 Hello, Oslater Sync here. Recently I put out a video where I explored my current modular setup and it is, of course, the current modular setup of these things are never finished. And I thought what might be interesting rather than just talking about what each of the modules are and how I use them actually, maybe over a couple of videos demonstrate how I might use these modules to put together a couple of different patches in a couple of different musical settings. So that's what we're going to do today. So I thought today the kind of patch we'll go for is something a bit more sort of beat focused baseline up, maybe a cordy type thing in there as well, which we can definitely do with this system. Along with the modular, we have a couple of extra friends down here. We've got the Corg SQ1 which is a sequence that can either do two lots of eight steps or one 16 steps and we can do other things with it as well. And I've also got the Basel Castle drum here, which is like a bloopy-bloopy, very, very electronic percussion friend. It can spit out all sorts of interesting percussion seasoning. I've pre-patched it here to just sort of, as I say, spit out percussion seasoning because the video is not necessarily just about the castle. We could talk about this for some time, potentially. I may or may not use it, probably will, I think, depending on whether I've got space in the mixer, I guess. Usually I would also have on the desk a reverb generally or a delay just to give everything a little bit of space. But I thought I would just try and stick inside the rack. So I've got disting set to be a reverb rather than a sample player for once just for a little change. I think that's everything that we need to talk about before we can get patching. Anything else comes up, of course, we can talk about when we're patching. Okay, let's patch, I think, shall we? So I've got the Clock On-Pam set to 120. That will be kind of our BPM to begin with. We can always change that as we go. Let's start by patching up like a bass kind of sound, something 303-ish. So we'll probably use the 2HP VCO for that. And let's go sawtooth into a filter, which is set on dual mono so I can use this as two single filters. I could always switch that to the low pass gate if we need a stereo filter, but we'll stick with this at the moment so we can have some resonance. Actually, don't go on the low pass gate. We'll come out of the low pass, then we'll go into a VCA. So we can do those two things. We can either do them together or we can do them separately. And then from the VCA into the mixer. Easy enough, that's not going to be long enough. There we go. That's not going to make any sound just yet. Although if we turn that up, we should be able to hear something. Yeah, and if we turn that cut up, we should be able to hear something. Okay, we can get some nice squelch out of that. So just turn the VCA. It's a little bit tricky with this one because it's an inverting VCA. So you have to get it right in the middle to make it be quiet. Okay, in terms of sequencing, we could use the random type stuff with PAMs, but maybe for the baseline we should have something a bit more controlled. So maybe we'll use the SQ1 for that. Yeah, so we'll use the SQ1 for that. So we can come CVA out into the VCOs, false proactive. The gate, we're going to need at least one envelope. So we'll be going into stages. And we can just use a segment at the end here, just as a simple decay envelope. That'll do the trick. And yes, we'll need to clock the SQ1, which we can just do off PAM. So I'll just take channel eight at the end there, sync in there, lift the decay up there a little bit. If we hit go and make sure this is running, we should actually opened up the VCA. So we will grab a stack cable so we can molt it. We'll go into the CV input for the filter, and then we'll just bounce off the side of that stack cable into the CV there. There we go. Okay, I'll do a start. Obviously this is moving far too slow at the moment. So the easiest way, I've just got this so that the SQ1's sync will just do one to one with a step on PAMs. So if we come into eight here, we can just change the multiplier like that. And we can actually, we could put the slides in here as well. We could also change the active step to get it shorter. So that's more meaty, isn't it? Yeah, we can play around with that. That might be a nice place to start anyway. We've got the resonance there. Right. Let's get a kick drum in here because that's kind of important for this. So for that, we'll probably, so we could use Beehive, but I kind of want to leave a, one of these have the chords maybe. So maybe we'll just ping a filter for this. So if we take an output from PAMs, just go into the input of the other side of this filter. This is a dual mono, so this should just be acting independently. And we will come over to the width of one here, just make it nice and short. So just pings it. Just put a bass line onto it and kick on one. So we can come from the, probably the best one is band past to come out of the filter here. If we bring up the resonance. I recommend you to make that more aggressive. So let's start that first, shall we? Let's grab another short cable. We'll go into Terse Arena. Try the top channel, tweak that a little bit. Now if we want to make that kick drum a little bit more interesting, we could put in some like extra little small beats in the middle. So what we'll do, actually, we'll un-patch this for a second. This is just going to resonate away. And what we'll do is we'll patch that into this second channel here instead. We'll just set it up basically the same. So we'll make it a really skinny little friend. And I'm going to stick it in a much lower level, maybe 50%. So let's get that one going again. Okay, so that's the lower level one. So what I'll do here is I'm going to set this to run at twice the rate, like that. But I'm then going to tell it to skip most of the time. So we've got the random, where can I see it? The random skip here. I'm just going to turn this up to like 60%. So I only a little bit of that's coming through, right? So I've now got a quiet and not very consistent kick drum sound. That's okay. What we'll do now is we'll use the logic function in Pamela's to all this channel with channel one. So what that will do is that channel one will always come through whenever it is going. But whenever channel two comes in, it will also allow it through, but only it will still override it with channel one for the louder version. So it allows us to kind of get those incidental kicks in there, which we can then tune using the random skip. So interlogic. So you can hear there, we've now got those extra lower hits in there. So there's too many of them, so we can turn up the random skip so more of them get skipped. Maybe drop its level a little bit. So we've now got those nice little extra incidental kicks in there just to make things a little bit more funky. Okay, so we've got a kick in a bass going on there. At the moment, I think this bass part is probably a bit too static. Like I don't mind that it's melodically static, but it's also very rhythmically static. Although it's rolling over the kick drum, I don't know, it's not capturing my attention enough. It's not interesting enough at the moment, I don't think. So what we could try doing is rather than having this SQ1 also give us the rhythmical information, we could have pams doing maybe like a clarion thing to give us the information, the rhythmical information said, and then you'll get more interesting kind of interactions between the melody, the rhythm and what's going on with the kick drum perhaps. So what we can do is let's un-patch the gate here and instead we'll patch it into here. So now channel three is giving us our rhythmical information, whereas the SQ1 is giving us our melodic information. So if we come over into three here, we can obviously speed that up. So now we've got it happening every single beat, but we could come into its settings here. We'll lower its, oh it's a little bit, so it's not holding on. And then we can maybe use one of the Euclidean settings here, so maybe four steps in seven or something. How long is this at the moment? So this is seven steps at the moment, so let's make it five across eight instead. Immediately decoupling the rhythmic and melodic sequencer is just the more interesting groovy thing going on now. So we've got two things which are quite repetitive, but they're decoupled and that's groovy. Yeah, and those slides are a bit more meaningful now because they're sort of sometimes there and sometimes not. And of course we can change our sequence really easily and then still have that rhythmic grounding to it to the interface there. Cool. So let's add some chords. Yeah, let's add some chords. So we'll use Beehive which is a Platts clone for that and we'll just stick it in chords mode like everyone does. Cool. So what should we use to sequence this? Probably SQ1 again so we can have it controlled, but then maybe again have the trigger of it decoupled from SQ1. So we can take CVB out thread it through here like that and we'll stick it into the volts proctave there and then we'll come out of that into, should we run that through the reverb or not? Maybe not at the moment. We can always change that. It's the whole beauty of modular, isn't it? So we'll come into X pan and six then we can have it panning around which I think we definitely want to do. And we can patch the outputs of X pan into... I'll go into one of the channels with volume to begin with if we need to make space we can, but I think we're going to have to, aren't we? Okay, that needs a trigger input as well, clearly. So let's give that a trigger input from here to begin with just for testing CV gate, sorry, B gate out into trigger here. Now we want to change the decay of that. We could probably send it through the low pass gate instead. Yeah, let's do that. Yeah, let's go to low pass gate first. So we do have an emulated low pass gate in B high, but maybe we'll use an actual one. And it also means that if we take the trigger out, we can treat the auxiliary sound which is like the root note differently, which might be really useful to do. So we'll go out into the low pass gate and then out to the low pass gate into this side of X pan. And then we'll again, we'll just trigger the gate with the gate output on SQ1 just temporarily and then we'll decouple it once we've got the sound spoken. I might need to run that through a tenuator as well just to turn it down, but we'll just get the sequencer working first. I want it triggered like that as I say. And also just run that through a tenuator just to turn it down before it gets to X pan as well. Okay, so let's, as I say, let's decouple that gate pattern because that is not funky currently and we need a longer cable for that. That's a bad sound. So let's change that to a short ping for the sake of our low pass gate. And we could go with like a Euclidean pattern that's a bit sparse and then maybe put some random skips in there as well just to keep things out of the way. So again, we've got two elements here which are both kind of set in a standard sort of ones and like an eight, one thing's a nine, but because now we've laid them over each other, decoupling the rhythm and the melody, everything's a little bit more funky. We're going to get some modulation going on off. So we could just get some random modulation from stages. So we'll come across into the random segment, press and hold for looping mode, probably set it by polar. So we should see this go, yep, great, perfect. That's what we want. Come into Morph, turn the tenuator up. Okay, we're getting there, we're getting there. Right, I think we need to get those chords panning around a little bit. So I think we do want them swimming around, we want them pinging around. We probably want them pinging around, don't we? So let's maybe use pans for that. You've got three left and that's probably enough. So we can patch an output of pans into the x-pan where we've got our chord going on there into the pan input. Lovely. And if we come on to channel, come in here, set our wave to random. Right, it's only adding so something like that on the panning. Let's see how that sounds. Okay, that's probably too wide, I think. Spending a lot of time at the very extremes. So we can come in here, turn the level down. That'll probably set us mostly on one side without making it offset it. But now, let's get the Bastille coming in here. Let's synchronize it, just off the SQ1, it's probably easiest, I think, saves us using another channel on pans. So the SQ1 will pass, sink down the line, we might just need to mess with it a little bit. So the way I've got this patched, you've got the inputs on the Bastille which, click, get routed around in here. And this one here is going to accept sync, basically. Yeah, okay, let's bring that in on. I'm tempted to bring it in and pan it around as well. But then if I want to have an arpeggio or something, I probably want that. Okay, let's not pan it for the moment. And then we can make that decision in a second. So we've got an output here. And we'll just come in here. This should be making some noise already. That way we can get it biased more towards high hat sounds. We can do things like turn up the tempo model, which should give us little ratchets as well. It's a noisy little friend. Should we make it noisier? Because we could run that through one of the sides of Terci and get it really gritty. Perhaps we should try that. Maybe this one. I don't think it needs it. I don't think that's adding anything that we need in the context of what we have. So that's why I'm just bringing it back in. Sometimes it kind of feels like it's falling over itself, but it's staying in time. Okay, let's get like an arpeggio thing going on in here. Calm down. Which we, I guess we're using rings. That's all we've got left, isn't it? So for this, we can again use, let's use the random stuff on pams this time. So we'll come into number six. We'll set it to random and also turn on the quantizer. Minor pentatonic probably. Patch that into the vaults proactive on rings. What am I doing? Vaults proactive on rings and then we'll take that into x-pans so we can get this panning around as well. I think probably in here. Getting a little bit messy. Make it faster. We don't want it doing really low notes. So what I'll do is come in here and use the offset here just to raise it up. And then there's loads of stuff we could be modulating on this. So we shall. First things first, let's get it panning around. So we'll just use another random one here. Yes. Get yourself moving, my friend. And then which one was it that really, it's probably damp we want to modulate. I reckon. So same thing. We'll just get some random modulation going on there as well. Bipolar again. And maybe bright as well might be nice there. Might need to dial one of these back if we run out. I think we're okay though. Into bright. Let's run the whole of x-pans through the reverb of dystics, shall we, rather than straight into there. That's too much reverb. Oh goodness me, that's just too much. Now if I can just remember, welcome to remembering how to use this thing. I have no volume control for rings, do I now? So I probably want to again go another 10. Now I'm running out of cables. Anything else we can do just to make sure we're using every single patch cable I own. We're not using the orcs on Beehive, are we? So we could, so that would be giving us the root note. So an obvious thing to do there might be to let's take the orcs just into far too long for that. Let's take the orcs out of Beehive and go into another at 10. And then from that channel of at 10 with a far too long patch cable, let's go into the other side of the crossfader on x-pan for that channel. So that's right. We need to send that through the skate, don't we? Which we can then treat differently. There we go, that's what we need to do. So into the low pass gate, out of the low pass gate and into at 10. That gate was something. Luckily we have a spare channel there. Friendly for the low pass gate. So now we have, let me take everything else down, kind of two different versions of the root of the cord going on there. Well I think this patch is about as done as it can be because we don't have anything left. We do have one stages. We don't have to use everything, but I kind of want to. We could modulate, oh no, let's not use everything for the sake of it. So we've got our cords and up which is Plats, Beehive and Rings there. Those are panning around separately thanks to x-pan. We've got controls for each of those elements on at 10 there. We then have our kick which is our pinged filter from Pams, doing that sort of low high thing going on using the logic there. Our bass which is the 2HP VCO. That's been sequenced by the SQ1 for pitch and Pams for rhythm. We just got the Bastel castle drum just hanging out there. So yeah, there you go. There's a fun little patch. Need some more hands of control, I think. I need mute switches really for everything rather than doing it on sliders and trying to grab these. Well these sliders are pretty good. Anyway, thank you for joining me on this little exploration through the current modular setup. If you enjoyed it, if you found it interesting then as always if you want to leave a like on the video that's always massively appreciated. Make sure you subscribe to the channel so you don't miss out on any upcoming synthy fun. And until next time, take care.