 Hello Oscillator Sync here and welcome back to another video in our series where we are taking a look at building patches from scratch on the Behringer DeepMind 6. So today we're going to look at building a bass sound. So without further ado Let's hit PROG and compare to get to our default patch and get going. So in the default patch We're hearing a single oscillator here I'm going to head over to oscillator 1 which is the one that we're hearing and I'm going to turn off the sawtooth wave because I want a nice Buzzy but sort of weightier square wave. If we listen to the sawtooth wave Doesn't have that same sort of bottom end Presence that we have on the square wave. We might bring in the sawtooth wave later But for the moment we'll start with the square wave. Now oscillator 2 currently we're not hearing So let's bring that up We can hear That's currently by default tuned an octave below kind of giving us a sub oscillator situation which is kind of what we want cool now What I would say is that Whenever you're layering two pulse waves together there is a lot of phase cancellation going on so it's always worth If you can adjusting the pulse width of one of them to see if you can get more bottom end happening So let's try that now Can you hear that? So normally As you up the pulse width Of an oscillator You'd usually have a drop-off in bottom end, but because we're layering together Two square waves that's actually Ensuring that we're not getting as much phase cancellation, which is of course a good thing We could also take a look at the tone mod on oscillator 2 which does some interesting It's kind of a pulse width But not and it does some interesting sort of folding of the pulses and it can introduce some quite interesting harmonics You hear that that fifth is really emphasized now Say what I could see us modulating that should we do that? Yeah Okay, so let's go into the edit menu for the oscillators head over to oscillator 2 and here we've got the T-mod source, which I'm going to set to LFO 2 So that means that LFO 2 is moving that slider for us and as we turn up the tone mod That's going to introduce the depth to the modulation That's kind of evil sounding I like it right okay now I think what we'll do is Have this as a mono bass sounds at the moment We've got polyphony here, and it's not really working for me so we're going to head into the poly edit menu here and In here at the top we've got this polyphony setting so at the moment it's set to poly and we can also have poly but with unison Let's move across to mono and now we've got a mono synth now. It seems a shame Given that we've got six voices here that we are letting five of them go to waste here, so let's turn up the Unison here to stack some voices together Let's try three That's evil sounding now it's also Evil but kind of boring in a way because there's no sort of Movement between them and that is what this unison detune slider is for what this does is it detunes each of the voices That have been stacked together and we can use it to do this Which is cool Right that is a nice starting point for our sound I think Obviously too bright at the moment, but we can get to that so let's talk about our VCA Envelope first of all also we want this thing to come on Instantly so I have our attack all the way down. I think we just want this to sustain constantly like that At the moment, we've got a bit of a release there. I think we probably want To keep things hard and sort of on-off organ style, so we'll set our envelope accordingly Yes, right now this is too bright at the moment It's cool sounding but it's too bright, so let's go over to our Filter here and let's turn it down. Well, obviously now we can't hear anything at all But we can open that filter up using our envelope So we've got the envelope control here. This is the envelope depth and by default it routes to this second envelope here VCF Actually, you can route it anywhere That's kind of one of the beauties of this synth, but we'll make use of the one that she says VCF So we can keep track of what we're doing. So if we turn this envelope up Already. Oh, yeah Already we're getting something that I like now attack. We probably want to be instant decay We'll mess with in a second, but the important one to begin with is the sustain which is kind of our resting place So this is kind of the overall Character of the sound and we need to get this sounding just right so So we can hear that's kind of our Our resting point there Like that I think Yep, and again, we can have our release Almost instant just so we don't hear a click Nice Cool, okay, so I think we can introduce a little bit resonance here Yes, I like a little bit resonance, but that has Robbed us as some of our bottom end the Filter on this synth as you bring up the resonance you do lose some of that bottom end But luckily we have a way of compensating for that which is on this high pass filter section We have this boost button and that gives us a big old bottom boost, which you probably want to turn on for any bass sound I think Yes, lovely Okay, we happy with the filter sweep. Can we make that a bit snappy do we think let's adjust the decay here? Actually we want it less snappy Yeah, let's actually have it less slappy Yeah, okay, I like that I like that a lot right because we've got a nice mono sound here I Think it'd be nice to add a little bit portamento. So let's turn that portamento knob over bit Can you hear that it's Retriggering the the envelope When I get down to the bottom that which I don't really want Because I want it to kind of slide up and down kind of a 303 kind of slide thing happening It's not very 303 sound but That kind of performance element to it So the way that we can deal with that is again in this poly section here I don't quite know what's in the poly section, but it is And we've got this end trigger thing here And that affects how these of overlapping notes are going to work now if we set this to legato Whenever we hold down Hold down a note and play another one. We get a slide rather than a retriggering Probably a bit slow. Let's turn the portamento down So if you play cleanly You get the retrigger if you play legato Then you get a slide which is what we want Okay, let's talk about the performance elements here now at the moment I played lightly It's really very quiet. I think for this sort of sound. We don't necessarily want that so we're going to head into the VCA here and We've got our velocity sensitivity. I'm going to turn that probably most of the way down Yes To compensate for that if I go into the edit menu for the VCF We've got the velocity sensitivity here, and I'm going to turn that up instead. So rather than getting a volume fluctuation We get a filter fluctuation depending on how hard I'm playing Cool, let's save that because that is sounding nice Okay, what else can we do here? Well, let's see how this bass sound sounds in the high registers because sometimes bass sounds make good lead sound And It kind of does I like that In fact, if you went into the unison here just the side if we set that to Unison 3 so we had to basically do a follow up the synth Record that That's quite a nice sound plus I'll leave it on unison 3 No, let's go back tomorrow because it's meant to be a bass sound come on come on Let's stick with our with our conviction. Shall we? But you know as I say bass sounds Can sound great in the upper registers I Wish this one kind of does back back down Okay, what else can we do here? Well, probably we can add some vibrato We'll add some vibrato via the mod wheel here So if we go into the edit menu for our oscillators and head over to the oscillator one parameters We'll see that the pitch mod source is LFO one Which at the moment is running very slow, so we'll just speed that up a bit And if we were to turn up the pitch mod here Sorry, that was on oscillator 2 on it's own We get some pitch modulation there now. We probably don't want to have it on this slide and we certainly don't don't want it on at all times So what we can do instead if we scroll down to where we've got to wheel to pitch mod Basically that will assign the pitch mod slider to the wheel and we can decide how much it's going to be applied So if we turn that all the way up and Then we play a note and we can adjust this parameter until we get our Maximum amount of pitch mod that we want we can go quite quite seasick, I think Get more than that I think Cool what else can we do here? Well, let's just see if adding a little bit of noise will give us a bit more attack Because sometimes it does I think it's emphasizing the top end too much, so we'll leave that turned off for the moment. Do we want any filters? Sorry filters, I mean FX Let's say maybe we want a little bit of delay Because you never know Obviously that's way too much at the moment and we'll adjust 11 a second, but let's go into here to adjust things So the first thing I'm going to do on the timer slide here What you can do if you go right way to the bottom is that you can Set it so that it's related to the Arp or the sequencer So if you're getting midi clock in that means that your delay is going to be in time That is a good thing at the moment this mode here isn't cross But because we are a mono sound right down the middle will not get any variation there Let's switch that over to ping pong Whoa Obviously we need to turn that down a bit in a second, but that's nice Um, so just going through here. I'm just gonna on a delay here. We can apply some low-cut so we don't want all of that bottom end Hinging around our ears Nor if we move to the high cut, I think do we want all of that top end? Keep things a bit darker. I Think probably the feedback is a little bit high at the moment as well And we've got this feedback high cut here, which allows us to You can hear now that the Repeats are getting darker each time Whereas if it's on full Kind of staying the same. So we'll have that turn on as well We'll come back to the main effects here. We'll go down to our level And we'll dial that right the way down because that's way too much Now if we play these long sustain nights kind of instant Blade Runner and if we turn on our arpeggiator that delay kind of adds that sort of Additional movements to what we've got going on See bass sounds up at the top Instant rave kind of stuff going on And that that delay makes all the difference we turn the delay off now Boring back in I Rave arpeggio sound as well as a bass So there we go guys There is a cool bass sound that also as it turns out makes a really nice sort of rave arpeggio sound as well If you enjoyed the video if you found it useful Please do hit the thumbs up on the video and make sure you are subscribed as well So you don't miss out on any of the videos that are coming up for the DeepMind 6 and all the other Synthesis stuff that we have seen in the past Jams and we'll be looking I think I'm going to revisit the monologue because a lot of people been asking for some more monologue videos So I'm happy to help out still got some vulgar FM stuff to talk about as well. I think also If it wasn't already pretty obvious I have been building patches in the background already on the DeepMind 6 So if you're a DeepMind owner keep a lookout in the next few weeks for a patch pack Because I'm having a great time building sounds with this synth just Superb stuff other than that guys. Thank you so much for joining me again, and I will see you again soon. Take care. Bye. Bye