 A goody evening! It is the spookiest of all nights. So it is time to create some spooky patches. How is everyone this spooky evening? Yes, I probably will speak like this for the entire stream. Okay, it's just celebrated Halloween by confirming that we're going to enter a second lockdown for COVID. Which is pretty spooky. You have to admit. We'll maybe try and create something a little bit like this later on in the stream. An exercise in restraint to begin with. Let's try and... That one isn't so spooky. Let's begin by trying to approximate the spookiest instrument of them all, which of course is the theremin. I don't know why I did this. This is not a theremin. So we'll go from the initialised patch, I think. So this isn't going to be a particularly complex patch. So we'll not go in generative crazy stuff. We will do later. But we'll start off kind of a bit more relaxed and try and create a nice convincing theremin sound and maybe dive into the effects a little bit to give it some spooky character. So where do we start? Well, the first thing is we don't want our square wave. We want a single wave for a good old sawtooth wave there. Let's check on the chat to make sure everyone is okay. Good evening from the Netherlands. Hello, friend. How are you doing? So we've got our sawtooth wave. And we're going to go into the polymenu and we're going to set this to mono, of course, because theremin is a monophonic instrument that you wave on hands in front of. Okay, let's just darken it down with the filter a little bit. Give it a little bit of resonance to give it some dirt. Okay, so next I'm going to do is I'm going to go into the VCA menu here and I'm just going to set the velocity sensitivity basically to nothing, because I find it's really easy on the deep mind to play to quietly, basically. So that's that. And then, of course, the next most important thing if we're going to do theremin sounds is to make sure we have portamento working in a nice way. So come out of this menu, turn the portamento up a bit. So I think we can also set our oscillator length, oscillator range higher as well. Let's check on the chat. And we've got Winnipeg Canada in there, lovely. And twerp. Wonderful. Okay, so this is a start anyway. So let's just get our VCA just sort of sweeping in a little bit and we'll set our sustain low in our release rapid as well. So one thing that we can do on a theremin, of course, is this way of sweeping the sound in with the other hands, you've got one hand doing the pitch and one hand doing the volume essentially. So you have quite fine control over that volume element. So I want to try and approximate that here. I'm going to do using aftertouch. So I've got my envelope coming down to a fairly low level where the sustain set pretty low. So what we can do is we can root our aftertouch pressure if you like to the sustain level and that will lift that up so we can do volume swells in between, sorry, within a note as it were. So we'll go into the Mod Matrix. So all OK on the screen. That looks like it's probably fairly clear. That's good. We'll hold down Mod. If you want to get to pressure, you can scroll through the source but if you just push down on a key hard, it will switch to pressure as the source and then for our destination, we're going to use the sustain. So just wiggle that as well and then the depth will just kind of set it so it feels right. So I'll just go like halfway up to see how that feels. I might fine-tune that a little bit faster. We'll fine-tune it a little bit as we dig into the patch a bit more. So at the moment, however, we have this kind of attack that is going to be the same every single time. Obviously we can set it to wherever we want but I think it would be nice to be able to modulate that attack with the playing style again, the same way that we have for our aftertouch here. So what I think is a really neat trick if you have a Mod Matrix and I think it's a really underrated trick. I've done this a lot on my Digitone patches is we can come into a Mod Matrix here and for the source, I'm going to set it to the velocity. I'm going to set the attack for the longest possible that I would like. I think it's probably that. Then for my destination, I'm going to set it to the attack. So no velocity is going to attack and as the velocity goes up, I want to make my attack shorter so it needs to be a negative depth here. Now hopefully that means if I play hard, I'll fade in pretty quickly. If I play lightly, I've got the depth too high. Let's try a different velocity curve. Let's go for a linear ever to come down. Let's drop that a bit. So I think the other thing we want to do here to make the playing style feel better is also come into our poly here and set our envelope trigger to the legato so that if we start playing a note, we still have control over it like that, that's cool. So quick check on the chat to see what's in here. I see I spy an inky. So the next thing we definitely need to do if we're going to do a Thurman sound is because we need to get that vibrato in it. So we'll just use the mod wheel like the basic pitch that I am. So we don't need to use the Mod Matrix for this. This is a predefined routing within the oscillator menu I'm going to edit. Pitch Mod Source LFO 1 sounds good to me. And then we can do wheel to pitch mod. So we can set our rate somewhere sensible just so we can hear it. As we turn up the pitch wheel mod, it'll be on maximum. So I think the other thing that we can do so at the moment our portamento I think is fixed rate and I think maybe if we have fixed time it will sound more... The other thing we'll do is put a bit of oscillator drift just so there's a bit of natural pitch wobble even if we don't have. Yeah, that's kind of getting there. Somewhere. One of the menus, the Poly menu. Yeah, the Porter mode. So I think if we set that to... That feels a bit more realistic to play. So let's get into the... Let me just have a check what's in there. What's going on in here. DMS underrated. Yes, I agree. Absolutely agree. Inkey is wonderful as always. That's true. But... Using the amps and it looks so wrong in a synthesizer. Oh yeah, there. Oh God, I've never noticed that before. Oh, now I hate it. Great, you ruined the synth for me. Thank you. I'm going to have a glass of white wine this evening rather than the spirits. Because Halloween, the spirits are out for themselves. Or something. She had a bit of a noise into this just before we get into the effects. Just sort of a subliminal noise. Try the bass boost. Yeah, I like that. Cool. Let's do effects. Clearly, we're going to need some reverb. That goes without saying. So I'm going to set this up. Let's go with... Algorithm 3 for the effects. So you basically have two independent lanes. So I'm going to put a Hall reverb on 2. I think Hall. I'll try Hall first. Chamber. Hall. I'll try them both. So that's the Hall. Let's try Chamber. I think Chamber. And we'll make it a little bit longer. Not like, mad long. I'm going to lower the diffusion a little bit so I get a little bit more of the individual echoes with the reverb. Yeah, like that. A bit more pre-delay. So up in the pre-delay, generally speaking, on a reverb is going to make... If you imagine that your instrument is playing in a big room, upping the pre-delay will... One of the things it will do is make it feel like for the same amount of reverb, you are closer to the instrument than you are to the walls, basically. So pre-delay means that you hear the instrument and then the reverb comes in a little bit later, which makes you feel like the walls are further away from you and the instrument is nearer. So it's one way that if you have a very, very large reverb sound, both in the pre-delay, you can still have the instrument sound like it's sort of near to you. So that's a moderate pre-delay. If we go back to where it was... You can hear now that the reverb is more integrated. If we go very, very long... It's a data entry instead. Now the reverb is almost like a... Something that comes quite a long time noticeably after. So we're ready to sound good though. Yeah, that's feeling about right. Let's check in the chat again. Just generally good people chatting in the chat. Good. That's what we like. So one idea that I've been experimenting with a little bit recently is... Let's save this patch... is putting stuff before the reverb to pre-shape the sound going into the reverb. And one thing I thought might sound really interesting with this one is to put the... Where is it? Just being blind. I've probably gone past it twice. Filter. Okay. So this is like a digital filter. So if you need, for example, a bandpass filter, this is one way that you can get one on the deep mind. It's going to be digital, but it's there, so that's really good. So I'm going to set the depth down to zero because I want it to be a still filter. And the envelope mod to zero as well. And bandpass, set the resonance nice and high. And now as I sweep the frequency, you should hear the tone of the reverb change rather than the tone of the actual sound. Which is pretty cool, isn't it? So we can make it sort of dark and muddy. Or we can kind of make it really sort of midi and bitey. Or sort of sparkly and toppy. So this could be a really interesting way of if you layered two different reverbs together, you could have one of them pre-processed with the filter. I quite liked it, quite dark. Sort of vocally. And that's given the reverb a much more sort of spooky feel to it. So if I, just as a contrast, if I set the mix down to zero, this is the reverb without the filter in front of it. And this is with it, which I think is pretty cool. You can also mix it so that it's a bit of the original one or a bit of the, that kind of works. And with this effect, we can have it modulate slightly. So if we set the speed low, maybe the depth is just a tiny bit up. I don't like that, so I'll just fine tune now. Also drive control. We do have some more effects that we can add in. So let's add some more effects in. You name may as well while we're here. Then we'll move on to a different patch, I think. Maybe a delay might be fun. I really like the T-Raid delay, which is a oil can delay emulation, quite short in this case. It's crazy much chorusing. You can hear that has this really sort of dangerous feedback. It will self-hossilize eventually. It goes on for a long time. I don't think we need as much of that in the mix as we do with the reverb, so I'll just turn it to level down a bit. Just have it as kind of a background thing, just adding a little bit more character. I think reduce the reverb level as well. Realistically, I want to perform the portamento knob as well a little bit with this. Kind of set it full. It'll take forever to get to the note. Then you can sweep it back. Cool. I think that's probably a patch there. Let's move on and do something a little bit more obliquely spooky, I think. I'll initialize out this patch. What I thought might be interesting to try and do is create a spooky night sound. This might not work, but I think it's an interesting one to try and play with. Of course we have wind there. I've just been thinking about how we can create other parts of the storm. Let's give that a go. I'm going to set my velocity sensitivity back down to zero. I think probably the earliest thing we want to do is have that modulate. At first I was thinking, well, probably the easiest thing there is to go for just a triangle wave. That'll sound pretty windy, for lack of a better word. But I think actually what will make more sense is a really slow sampling glide. Because it'll do the sweeps up and down, but you won't spend so much time just going up and down. So it'll be less predictable. We don't need to route that to a two pole instead. We'll go with four poles to begin with. So for this we can just go into edit here. We can just make sure that our LFO select is set to one in the VCF edit menu here. And then we can just bring up the LFO on your noir. Stop it. Stop being so nice. Everyone stop watching the stream and go and watch his Halloween video. No, watch it after this. Don't stop watching the stream. You're way too kind. Don't do that sort of thing. Thanks so much, buddy. That's really appreciated. And you know you don't need to do that. Now I think possibly, depending on how this patch goes, it might be interesting to modulate resonance as well, because you can get that sort of howling wind feel. But we'll come back to that. Hold this key down by pressing that. Let's add some reverb to this just straight off the bat because that's going to make it immediately spookier. I'm just going to go with the four and a row to begin with. And we'll try a rich plate. Of course this is naturally going to create width. So the question is, what else do we do? That's a really good question. Of course we have. Jorbe is saying what I end up doing with stuff like this is a slow sampling glide at low depth controlling the speed of the LFO. As you'll discover Jorbe, that's something I also do. We'll probably do a lot on the next patch that I kind of have planned. So this kind of sounds like... So let's try something there. Okay, so Jorbe just preempted what we're going to do here. I'm going to set LFO 2 to a sampling glide as well. I'm going to come into the mod matrix and I'm going to stick this in the middle. LFO 2 as my source and my destination will be level here. It's now begging, now that it's sweeping it up for some delay I think. So let's add some in the effects. She has a stereo delay so that one allows her to spread things about. So if we set our mod here to, because I've changed the factor of this oscillator just fluctuating in pitch a little bit, perhaps we'll get enough of that if we just turn on some oscillator drift but a bit more than it usually would, 32 or something. So the other thing I'm going to do is I'm going to apply a little bit of speed feedback. So the two LFOs I'm going to do is they're both random and I'm going to have LFO 1 change the rate of LFO 2 and vice versa. That means they're going to stop being so cyclical. Not that they're super obviously cyclical, but if you listen to the pulse in the oscillator one at a moment there is a definite. There's a source and it's going to affect the rate of LFO 2. And then we'll do a feedback of that when we have LFO 2 affecting the rate of LFO 1. And in this way let's get LFO 2. Let's have the modulated a bit by LFO 1 that I'll do. Just a tiny bit, just a main mod in the oscillator 2 menu. I'm going to go to the mod matrix and see what it's centered around this point. Tone mod depth and also be modulated by LFO. So now I'm thinking in the effects. Shall we try to pitch down mixed in as well? I think that might be pretty cool. So an octave down with a couple of cents out of the way and I want to see what it sounds like. Good to see you again. Thanks for stopping by. Interesting on oscillator 2. Let's try it. So if we go into our control sequencer here. Here the loop sounds about right. And let's just control sequencer. That's just spinning around and then in the mod. I then apply the control sequencer to the pitch of oscillator 1. Yeah, pitch of oscillator 1 that should work. Oscillator 1 pitch and we set that to full. I go, thank you so much. That's so kind and a very appropriate amount. Indeed, it's the night of the spooky sounds. So I quite like that, but I think we need more extreme amounts. And then maybe a temperate using the mod wheel. I think that is what we're doing. So we'll come back into the sequence and we'll just bump up. Now I think plodding is the moment I've got that set to full depth there. But I'm going to set the back to zero so it's not affecting it at all. So we're back to our drone, which is very pleasant as well. I have a mod slot here, which is mod wheel as the control. The depth full. And then the destination is going to be... We're going to turn this up to get our spooky friend happening. Yes, that's a ring mod in here. Now you've said that. The approximate ring mod with a filter going too fast. Let's try that. Doesn't go fast enough. We're going to make a ring mod and another one now obsessed with the idea that this shall have a ring mod. You're a visionary. And just set it ridiculously fast. So that should be looping now. A couple of different things. Let's try sending it just to... Just press that. So this isn't really a ring mod. This is amplitude modulation, which isn't quite the same thing as ring mod. It's still pretty cool. I'm going to be able to turn that on and off. I don't know what that's going to be happening all the time. So let's do a similar trick. So we'll set this back to zero depth. So it's not affecting it. Natural pitch bend about in a second. Pitch bend four this time. I was going to disable the pitch bend. So just in the poly mode, it's changed pitch bend to zero and zero. I quite want to be able to... Who modulate the mod envelope? That sounded great. I agree. I'm out of mod slots. I guess I can do away with one of the LFO feedbacks. Because it does sound good enough that I think it's worth doing. I just want to note that it's stressing which is modulating the VCA sustain instead. And that is not a bad shout that might be better than VCA active. I do it fairly often in patches for myself. But I don't tend to do it in patches where I'm going to share them with someone else. Just because it's a bit of an unexpected thing. I guess you can write it in the notes. The other thing that's worth noting allows you to do in more conventional patches. If you turn off the main pitch bend in the poly menu, you can then use this to mod the pitch of just one of the oscillators. You can use it to do like... I've still got an FX slot free, so let's fill that before we move on to the next patch. That was all because everything I've just been doing was one note. This is suddenly more sinister. Jesus. Very silly. Okay. Well, that's fun. Fun. Okay, let's do one more melodic kind of patch. And then we'll do something that's just unsettling and sinister. More so than that last one. And I just thought, let's do something else with noise. So this is no oscillators. This is just noise through the resonant filter. We're just basically pinging the filter with noise, which is really, really cool and really, really creepy. If you arpeggiate it. So let's arpeggiate it, shall we? Actually, before we do that, let's go into the VCA edit menu and it tends to pan spread on. I think I'm going to put the delay before the reverb so the delay is happening inside the room, as it were. I think that's so more real. Turn our time all the way to the bottom here. We can get it to tempo sync. Focus the delay a little bit more in the mid-range. Is there any way of getting an intermittent high frequency stuttering type effect? I mean, if you wanted it to make it randomly intermittent, the best way of doing that. Sawtooth LFO 2. If you just wanted an oscillator 1 of the oscillator 2, you could do it to the level. You could do it to the VCA or the sustain level on the amp. Embrace probably the best one, actually. If you wanted it to be intermittent, if you were willing to give over 2 whole LFOs to the job, you could have a square wave LFO controlling the depth of the modulation. I'm going to make the VCF sound a little bit more broken by giving it a little bit of slow LFO. So I think modulating the resonance is an absolute requirement here. So which LFO is even the LFO 2 there? So if I switch LFO 1, I'll go simple and glide again. It's an all-you-were-a-goodie. This is going to be per voice as well, I think. So that's going to be interesting. So if we go into the mod here, LFO 1 for our source, and, except not LFO 1, I'm going to go LFO 1 unipolar, so I'm able to set my lower amount here. And then destination will be resonance. Beautifully broken. It's somehow creepier with a slow attack, isn't it? A delay, so we can do this. Weird, sick. There's still one slot left as if I move this at those weird pitch-bending delays. I'll quote up in another, so I'll set this one nice and long. That's horrible, isn't it? Mission accomplished. What time is it? Time for one more before we clock off for the evening. I think so. Sorry, I've been neglecting the chat. Let's have a quick look. Struggle with those percussive sounds. Yeah, one there is that the attack down at zero is very clicky indeed, but you can go quite high with the envelope and still have it sound instant. The other thing that will cause the clicky envelope on the deep mind is how you have the envelope reset setup. So in poly, you've got the different envelope trigger modes. So legato is for legato playing. Then you have mono and retrick. And it's worth trying both of those, of difference in this case, but it's always worth trying both of these. I come in which way around it is. One always starts over again and one will interrupt where it is to restart. And depending on the rest of your patch, one of those will probably be more likely to cause clicking than the other. Anyway. I'm having birth control and loving it. Yes. It's really not staying in tune intentionally, but it probably doesn't play so nice with other instruments or does in a way that makes everything sound uneasy. Anyway, let's just end by creating some sort of uneasy horror escape. Something we don't know what yet, but I guess we'll find out. Let's start with a low note, shall we? If we think about effects early on with this one, I think so. So I think I'll set this up as a generative type patch. So we'll set both of these to some unglide and have them modulate each other's time. So obviously one way of making things sound uneasy is to have things go out of tune with each other. So let's make things go out of tune with each other. So LFO 1 is the pitch mod on oscillator 2 that works with me. Always remember on the deep end that you have a bunch of stuff that you could be editing, controlling to the mod matrix modulating. That's the one I'm looking for. Take a mic if you haven't already gone. Alley is this all on board. The effects are all the Mr. Sync. I do believe you've forgotten your brush. My toddler was playing with it earlier and I think it's in the bedroom, unfortunately. Yes, the brush should be in shock. You're quite right. Otherwise how would anyone in here as well? Even more drift than with voices. And because the LFO is polyphonic, they will be panicking. So let's go into the mod matrix. I'm really glad that this is helping out. It's a bit of a freeform event this evening, but the tricks are still useful. The LFO is pitch mod. So the pitch mod is on LFO 1. So let's have this level set by LFO 2 instead. LFO 2 unipolar, so it's there you go. The starting point. Because these are simple and glided, it will be a smooth thing. The second oscillator is that it will accentuate different harmonics within the note anyways, so sometimes it'll sound like it's a fifth up. For example, like detune it, match the language of prayer. Let's not use LFO 2. Because LFO 2 is related to some other tonal things. We don't necessarily want that to be interspersed with the resonance. So you don't want to be too periodic in that way. So let's set our mod envelope to... So pro tip, when you set your mod, when you set any of the envelopes to loop, you'll need to retread note, otherwise it won't pick it up. So OS80 bagging a 2600. I probably am not. Probably not anyway. And to be clear, not for any political reason. I just don't think that I will get prolonged use out of it. There's a certain piece of gear that I always come background to, and then we'll use for a long period. I just don't see that being one of them. Weirdly, I could almost see myself getting an odyssey. Either the carp horn or the bearing horn. I think the 2600 is a very large synth that won't get enough use out of... that I won't get enough use out of. I've got stuff that I reliably always come background to, and the reason I usually come background to those things is either sort of... Well, it tends to be one box-isms. So if I can reliably use just one box to do an entire thing, entire track, entire piece, then that will attract me to it more. So the electrobox is the mini-brook, plus especially with the Eurorack stuff in the mix as well. The DeepMind for ambient stuff. I don't see that being the case with the 2600. I don't think anyway. And it's very big for me not to be using it. Anyway, let's get this resonance. I'll give this more of the parameter drift that should be drifting the speed of the envelope and also drifting the resonance around. This patch sounds like a bad note in here. There's quite a lot of stuff that is implicitly changing the perceived volume anyway. The sequencer as a third LFO, that's a good point as well. So I've used the envelope as a LFO but we could use the control sequencer. If you set the control sequencer just like two steps, or as many steps as you want, you can set the slew rate on it, which will give you... Okay, I think that's going back to the effects for a bit. So I think if we mixed in a bit of pitch up and or down, pre-reverb, not like too much, but I think that might be pretty good. Not like overt shimmer. So I've gone with the vintage pitch. Octave down on both sides. Save for patches, yes, thank you. Thank you. I hadn't drawn up. This patch is fun for opening two tabs and doubling about the sound too. That's how you make the most of drone. Drone music. So here everything's slowly got wider. So all I'm doing there is in the delay. We've got this off second trial, which I'll just offset the left and right delay times by milliseconds. And immediately you get just like massive more comfort so I can't go back for that filter, a filtered signal going into the delay, which is maybe sweeping really slowly. VCF just kind of pin. That's very kind of you to say. There are definitely better streams than mine, but nevertheless I will take the compliment. Like we're winding down, although I have still got mod slot spare, Lime Determine to use before we finish the stream. What are we going to use them for? So the mod envelope is at least one thing, the resonance. So let's affect the speed of the mod envelope. Almost tempted to do something with the control sequencer. Let's do a control sequencer. It's Ghosts. It's a computer, isn't it? It's a computer that's come to... Why use prime numbers? Because I like prime numbers primarily all over each other in really interesting ways. By the thing I'm a group, all that's enough. Clearly I've gone mad, so... Yes, thank you for joining me. And hopefully I'll have a proper video coming out next week's nice long video. And I'll see you very soon.