow sound to it. I think most of the vocalization sound is coming from the phaser filter oscillator on oscillator two. Macro two softens the attack and sticks you in a in a room for a very different vibe it also messes with the kind of the formants as you move it around as well which is quite neat but a bigger shift in the formant sounds comes from macro one which introduces a much more obvious modulation. One of the first effects pedals I ever bought was a boss auto wire and it made this sound which is why I stuck with it. Oh yeah oh yeah. Ressody is kind of this big dark pad that has these sort of pingy resonances that are set up inside of it that are constantly moving around. This is making use of the filter oscillator on oscillator two so that things are happening sort of per voice. I think it's one of the prettiest patches in the pack. Loads of movement happening on macro two makes some of those resonances brighter and more distorted. A bit more ambience as well almost like these whistling sounds in there. Macro one kind of sends it the other way makes things darker and more stark. You can kind of use the two together. This again is a use incidentally of the bass oscillator on oscillator one to make a lovely pad because it's my favorite oscillator for making pads. Yeah this one's a really pretty one and a good one to get lost in. This one took a long time to finish because I would just sit and do this and vibe out to it. Just a lot happens in this patch on its own. Screech and Mone is a pad sound which is quite textured. There's quite a lot of distortion going on in here but it's kind of a soft vibe to the distortion. It kind of encourages you to play notes a little bit more judiciously and a little bit more thoughtfully so that you don't roll over into the all out destruction but that destruction is there a few if you want it. It's kind of very textured and the interaction between the notes because of the distortion is really really interesting and I think quite pretty for a distorted sound. Macro 2 makes things a little bit more intense, a bit more distorted reverb, even more reverb. Macro 1 is quite one to move around because it is moving the delay time on the effects around. Up at the top the delay times become so short that you almost get comb filtering across the entire sound. You can also use it just as a kind of an incidental effect on it. The classic turning the delay knob. Things get more dangerous in the low end where you've got more energy to push things into distortion. Up at the top you get these sort of overtones happening. It's distorted but kind of in a soft way. Psy and Halo. So this is actually a pinged filter patch really. It's the pitch is coming from the bandpass filter and in the oscillator you've got the the noise oscillator going into a phaser oscillator which is kind of where this sort of breathiness is happening at the back. So it kind of ends up sounding like a toy piano mixed with ghosts. A haunted toy piano does react quite nicely to velocity as well. Macro 2 brings in this kind of tremolo. The ghosts are being a little bit shaken up. Macro 1 moves away from a sudden onset to something that's more sort of emphasising the breathiness but you still get that kind of toy piano resonance behind it. They're quite cool with both of them turned up. That one's a pretty one. Slight excite is kind of a physical modelled string style thing where there's kind of this excitation of the strings down again. So you can play these long notes and they'll kind of reexcite themselves automatically if you like. Like the player is just tapping those strings just to get them going again as a couple of strong patches often are. This one's fun down at the low end. On the macros, Macro 1 introduces kind of the other voice bit more which is a Saw X oscillator I think. So it becomes less about the string and more about these harmonics. The string's still in there but it's kind of a different patch at this point. It's more about that synth sound. But the harmonics dial in quite nicely to sound like harmonics being bowed on the string as well. Macro 2 makes things dark or so more distorted. Things get a little bit more ominous this way. So there's quite a few different sweet spots on this patch depending on how you have the macro set. Solar O is a patch of doom and how the distortion and modulation interact with each other as you introduce other notes of the magic in this patch comes from the macros. Macro 1 introduces more distortion but in a way that you can kind of temper. So although it's obviously a load more clipping it kind of doesn't get out of control too badly. Macro 2 is about the ambience pushing the sound right back into the reverb and when you start to use that with the distortion you kind of get these almost bell things happening in there. It's a drone patch. Some people might be able to get the reference in the name. A fun one just to leave on and bathe in the sound. The chapel is a bell patch and you won't necessarily find an obvious temperament across the keyboard unlike real bells using after touch we can bend this bell. A lot of the resonances here have been done using the comb filter. I think where this patch gets really interesting is when you start to move the macros around in real time because we find all these different resonances in here. Things get a little bit aggressive, the bells ring out. The pinging is all about pinging things in particular. The phaser oscillator and the van pass filter, self playing patch and on the macros we have some different flavours of pinging. I get quite interesting resonances low down and up at the top these sort of more sort of woody pseudo metallic plinks. This is of course tempo synced so this is a nice one to add some textural rhythm to a track that you could be modulating in real time or backwards pings. Yeah in every patchback I make with either of the freaks I always have to make sure I have at least one patch which makes use of the speech oscillator and this is the one in this once this is they sang which is a vocal pad. So it's the speech oscillator and the wave shape I think which is also really good at getting sort of vocal kind of sounds. It's just a pretty to sort of move around on its own so it's not so static. On macro one the main thing here is a slight brightening and also moving the second oscillator up which is quite a nice performance element. The second macro makes it more about the wave shaper and less about the vocal synthesis which makes it sort of sound more like a straight up synth pad. You can kind of find sweet spots along the way. Yes there's my patch where I make use of the speech oscillator because that has to be one in every pack. Transmission is a mellow bell pad. It's based around the modal oscillator and it's got some quite nice modulation sort of set inside it. It's another one of those patches where you can kind of play one note and it will kind of find new versions of itself as it plays. Of course we have the macros as well and this first one just shifts the octave around which just sounds quite cool on the modal oscillator. The second macro is about the ambience. A bit more brightness, a bit more distortion. It's a nice mellow kind of slightly metallic, slightly woody pad. Unbidden is probably one of these spookiest patches. Lots and lots of modulation kind of sounds like a knife being sharpened in slow motion and reversed. This one will move itself around a lot as you hold down a note. Some swirliness happening in there along with this sort of ominous shifting that's coming courtesy of the comb filter oscillator type. Macro one ups kind of the intensity of some of these swirliness and sort of widens things out with a chorus. I think it's a flanger rather than a chorus actually. But certainly that stereo width comes in. Macro two, we won't hear anything so much as we hold down the note. This one's more about turning it into a plucky sound. So you can establish a pad sound, hold it out and then have that kind of more plucky thing on the other hand perhaps. Yeah so you kind of have that sort of two vibe patch here then you can switch between them as you hold out notes and play lines over the top. This again was one of the really early patches that I made in the pack and it kind of set the scene for the whole thing. Umbutant is kind of a really fragile semi organ semi pad kind of vibe but lots of sort of noisy modulation sitting in there. Again another pad making use of the bass oscillator as it happens. The macros, macro two is about ambience, macro two is about making things a little bit bigger in some ways but also kind of more broken than others. So the final patch if you're going in afverg to order is XOR XOR. And this is kind of a glitch patch that started out as kind of an academic exercise. I wanted to create a glitch patch like this where you kind of get this sort of skipping CD beat repeat thing happening on a per note basis. As long as you have the patch set as a mono patch that is something that you can achieve by heavily modulating what's going on in the effects. You can hear for example the beat repeat which is coming from a delay in the effects is getting cut off as you let go of the note. So you can have envelopes affecting things in the effects as well. In terms of what we have on the macros here, this is another patch where I made use of the speech oscillator actually so that's two in this pack. So the first macro kind of softens things, makes it sort of a bit more gritty and bit crushed but softer. Macro two moves around where the speech oscillator is operating so you actually start getting words. Kind of becomes more glitchy. You kind of use the two of them together to find your preferred level of glitch. If the beat repeat is a little bit too strong for you, you can always just turn down the delay in the digital effects as well. But yeah, an interesting challenge and I think it will end up being a fun patch.