 Hello, Oscillator Sync, and welcome to another video in the series where we take a look at tips and tricks that you might want to consider when you're building patches for the wonderful cork monologue. So this video concerns the sequencer. The sequencer on the monologue is great. 16 steps of monophonic sequencing with velocity, but what really sets it apart from its competitors, especially within its price range, are the four channels of motion sequencing. What the motion sequencing basically allows you to do is across your 16 steps is record up to four different sets of knob movements, or switch movements actually for that matter, which will then play back as you play back your sequence. So before we get into the trick, let's just, for those of you that haven't seen this before, let's just take a look at how that works. So I've got a fairly bog standard bass line here. Okay, so what I'm going to do is I'm going to set my selector here to motion. I'm going to set the sequence playing, and I'm going to hit record, and then I'm going to move some knobs around. So let's start with cutoff. So you can hear there that we've got some movement in the cutoff there. We can do it for something else. So perhaps we'll play with the shape knob on VCO2, and maybe the resonance and you can build up your sequences and have that movement and interest. What would be great is that given that we have a fairly limited envelope generator in LFO, is if we could harness that power and apply it to our normal patches. So not when we've got a sequence playing back, but just when we are playing notes. So let's take a look at how we might achieve that. So initialize patch. Lovely, sawtooth wave. So the first thing we're going to do in order to do this little trick is we're going to record a normal note sequence, which is one long note. And what's important here is that it's one long note and every single note in the sequence is tied to the next one, including the ones at either end. Now we can do that one of two ways. We can actually go in and we can play in the notes like this, hold down a step, press a note, and then if we hold down the step and turn up the parameter knob, the program value knob rather, all the way up to tie. And we can do that for every single step. Ain't nobody got time for that. So what we're going to do instead is we're going to set the empty sequence running. We're going to press record. And I'm just going to hold down a note and make sure I hold down the note for the whole sequence. And then once that's done, I'm going to hit record to stop it recording. And if that's worked, what you should get then is a single seamless note for the whole time that the signature is playing, no gaps. The reason we have to hit record to stop it from recording while it's still playing back is if we were to lift the key, that would leave a gap in our sequence. And what we're looking for here is a single seamless sequence. So if we play back just a double tap, we've got that. Great. So we've got a single sequence now that is one long drawing note. Okay, well, it's not much of a sequence. And how are we going to use that to make use of our motion sequence? Well, what we're going to do is we're going to turn on the key trick. What the key trick does is in normal operation is it will play back your sequence whenever you play a key, and it will transpose the sequence based on the key that you played. So what that basically does, it gives us the effect of being able to play a note. But each time we play the note, the sequence restarts, but it just sounds like it's a normal note being played. We can also start throwing envelopes and stuff, if we select the right type of envelope. All of that functionality still works, although do you notice that when we lift the key, we've got the decay ringing off, the sequence just stops playing. Okay, so now that we've done that, what can we do? Well, because we have a sequence, we can apply any of the motion controls and four channels of them. What this does for us essentially is give us four extra LFOs, which is amazing, because even having two LFOs would be pretty nice for a mono synth. So to have an extra four on top of the one that already exists is mad. So what might we want to do? Okay, so I'll give you maybe four examples of things where I think this is really, really useful. So we're going to make sure we're in motion mode. So the first one I'm going to show you is quite basic, but I think it's really, really powerful. One of the tricks that I like to do on some of my other synths. So for example, the Novation A station is one of my other synths, and that one per oscillator allows you to apply a pitch LFO. That's something I really missed on the monologue because the pitch LFO can only be applied to the overall pitch of the synth, so it's moving both VCOs at once. But what can be really, really cool is if you have an LFO just on one of the oscillators. So one oscillator is constantly drifting in and out with the other one. So let's just bring in our second VCO. I won't even raise its octave a bit. Okay, so what I'm going to do is I'm going to hit play, then I'm going to hit record. And as soon as I start touching a knob, it's going to start recording the motion sequence. So I'm going to grab the pitch knob. Okay, so what this now allows us to do is have a patch that we can play. Make sure you turn key trick back on, sorry. Where the pitch of one of the oscillator is constantly drifting. That's probably a bit heavy-handed. Let's see if we can get that a little bit more subtle. Nicely lower octaves, those sort of evil kind of drains. Okay, so that's one real basic example. The other kind of basic example, what we'll just do quickly here is we're going to edit mode, make sure we are in sequence edit. And we're going to head over to this light here, where it has the motion clear. And I'm just going to select clear out that motion. Okay, so we should be back to no movement there. Okay, so the next sort of obvious thing that you can do is have bigger, longer, more evolving sounds by layering up a couple of slow movements. So let's start with that. Cut off a little bit lower down. And let's see what we can do. Let's start with the cutoff, so nice slow movements. Okay, let's maybe affect the shape of one of the VCOs. Maybe the other one as well, we're at it. We can even affect the drive if we like as well, at the bottom. Okay, so now we've got this kind of evolving thing going on here. We can turn on the key trick and we can make use of it. And also remember just because we've sent a motion sequence somewhere, doesn't mean we can also send, we can't also send the LFO there. So if we wanted to select the cutoff LFO, kind of a slow triangle wave. Really cool, evil evolving, almost sort of bass pad sounds. Great. Okay, so let's clear all of that out by going into the sequence clear again. Okay, so we should be back to a basic patch. Turn on LFO back on. Cool. Okay, so trick number three to go with this is emulating a type of LFO which is missing, which is a sample and hold. Sample and hold sounds great sort of retro effects. And it's sorely missing from the monologue if I'm honest. Now to do the sample and hold, we're going to work a little bit differently, which is that we want to do block changes for each step. And the way that we do that is we hold down a step and then move a knob. And then the next one, I'm just going to randomly select values going across all the steps on my cutoff. Are you there? Cool. Now if I play that back. That great classic sound. But because we've got four channels, why stop there? Let's do the same thing with resonance. Just randomly picking resonances, screechy high ones there. We're done. And there we go. But we've got four channels. Why stop there? Let's do the same thing with the shape control for each of the oscillators. Again, just randomly selecting because your sample and hold is based off a random source. So we should be doing it sort of as random as we possibly can. That's one of the shape controls. Let's see the other one as well. So all of these timbral changes which don't all necessarily line up. I'm going to contribute to real interest. Let's try that. And of course we can change the tempo of our LFO by changing the tempo control for the signature. And just like before, remember that just because we are affecting something with the motion control doesn't mean we can't affect it with the LFO. So again, let's put a big long cutoff sweep in so that we've got that extra amount of evolving sound and we won't always line up with the different iterations around the sequencer. Awesome. What a great sound. Okay, so one last little trick that might appeal to certain people is that we can use this to try and emulate kind of glitchy kind of sounds where the synth is kind of sounds like it's breaking almost. So we should be back at our sort of basic patch if you like. So for this one I'm just going to hit play and record in various different changes. Okay, that's probably mad enough. So turning the key trick back on, we may even want to make some of these changes a bit more steppy. So maybe I've got the pitch here, I might do like a couple of whole octave jumps here and there. So you can really spruce up your patches by adding so much movement and you can still play the patches with all these movements in place. It's very addictive, sorry. A bit of a longer video this one, but I hope you can see that there's just so much that you can do when you start to approach the motion sequencer in this way. We're only really scratching the surface here. Remember that any of these controls can be modulated. So if you want to even change the waveform or turn on sync or ring on certain steps, that's all possible. Anyway, thanks so much for watching guys. I hope that you enjoyed that and found that useful. If you did then please hit that thumb button and give it a like and also make sure that you subscribe to the channel so you don't miss out on any more videos concerning the Korg monologue and all the other synthesized stuff that we've got coming up. Thank you so much for watching guys. I'll see you again soon.