 Hello oscillators in here Korg have just dropped the version 2 firmware for the ops 6 and it is a doozy. I have to say What have they done? Well, they've introduced some new noise flavors for the waves. We have pink and blue noise there So pink is a bit dark and blue is sort of band passed up high So you lose some of the low-end energy that's inherent in white noise It's actually really useful things to have actually So I welcome that maybe not the most exciting headline feature, but it's all good They've improved some of the way that you can route Aftertouch around the patches of if you have a keyboard which supports after touch That's going to be really really interesting to play with they've increased the number of patches, which is good They improved some of the midi sync stuff, but let's be honest the headline feature on the one that I want to talk about today Is that they have introduced a new operator mode the effect operator and this is really very exciting So the effects operator is kind of interesting because you have this effect selector parameter here And this allows you to select one of ten different Effects to sit on your operator and what's interesting about that is that actually changes the functionality of the rest of the operator So actually really what we've got here is not one new operator mode but actually ten because they all operate in different ways and that's really really exciting The way that it's set up is something like The filter and the wave shaper the wave folder. I should say Modes in that we have this oscillator mix control Which allows us to mix in the waveform for this operators oscillator In varying amounts So that means this can create its own sounds with the oscillator mix turned up Or we can turn the oscillator mix to zero and the effect will just be applied to any incoming Operator the modulator if you like that sits above this carrier, and that's how I'm going to demo the different effects today So I'm just on Algorithm one on initialize patch Operator one is our effects and operator two is just an FM But it's just like basically working like an oscillator at the moment that we can run through the various different effects so Let's run through how each of these effects actually operate because they all do different things and they all work in different ways So the first effect we've got here is a peaking EQ So operator one is our effects operator operator two is just a sawtooth Running through it, and we have the oscillator mix turned down on operator one So we're just hearing its effect on the incoming operator So the peaking EQ is a single band semi parametric EQ so There's it's with the game turned down as we turn the game up you can boost Frequencies or we can turn the game down and cut them so this can be useful for Thinning sounds out to get different flavors of rich wave forms or we can boost things To get more of a honky sound Kind of sound now what's interesting about the way that this is set up is the frequency Like it is on the filter operator is actually going to be tied to the pitch of the operator So you can kind of hear that the emphasis here has been shifted around Maybe if we change our incoming oscillator just do some white noise we'll be able to hear it better You can kind of hear that maybe turn the game a bit more That frequency is kind of tracking the keyboard there, which means that any sort of Booster or cut that we set up is going to be relative to where we play it on the keyboard by default that's the saw again So the kind of resonance that we're setting up there is going to be moving around with that Which is cool if we want to decouple that in the same way as we do on the Filter mode we can come into the pitch menu for operator one We can turn it over to fixed and that's going to give us a Filter sorry a an EQ which isn't going to be moving around And we can sweep that EQ around using operator ones pitch now So it's kind of a slight different flavor to The band has filter or the band reject filter But we can do similar sorts of jobs there Because this is going to be related to the pitch we can also of course modulate the pitch and have that filter Sorry that EQ frequency move around. So for example, we stick LFO one on it Which is kind of an interesting sound that Especially with especially with the booster there where we can get sort of More sort of wah-wah sounds and you would maybe get with the band pass Certainly something that is interesting to play about with but let's set that back off set that back to ratio And let's check out the next mode So the next effects mode that we have here is the shelving EQ So another EQ here and this is just a straight-up high and low shelving EQ so we can boost the lows We can boost the highs get like a big hi-fi sounding sawtooth Pretty interesting or we can indeed Cut stuff as well that maybe cut stuff at the low end may boost high a little bit get more of a really kind of sound So this is actually kind of an alternative To having to deal with the filter operator type if you're trying to get sort of more shaped sounds so like using the band pass filter on the On the filter type to get sort of more really sounds we have now an alternative to that which Really is slightly more controllable Like we can get this sort of bright but thin sound using that Obviously the more complex Incoming waveform you have the more sort of scope you'll get for this but for like here We could sort of warm up The sawtooth before it got to anything else So certainly nice to have Not the necessarily the most exciting one, but you know why why disagree with utility? I think so dad. It's there Certainly for sort of pre-shaping sounds. That's going to be pretty interesting This is probably one of the modes along with the pill peak filter where it probably makes more sense to Maybe use it on an internal oscillator as well So turning up the oscillator mix so that you can just shape the sound of this operator instead Anyway, let's move on to the next one, right? So the next effects type here is phaser Okay, so let's Take a listen you might be thinking to yourself if you Know what a phaser sounds like that doesn't sound very phasery to me at the moment. It is different to previous Effects you kind of got that hollow resonance that you get with a phaser But it's not like all swampy and lovely like you would maybe expect with a phaser sound and The reason for this is that this effect again operates a little bit like the filter Operator mode in that the frequency is tied to the pitch of the operator now at the moment And we're in ratio mode and nothing is moving this frequency control around except for the fact That's actually in a different place for each key that we are playing And if we start to modulate even by hand the frequency You might start to hear that phaser sound that you might expect if we want to make that happen automatically Of course, we can come into our pitch control and start to modulate the pitch with an LFO Maybe slow it down a little bit And it's sounding a bit more Phasery there's something about it which is a bit weird though if you were thinking about this as a phaser effect Or together and then it's that the operators currently in ratio mode Which means that the center frequency for each of the notes that I'm playing is actually different So it doesn't have that quite same swampy feel to it, but we can change that by simply changing our frequency mode from ratio To fixed now everything Here is starting to sound a bit more Phasery Now at the moment I have this setup My LFO that's modulating the pitch of this operator setup in common mode Which means that for a particular chord that I'm playing the LFOs will be synced if I change that over to voice or off or go voice Each of The notes that I play now essentially has its own phase are applied which is really really cool If we come back into the mode here, we also have another control here for feedback and that's going to give us a more accentuated more vocal and swampy Feel to the sound and I love having all those phases separate for each voice That's that's super cool. We also have negative feedback here, which gives us a different flavor more sort of yo-yo-y rather than yo-yo Of course, we can push that into audio right as well for Really cool and the nice thing here And I think this is the first of the effects modes that we can really sort of talk about this The nice thing here is that this is only being applied to this chain of operators here, which means we can now Blend in other operates that don't have the effect on it Which is which is a really nice thing to do as we go through and look at some of these other effects type There's gonna be other situations where being able to apply the effect into one part of your voice on part of the patch Rather than it being a master effect is incredibly powerful and allows you to do stuff that you simply can't do on the previous updates So here we've got That phase of sound And we can blend in a dry Operator to get a bit more clarity to it Super cool Yeah, so phase are really really interesting and actually you know even if we Go back to the ratio mode here and get rid of our LFO having the Feedback turn up a bit more so we get a bit more character to it I Get a different Different feel to that sound that's still a useful sound shaping Tool that we now have as well Right next effect is the short delay for this I might just extend our envelopes a little bit so that the delay has time to Play out a bit more. Okay I'll do So short delay is kind of what it sounds like. It's a short delay We have controls for time and For feedback and that feedback goes to 100% Which would essentially keep going for as long as the envelope would play out as well So again Just to highlight this at this point. This is not a global effect that's applied to the entire patch so for example we can change the pitch of Sorry not that one of our operator to you that we're hearing go up couple of octaves and Mix in a different Operator that isn't Being affected by that delay Very nice The time goes very short So we can use this to get Kind of resonator sounds as well and this time can be modulated. It's not tied to the pitch of the operator in this case, which is Slightly inconvenient. I guess so we'd have to go into the V patch to modulate it, but we could come back To source maybe just grab our LFO destination op One and we can come across we now have all of the effects stuff that's Controllable here, so short delay time here We might want to try to get as small as possible To get kind of Don't know how useful that is to get kind of sick sounds there changing the time here might give us more useful ranges Again, this is not a global effect Like I said, I don't know how you saw that sound in particular is going to be But it's nice to know that we have access to it now as soon as I saw that we had a delay here I was thinking to myself. Oh my god. Can we do Carpless strong stuff with this can we modulate the time so that it trucks the keyboard and the answer is No, not really you can sort of try and set it up here with the V patch By going to keyboard note delay time here And we certainly have it move around but it doesn't track properly Pass a certain point. This is probably more interesting sound the previous one where that resonance has been changed per key But never fear We do have an alternative if we want to try and do some string synthesis and So the next effect that we have access to is a comb filter Now a comb filter. It's described as a filter and cork describe it as such in the in the manual But what is important about a comb filter is that it's really a delay. Okay? So What are the controls here? Well, we have frequency which is going to be the frequency of the comb filter And you can if I just go if I just turn the effect off for a second That's without it And you can kind of hear there's kind of a resonance to it here So we have a Well, so with the feedback controller So the back controllers is basically a feedback of a very very short delay and that's how you get your comb filtering As you turn this up you can hear more Of the effect of the comb filter and it's sort of resonating away there and then we also have a frequency control which Changes our Delay time which gives us different resonances Cool, right? The frequency control is defined in semi-tone so we can have it related to the night that we're playing or we can Maybe do it like a fifth up or something Really really interesting sound straight off the back, but you're probably thinking to yourself That sounds like it's resonating like string and that's what I thought as soon as I heard it So what we can do if I can contain my excitement for a second if we come over to our incoming Off-rades here, and we'll maybe change this over to one of our noise sources. Maybe the blue noise and Right Suddenly that noise is not pitched if I turn down if I come back to operator one and turn down the feedback here That noise is not fixed. What's happening is that the frequency control? Like it is on the filter and a number of the other effects here is tied to The pitch of the operator. So if we set our pitch to fixed that resonates that resonates with staying in the same place But in ratio It's tracking things What this means is for example if we come into our incoming operator here And we change its envelope to be very short and plucky a bit quiet We have to boost the the sound somehow. Maybe we'll just pop a Where are we? Team has to learn to hear Hear a bit better We have Some string synthesis here, and I'll just leave this patch just for a second To go back to something that I was working on just before I started this video another patch Just here and where I've done a bit more Yes, that's right. Korg have gifted us Physical modeling in the up six Goodness me if you're interested in a patch walkthrough of a Patch like this then let me know in the comments But this made me very very happy this morning to discover that I could do this so the comb filter Great for setting up these sort of Resonances which will track the keyboard and yes, you can use it to emulate a string in a basic way Fantastic stuff so through the magic of editing I've moved back to a triangle wave in this case And we're going to go over to the next Effect here, which is distortion and which does what it sounds like it's going to distort things So this is actually a triangle wave believe it or not, but you can hear that it's Got quite a bit of distortion to it, but the distortion is actually down at zero at the moment, so there's a lot more So we could do here now the Important thing about the distortion mode and a number of the other modes here is to bear in mind that it's going to be level dependent So we don't necessarily want to push the whole of operator to through it at all times so Altering the level there. We're actually getting a tonal shift So if we come into operator to and change its envelope to sweep in a bit more Because the effect is level dependent That distortion is generating more harmonics The higher that level gets and then at the end there letting it die down as well So in this Let's just check that change that back to So in this operator mode we have a distortion control which does more distortion And it gets pretty intense and then we have a low control which I think is pre distortion or at least in the distortion Because it does affect the character of the distortion as well as changing the low end response, but I've still got the limiter on there. Let's turn that off. Yeah, so we've got quite a lot of different ways of shaping the wave here and These two are very interactive As it is With the level as well some big sounds that are available to us here very nice The next mode is similar with that. It's a drive. It has the same sort of controls here What it does however is a lot more sort of gentle so this doesn't Certainly not sound Like a triangle so much Still level dependent. It's a lot less angry So whereas the distortion is more of an effect. This is just kind of like a bit of a shaper to the sound The interesting thing is if we push in a more harmonically rich sound like a saw There's a couple of sweet spots in here where it sort of fattens and makes it more cutting Does that look like on the analyzer? Yeah, so we're kind of becoming like a squary sort of sawtooth friend And then again, we've got that low control Pretty big again the timbre of this is still gonna be level dependent but a lot less so than the distortion, but yeah Again, just to keep mentioning but I think it's important to highlight. This is not a master effect so we can Blend in other things which are not being affected by this drive It's a really nice sort of sweetener in a way that you can get different Different wave sounds Again, this is probably one of the effects that makes use would make more sense to make use of the oscillator mix Maybe than some of the other ones Cool And of course we can make it thinner as well Yeah, so that's just a really useful sweetener or a rougher upper That you can put it up across part of your patch and not the rest of it. Yeah, really cool Okay, and next up we have a decimator I'm just going to switch operator to back to being a triangle for this. So it'll make it sound more obvious So this is a bit reducer and Sample rate reducer So straight away we have that We just go back to our drive With that lovely glistening bit reduced Frequency reduced not bit reduced so much though and but frequency reduced sound So controls here we have a bit reduction Just kind of crunchify things as we get lower This again is going to be one of the Effects here, which is going to be dependent on level as well You can hear especially when you got the bit reduction down really low as our operator to use Level drops off It almost creates a stuttering effect. In fact, if we come into operator to and give it a bit of a because we're dealing with Fewer discrete points Whether this is being sampled We get this cool stuttering with the bits set low We turn it up. We don't get that so much. It's a bit smoother. We still get that sort of roughing of the sound All the way down to two bits which is Just going to turn on When it gets high enough, which is quite amazing So the frequency is a sample rate reducer This is going to be tied to the pitch of the operator again So actually the frequency Decimation that's happening here is going to be different on different notes, which is quite interesting because it maintains The relationship between the ringing of the decimation and the note that's been played As always if we want to decouple that we can come into our pitch control and switch that to fixed so now that frequency Decimation is going to be the same And it's just going to be related to whatever we set this Fixed frequency to but you know, this is great for sort of Getting those bit toony sounds on the go Too decimated I think So we can do our chiptune stuff now, which is good and again There was already a decimator in the effects section, but this is now going to be separate to Everything else in here, and I was playing with a patch earlier where I put a little bit of A little bit of pitch wobble on operator 2 Faster and then mixed in a it's not applied to the entire patch. It's just applied to the operators flowing through the effect So we can mix in unaffected sounds as well Which is fantastic just a lovely Aspect to the sound design that we have had access to previously lovely Okay, next effect, and this is the one that I wasn't entirely sure about until I started playing with it and It's fantastic So this is the wave shaper. So this is from the 0 1 w workstation that called port out in the early early 90s And I was just like, okay. Well, I'm not sure whether I want stuff from a 90s workstation call me a snob if you like, but That's the way I felt That's because I didn't understand what this was and this is actually really really fantastic So what does the wave shaper do? Well in essence, it's another flavor of wave folding but wave folding that is not necessarily Uniform in the way that applies it's folding So the first thing to note here is that this is incredibly input-level dependent and there are a lot of different timers that we can get from it by changing how much of the Modulator that we're pushing into this effects carrier if you like So I'm just gonna Give us a bit more of her Hello Little bit more of a decay there so that we can play with this a little bit more. So what's going on here? Well We have two controls here We have a damp control which is basically just a top-end roll off Which for some of these sounds is going to be really really useful and then we have a type and there's things like 40 types or something there's a lot of them basically and these are all you can think of them as different Flavours of wave folding and some of them do very very particular things that you can really do with a conventional wave folder So just as a reminder, this is just a triangle wave that's going into this effect at the moment So if I play a note Let's just go to that pitch whopper as well just for a second as lovely as it is As I turn up this level you can hear that we're going all sorts of different flavors And if we look at the analyzer here, we can see like a kind of Kinky wave folder thing going on here and that's giving us all of those different sounds and by Changing the level coming in here. So for example, if we give it a Give operator to an attack here We can get Some very very interesting sounds and remember we don't have to have operator to on full here So if you don't like what's happening right at the top there, we don't have to have it I Think some of these sounds are really really interesting now I won't go through every single type here because there's a bunch of them as I say, but just as an example I mean how different is that one? That one's like the other one, but smoother Almost like a fake sync sound going on there Again because these are level dependent If we chain if we make this operator And the Attack then if we make this react to velocity this particular one is pretty pretty crazy Play lightly we get And we have this damp control if we don't like some of the high-end artifacts that here, but they're just I mean Right, is it just me but is this amazing and and because I don't quite know what the algorithm that's doing this at the back end but They alias I assume that the folder has a particular sample rate to it But like at the top you get all these Insane alias saying things which isn't gonna be applicable to every patch of course not but yeah There's one here that I really liked called forest. I think it was Where are we? It's very 90s, I think that might be why I like it if we stick some reverb on it Let's go with the smooth So just all of these different flavors of wave-folding Not they're not all as intense and some of them are more like Clippers there's one to do with Some of them come across like Filters or they almost sound like So it's not like the Casio CZ series as well There's one here All like filters, but some of the sounds are quite off their time. I guess but nevertheless Yeah, so I mean just scanning through those you can hear how many different Interesting sounds we can get there and this has just made me wonder and I just need to check can that be modulated in the Please tell me that can be modulated That parameter might be able to be modulated Never mind that would be amazing if each note that you played Could be a different one of those anyway. Yeah, so the wave shape was like an extra Wave folder with a bunch of different very particular frequency dependent level dependent stuff going on there Gets a bit alias that the top end on some of them It can be a bit extreme when you push the operator into it fully but maybe you don't need to do that and Yeah, I can see myself using this a lot in pad sounds and and like Yeah Didn't expect to think this one was was so amazing, but it's probably my second favorite after the comb Yeah, brilliant stuff Right then last effect here, and we have punch now. I have to say out of all of them This is the one which I'm least certain about because it feels like you can get this effect The other ways I don't know mate. I don't know whether I'm missing something. I'll explain what it does Basically, it will as you turn up the punch control Accentuate The front end let's go to the reverb there Accentuate the front end of the note And the reason I don't entirely understand what I don't understand the point of this as much is that you can do this with With an envelope as well. I'm just having a short A short decay and and a drop to a lower sustain. I guess this is probably level dependent a little bit, but Or rather level independent So it's kind of like that the the attack part of transient designer What you also then have here is a high control She can get a bit aggressively clicky with everything turned up to full so I guess That's a quick way to get from that To that but as I say, there are other ways of of doing the same thing. I think I Guess one of the things that you could do is modulate the punch amount by the velocity and that might be a quick and easy way to get more attack out of a note because otherwise you'd have to mess around with mess around with the Routing the envelopes and the like so if we come into the v-patch here, we can go keyboard velocity goes to operator one Punch amount to turn that intensity up And as I play harder We get more front end of the note So that's probably a good use for it. I think Having it linked to the velocity there But it's it's probably the least exciting of the lot Maybe that's why they left it to the end But you know nine out of ten isn't isn't bad batting average. Frankly Yeah, so that's the the last effect there the punch effect So that's the effect operator and the ten different effects that sit inside it So really as I said at the start really we're getting ten new operator modes here and that's really quite exciting There's a bunch of new sound design Opportunities new sounds that we can coax from the ox six that we simply can't do on the previous version of the firmware and again even for the effects like the Phaser and and the delay and like we shouldn't Underestimate how powerful be able to apply an effect to part of the sound and not the rest of the sound Can actually be something again that we didn't have access to when we only had the master effects as well So yeah all in all Nice one cog well done Oscillator sync approved So as always thank you so much for watching and sticking with me till the end of the video Which I know is probably very long again If you did enjoy the video if you've made it this far then please If you could take the time to give it a thumbs up that's always massively appreciated and make sure you subscribe to the channel So you don't miss out on any of the upcoming Synth fun that is on the way and there are some particularly fun things on the way Let me tell you More of that when I can tell you about it Otherwise until next time take care of yourselves and I'll see you again soon. Bye. Bye