 Hello, Oslo to sync here and welcome back to another video in the series where we are building patches from scratch on the Behringer DeepMind So today we're going to build a patch which has been requested a few times on the channel And it's one that I've been very excited to get around to and that is because today We're going to turn the DeepMind into a drum machine now just to set expectations right at the start We're not going to end up turning our DeepMind into an 808 or a 909 Rather we're probably going to end up with something that's a bit quirkier and esoteric And that's sort of borne out the fact that we are making something which is designed to be a melodic Synthesizer into something that's much more percussive and gritty and dirty And I'm really excited to get on with it. So let's do it now with synthesizer as comprehensive in its features as the DeepMind which has so much Opportunity to modulate the sound there are lots of ways that we can achieve percussive types of sounds So what I am showing you today is one of what are probably Thousands of ways that you can approach this kind of problem But hopefully will introduce you to a couple of concepts Which you'll be able to sort of reuse and twist and reapply in different ways to kind of get to these sort of percussive patches So I'm going to start by establishing a kick drum. Okay, so kick drum. How can we do a kick drum sound? Well We're going to initialize patch at the moment. I'm going to turn off the sawtooth sawtooth waves don't belong in percussion That's not entirely true, but Certainly a Down-tuned square wave is going to give us more girth. So we're going to start with our square wave sound here We're going to go into the edit menu for the oscillators and we're going to drop its range So it's nice and low So we're going to come back to how we can turn this boring square wave into more of a kick drum sound in a moment What I want to do first is establish a way of getting a four-to-the-floor kind of Dung-dung-dung-dung beat happening And to do that we're going to make use of the LFO And also the envelope So the first thing I'm going to do is I'm going to head over to LFO 1 and I'm going to change its shape down to a sawtooth, a descending sawtooth. Now Depending on how we apply this LFO Actually, the shape that we go for who might not be the most important thing and I'll explain why that is in a second The thing that I am going to change which is important is that I'm going to turn on the arpsync now what the arpsync does is Not actually related to the arpeggio actually running So arpsync works whether or not we have the arpeggio running at all you can see here on the light here that This LFO is indeed cycling around or be it very very slowly at the moment. So what we've got here now is Rather than a rate is a clock divide and this clock divide is going to be Relative to the rate the tempo that is set here on the arpeggiator Sequencer setting it doesn't mean that we need the arpeggiator running to make use of it and indeed if we turn this in to say one over Four for a four to the floor You see here it's pulsing away. Don't don't don't don't and if we alter the right here That's going to alter Our LFO as well and that's going to become important because we are going to make use of a secondary Tempo synced modulation source in a moment So having this sync like this is indeed important Okay, so we've got this LFO pulsing away So how are we going to make that give us a donk donk donk four to the floor now? We could in theory sort of patch the vca into Our LFO here and you get a donk donk donk donk donk happening But the thing that's going to happen there is that we are absolutely kind of Forced into this straight up sawtooth shape It's always going to go up to full and it's going to decay down to nothing and then start again It doesn't allow us to sort of be flexible about the shape and There I say envelope of our sound So if we head over into the vca Envelope menu here Up at the top here. We've got this vca end trig thing here And at the moment it's set to key and what that means is that the envelope will trigger start when we hit a key so if I alter the shape of the The envelope you can hear that It starts when I hit the key and it releases when I release the key And that's all well and good usually Now we actually have a bunch of other options here So we can have it triggered by for example the LFO Now this means that this envelope is going to trigger every time this LFO cycles round I'll notice there that when I press the key It didn't start straight away because the LFO hadn't gone back to the start But if you watch the light on the LFO try and catch it Now if I lower my sustain And my decay there You can hear now That my vca Is cycling So rather than being Forced to have that smooth shape of the LFO we can Alter the shape here instead You can also have it not all go all the way down to zero So perhaps we won't quite have it go down to zero Okay, so we've now got a square wave that pulses away when I press the key So that's all very well and good, but it doesn't sound much like a kick drum Now one of the main ways that we can get a kick drum kind of sound kind of a cussive sound is to have a very quick pitch bend up at the start of the The note and then decay very quickly afterwards So if we come over here and we Turn up the pitch mod here you can hear that it's Doing just that at the moment if we go into the edit menu We can see that the pitch mod source is set to the LFO and it's following that LFO Now the problem is that doesn't sound much like a kick drum because that pitch bend is taking the entire Cycle to get back down to the bottom. It's kind of it's kind of cool sound and maybe if we make it If we make it pitch bend a little less That sounds even worse So what we need is something another modulation source, which is going to allow us to be a lot sharper So we could pass this over to LFO sorry envelope one Which as you remember we've got kind of a different shape there Yeah, but it's not quite working. We need something that's more customized or so We're going to set it to envelope three And we're going to head over to the mod envelope, which is envelope three and we're going to set that to be sequenced by our LFO one or other trigger by LFO one as well And what this means now Is we have full control Over that first initial pulse We can get a real short and punchy We're going to have it long and and blippy or even longer than it would have been on the LFO everyone We have control over it now Cool. So now we've got kind of a kick drum sound. Perhaps we'll go down an octave and Yes, meaty And of course we can change How attacking it is by Changing our pitch on here So there's our kick drum Right, let's add some Snary type elements to it. So the obvious way to add snare. It's obviously to Truck some noise in like that. Now obviously we don't want to do that by hand Now We could approach this noise in a couple of different ways. We could set up our LFO two to be a faster sawtooth Or a slower sawtooth rather and we can have it fade in and out there Again, we'd come into the problem of being sort of beholden to the shape of the The waveform there But we actually have another really useful feature in the deep mind And I I don't know how well understood it is necessarily But hopefully are we able to shed some light on it today? And that is if we head into the up sequence Menu and we head across one there. We get to the control sequencer Now the control sequencer is a is a funny one The deep mind didn't come with a sequencer sort of a note for note sequencer playing some notes press play and those notes played back Like you would get on say the key step Instead what we've got here is something much more akin to an analog step sequence or something like the corg s q1 for example And if we head into the sequence here, we can see that we've got all of these steps That we can scroll across And we can assign either a positive or negative value to each of those steps Like so now at the moment you'll notice that the sequencer is not moving and that's because That it's not set on a mode where it's going to Play it's also Now we can think of it Not set to play full stop. So if we come back out of this menu here, the first thing is we wanted to actually enable This sequence and we also want to choose a clock divider. So we had our We had our kick LFO running at quarter notes Let's set this to run at eighth notes to begin with at least And again if we head into the sequence again, it's moving and it will restart every time I press the key Now that's going to become a problem Because that is not always going to restart with the LFO So what I'm going to do is come back into the edit here and where we've got the key loop here I'm going to set it to just to loop on and if you look here, it will always be looping no matter But it will also always be in time with our kick drum So just to begin with I'm just going to arbitrarily pick a couple of steps. I'm just going to turn the step sequencer up Quite a lot those will do I'm going to come out of the step sequencer And I'm going to head into the mod matrix Now as the source I'm going to scroll across and I'm going to select Now where is it after the envelopes? I think Control sequencer there we go and the destination I'm going to set to my noise level If I turn up the depth now We can hear that we've got Kind of a snare thing going on. It's not perfect But we can make it better So the first thing that we can do to make that sort of boring kind of Noise which has no kind of shape to it is to give it some sort of timbral shape. So what we could do So we could lower the frequency of our VCF here And we could have it open up on the envelope at the moment Because our VCF Envelope is set to be key trigger and I'm just holding it down. It's just staying where it is Now we could set this to be our LFA one again Okay, so that's kind of sequencing with our slower kick drum essentially if I hear this Very much related to our kick drum We don't really want that. We want it to be more related to our snares So if we scroll across our VCF and a trick here We can get to seek So this is going to trigger every time the sequencer goes across instead It's just done two things It means that the VCF is happening more related to our snares It's also given us some additional kind of Backbeat on our kick drum as well. It's quite cool Okay, let's go back into the sequencer here and let's put a couple of what we could consider hi-hat. So kind of some ghost notes Okay, so we've got some kind of hi-hatty snarey kind of Shuffly things going on but again just that kind of straight up Noise isn't that interesting what I'd like to add is some sort of tone to our snare drum as well So if we're going to add tone to our snare drum what that kind of means is that we want to probably trigger our spare oscillator here With our snares but at the moment obviously this is Way too low. It's not really Doing anything for me in terms of a snare thing. So let's go into the edit menu here. Let's turn its range up Let's turn its pitch up You hear there that it's also triggering with that Bend the same way that we did with our oscillator one That's because by default the pitch mod on oscillator one will also affect oscillator two I'm kind of happy with that because it does mean that we've got a second pitch mod opportunity here So first of all, let's make sure this is only kind of coming in with our snare drums And the way that we can do that is very similar to the way that we did it with our noise sources that we'll go across Uh to control sequence As our source will set our level um Oscillator two level Turn the oscillator two level down And turn the depth up Okay, the tone there is kind of boring at the moment so Let's make a bit more metallic by setting a tone mod a bit more of a ping there Still not quite Kind of metallic and interesting enough for me So let's do something which is always a good way to get sort of metallic harsher tones into a sound and that is to modulate it at audio rate So we've still got the spare LFO here LFO two. I'm just going to Max its rate And I'm going to come into the edit menu for oscillator two Oscillator two and I'm going to set its pitch mod source to be LFO two So let's have a listen to what we can do there Sweet Okay, that's probably too loud in a lot of places. That's sort of it's made it really obvious. Let's just start back a bit It's kind of introduced quite an interesting rattle to the situation Now we've got all this top end Instantly, I think it was time to lose our kick drum. So easy way to bring back some bottom end Let's hit the boost on the high pass filter Okay, cool Yeah feeling that now, um, if we wanted to introduce a bit more character and grit We could apply that audio rate LFO to other things as well. The obvious one actually would be the Filter we might want to fine-tune the filter a little bit anyway So let's just make sure by going into our edit menu for the vcf that our LFO source is indeed LFO two Which is our audio rate LFO perfect And let's see what introducing a bit of audio rate to our filter does for us It almost get kind of like a distortion happening Let me just a little bit Cool, okay now this is kind of like a Sort of an abuse of a synthesizer drum machine And I always find with these sort of sounds we can really enhance it with some effects and as we know with a deep mind We have got a very generous effects section here. So let's head on into the effects now Usually I have my effects set to send which means that we get an analog Dry through and then any effect that we add is sort of mixed in on top of it There's a good reason for doing that Mostly because I'm usually using delays and reverbs and that's the more efficient way of doing it and actually you can I don't know whether you'll be able to hear it here, but You can hear a difference When you switch to insert and what insert means is that everything is going through the effect system So that means that your analog signal is getting converted to digital to go into the digital effects And then it's getting converted back to analog out the other end Let's not get into an argument about How good the digital to analog converter inside the synth is I'm sure it is good enough Um I just end up feeling like a luddite and wanting to have send effects, but uh in this case I want to have inserts because I want to actually Effect the actual synth sound and not sort of mix in an affected version with it So let's um head down to the bottom of the list first of all because I think we need some reverb to create some space I'm going to use the vintage reverb It's got a cool sort of industrial old school feel which is kind of what I'm hearing here Just reduce the mix a little Let's give us a bit of stereo width as well if we bypass that Everything's kind of down the middle It's giving us a bit more width there The next one I'm going to use Is Where are we the fair comp? So this is a compressor. I'm going to use this just to give a bit more sort of bump and grind to the sound So let's head into the fine-tuning here Uh, I'm just going to go across to the output gain and turn down a bit so that I can turn the input level a bit higher a bit over driving I'm just going to just the Threshold Time until I feel something good happening basically Yeah, that's feeling nice But the final thing I want to add and if you've seen my video On the monologue where I've done drum machine stuff. This will probably not surprise you So I want to add some overdrive to this So I'm going to head over to Uh the rack amp okay, so Just use it on the defaults working with this is with everything bypassed And then when we turn on our effects now Yes Okay, so let's affect some of what we've got going on here Um, so I'm going to turn the level down a bit again because I want to turn the Pre up a bit or high end or low end as well. Why not? So the cab here is a is like a speaker cab emulation I kind of like it turned on to be honest. This is with it off It's got a certain vibe to it, but it's kind of eating away at all the body so And then essentially you've got kind of these here which are Sort of low mids high and overall drive sound a bit grittier So the interesting thing with this is that the mid-range really emphasizes those snare hits But it kind of messes with the bottom end So one of the stress that we do is actually automate it so that whenever there is a loud snare hit That jumps up to emphasize it So if we head back into our mod matrix and again, we're going to be using our control sequencer as our Source because that is what is governing our snare drums Okay, and we're going to whiz across to the end here. We're looking for when we get into the effects here So we're looking for effects two and we want punch. There we go As we turn this up Okay, let's move do some fine-tuning now Go to the VCF envelope and have it close off a bit more So a really short delay we can So we're kind of getting there with with the vibe that I'm looking for One thing that is really really interesting to do however, so if we head into the sequencer again You can see here at the bottom that we've got a length value at the moment. This is 16 So this is a kind of a 16 Beat bar and that makes sense. We got our fourth the floor kick drum happening But things get really interesting if we make this kind of not line up properly So if we go to 15 so that we're not repeating every four kick drums if you like we get some really interesting stuff happening So here we're not getting things sort of overlapped quite the same way So changing the length of your sequence to something that doesn't completely overlap with your kick drum can really introduce a lot of interesting stuff To go the other way as well And the thing that's really exciting about getting a patch set up this way Is now we've got a bunch of controls That are going to allow us to create sort of performance changes So as an example if we set the sequence going We could change the pit pulse width modulation which is going to mess with our kick drum Make it spitier Make it basically disappear Similarly with our pitch mod we can make it so that we don't have the punch at the front and just get kind of like a pulsing bass note And just get the snare And then Bring it back in similarly if we move over to oscillator two, which is kind of our tone part of our snare drum We can do things like mess with the tone mod To change the tone of our snare drum We've also got our pitch mod here remember which has been audio rate modulated and we can turn that back into kind of like a pingy pingy thing Which is super super cool as a variation obviously the tone mod's going to have more of an effect there now Almost sounds like a kind of resonating string now If we head over to our vcf section, there's a ton of stuff that we can do so we could turn down our vcf envelope Put it in the in the club next door if you like Play from up the Really cool variation Get the resonance happening at the moment our audio rate LFO on our vcf has turned down Make it even grittier Tweet the envelopes it's not quite as big And then of course we've got our envelopes as well and all of these envelopes are going to affect Something interesting so the vca is the overall kind of shape of the four to the floor thing so we can have it Stutter and just on the kicks because remember it's our four to the floor that's being affected here We've got our go to the mod now. So this is the punch on the kick Yeah, boy And we've got our vcf as well, which is remember this is a sequence that's right Linked and looping to our sequence. So that's going to be our pulse. What's happening there? And so Get things more sort of spitty there different of that delay to make it somewhat open Um, and I could get lost in patches like that for Days love it and I hope you enjoyed it too So there we go guys that is a drum machine of sorts gritty and industrial and interesting And we've got so much sort of performance Options on the front panel and we've got all of the interesting stuff that we can do Tweaking that control sequence as well Like I say there are probably millions of ways that you can approach getting these sort of Looping drum machine patches on the deep mode six. It's such a deep synth with so many options But I hope that this is kind of Maybe sparked an interest in some of these techniques that are a little bit more out there And the way that you can apply them, especially using the control sequence So, you know, our mod matrix is not that complicated on this one. It could be a lot more complicated We could be rooting uh, other envelopes maybe Having the filter envelope modulate the level of oscillator 2 as well as the control sequencer for example so that it sort of Shuts down a bit more and rather than pinging across the whole thing There are lots of ways that we can fine-tune this patch and mess with it But hopefully this has kind of introduced you to some ideas that you can go away and apply To kind of do similar sort of tricks yourself Anyway, guys, I very much hope that you enjoyed this. If you did, please do make sure you give the Video the old thumbs up and make sure you're subscribed to the channel And if you want to make sure that you definitely don't miss out on any upcoming videos Make sure you've hit the bell as well so that you get the notifications when the new videos come out Also, let me know in the comments below what else you want to see in this series What types of patches you want to see me put together and other things that you want to see on the channel in general Do you want to see some more monologue videos? For example, I haven't touched the monologue on the channel for quite a while But it was featured in my live performance recently. I kind of fell in love with it again I always fall back in love with the monologue every time I touch it. It's just such a cool synth So do you want to see some of that? Do you want to see some of the other synths that I've got that I haven't featured quite as much. So for example the Solzby Megatron kind of an eight-bit really interesting synth I've got the dope for deep mind, which I've barely Featured on the channel at all. We can do some stuff with that as well Let me know in the comments below what you would like to see other than that guys Thanks so much for joining me as always take care. Bye. Bye. I'll see you again soon