 Hello, Oscillator Sync here and welcome back to another video in our series where we are taking a look at building patches from scratch for the called Volcro FM. So we're here in Synth Marta, my free browser based patch editor for the Volcro FM, ready to get creating our sounds and we're going to look at another pad patch. Now in the previous video we built a pad and we took a very sort of distinctively FM approach to doing it where we had only a single carrier, a single voice and we got the richness that we wanted for our pad by sending multiple modulators into that carrier and having those modulators all interact with each other in interesting ways and build up a really sort of rich, glossy, warbly kind of pad and that's a very FM way of working. Now in this video I want to look at kind of the sort of FM does analog kind of approach where we rather than have a single carrier and we use multiple modulators instead we are going to have several carriers so this is the equivalent of having multiple oscillators on say an analog synth. So let's get going and see how that works. So as before we're going to start by scrolling down and picking out our algorithm. The algorithm I'm going to go with is algorithm five. This is an algorithm that I end up using quite a lot because I guess because of the background that I have in building sounds for sort of analog subtractive synthesis this is the one that really sort of shouts out to me for that sort of approach because we've got three carriers and each of those carriers have got their own modulator and in the case of modulator rather operator six that's also got some operator feedback that we can make use of as well. So currently initialised patch more or less sounds like this kind of all raspy and and whatever. So in this case what I'm going to do is I'm just going to start by turning off my three operators which are acting as my modulator so I'm just left with the sine wave carriers there and I'm going to start by building the envelopes for my carriers this is kind of I guess like sort of setting up your oscillators before you start playing around with your filters. So I'm going to set all of their course frequencies to begin with to the same thing so it's two, two and they're already all set to two that's cool and then I'm going to detune them now we could go ahead and use the actual detune control here but I'm going to be a little bit braver and I'm going to use the fine frequency and get a little bit more movement from them so this is at the moment where we're at very pure kind of sound so operator three I'm just going to turn it up one notch and operator five that's my third carrier I'm going to put up two notches and this is the sound that we get now it's kind of like a slightly wobbly organ at the moment not very pad-like but we will get that don't you worry. Now let's go ahead and get kind of a pad kind of envelope going for this patch to sort of contrast it with the last one I'm going to go for a pad that rather than sort of fades in has a bit more of an attack to it so for the moment I'm just going to adjust the envelope rate four which is essentially our release I'm going to put it down to the five-ish on each of my carriers there so now we get this sort of sound which instantly is kind of a kind of a cool pad sound I guess but of course because we've got those three additional operators here which are going to add harmonics to our sound we should definitely make use of those so what I'm going to do now that I've just sort of tuned my operators turn off the first two I'm just going to focus on operator five and six I'm going to deal with this one first because this is the one that has the feedback so this is probably going to define the sound a little bit more than the others because it's going to have a bit more cut to it so let's turn it on and we're getting a sound like this so you can hear that because we've detuned operator five and at the moment the fine tune for operator six is still at zero things that sound a bit weird but we will fine tune that as we go along I've got a little sequence on the Valkyrie phone set up so I'm going to set that going and see where we get so one thing I've just noticed is that my operators that are my carriers aren't all set on full so I'm just going to go ahead and turn those up okay so at the moment our modulator is turning on pretty much instantly and releasing almost instantly which is why we're getting that sort of blip at the start of the sound and then it sort of dies away obviously we want to get a bit more of a release so let's turn up EGR44 modulator so the rule of thumb for this is if you want your modulator to not get to zero and therefore end up with just a sine wave make sure that your release 4 for your modulator is lower so slower if you like then your release for your carrier that's associated with it okay so I'm going to nudge the fine frequency for operator six nearer to the fine frequency so we're still getting a bit of wobble just not as much let's play with the course a little bit as well see where we can get yep okay that's kind of calling out to be a bit right right at the top but we can probably adjust that a bit so kind of what I've got planned for this this pad sound is to for it to be one of those pads sounds that has a little bit of attack and we're gonna get that attack so I'm gonna have my modulator come on quick and then drop to a lower level very very quick what that does is essentially gives us a bit of a click ping at the start of our sound so I'm just gonna set the level to just arbitrarily down to their pounding and then I'm gonna bring up EG R2 so this is going to make the drop from L1 to L2 much faster and I'm just gonna find a point where I get quite a nice ping and here that we've got this quite distinctive ping happening at the start of our now now for me I can kind of and kind of hear the pings sort of flow down on those higher notes not so much on the low notes and this introduces a useful control here called the operate operator rate scale haven't done a video on it yet will do but in short if you turn this up what it does is that for the higher notes all of these rates sort of act faster so pingy things get pingier and that's kind of what I want to go for here so I'm just gonna turn it up a couple of notches can you hear there now that those upper notes are just that little bit pinging here and the low notes still more less as they were okay so at the moment that's getting a little bit too dull too early for my liking so I'm just gonna bring up EG L2 a little bit okay that can go higher okay I think that's working for me maybe a little bit higher yeah there we go that's nice we're still getting that sort of richness and the slight sort of frequency beating happening because the fine-tuning is offset slightly between the modulator and the carrier now we've also got this feedback control here and operate six is having feedback appeal apply to it if we turn this up so let's see what we can get gonna be brave and it's quite cool and brassy now probably a little bit over the top now okay I like it more at five it's still a bit too much so we can do is just lower this a little bit yeah cool okay so now we've kind of established the overalls sort of approach that we're gonna take we can probably bring in the other operators pretty quickly so let's bring operator three in okay and this is its modulator here so I want a bit more brightness that release stands come together quite nicely it's got slight sickness to it which I quite like and we're gonna do the same sort of idea with with our pingy sort of attack so we can take a look at what worked down here so 69 for the release sorry for the rate two let's go with that again then and again you can hear that kind of slide at the moment that's because we haven't got the operator rate scale turned up so let's give that a notch up one up two before right so same thing for the final one so exactly the same approach really turn up the operator output level give it a longer release okay so the frequency course on this one is set lower for this modulator which is sort of pitching everything down a bit which I think has given a nice bit of weight to the sound let's play with the fine tuning so we can get a bit more wobble happening okay so that's quite a lot of wobble but remember we're also gonna apply that sort of drop off for the ping so it's not be quite as obvious so same deal again we'll 69 there find a point okay now what we're not getting at the moment so we've got this sort of initial drop down if you like to get that pinginess what I'd like is a little bit more movement happening in the modulators sort of over the time that we're playing the notes as well so what I'm gonna do is turn up EGR3 a little bit so those sustained notes are also sort of having their harmonic content changed a bit more obviously I forgot to do the rate scale here do we think we can have the release of the actual notes go a little bit longer so let's increase sorry rather decrease the EGR4 for our carriers that sort of richness what we're getting from that detune there is really appealing to me and this is what comes from from being a little bit braver about what we're doing with our fine frequencies don't neglect the fine frequency control because it can really do some pretty magical stuff okay let's talk about LFO a little bit I reckon that a little bit of pitch more wobble might be really nice here I'm gonna go ahead and set the wave shape to sign so I've just got a feeling about it so set the LFO speed slowish turn at the pitch more sensitivity by one then start to bring up the watt depth likely too much or is it that it's too slow let's try it faster oh I'm torn I think somewhere in the middle actually speed wise I think probably still need to turn the now do we want to just delay the onset of the LFO just a tiny bit so that first bit of the note has a little bit more clarity let's just try that it's too long I think you want the very first bit to be that's really nice this is a nice sound I'm pretty pleased with this is going okay let's double check how things are sounding in other registers let's transpose this down a little bit okay I think that's pretty much okay gets a little bit obviously FMA but I don't think there's much you can do about that there's an FM synth after all let's try pushing it okay so up here things have got really messy because of the way that we've been detuning operators so we're gonna have to address that a little bit so let's go ahead and talk about the right curve of our modulators so we want that to be negative and we'll just turn up the depth a little bit and we'll do that on all of them just see just arbitrarily where that gets us yeah see that's starting to calm down a bit now question is has that made things too boring in the low registers now so it's taken a little bit of the sparkle out so let's move our breakpoint so that's where it starts to take effect a little bit higher so that we leave these notes a little bit more let's try 63 ish it's not exact science it's still taking too much out for me so I'm just going to bring the depth of the scale down a bit sometimes you just got to compromise a little bit again let's try the upper registers again yeah see they're still wobbly but they're nowhere near as sort of weird as they were great okay so the last thing that I want to address is getting this to respond to velocity a little bit because it just it's just begging him to be a bit darker when the velocities turn down so I'm just going to turn the key velocity sense on all of our modulators just up to one to see how that feels across the whole range so it's currently with it turned at full down bottom so we've still got some of that brightness just that pinginess but a lot of that's coming from the fact that we've got our envelopes working nicely for us as we turn up and some more and some more pretty much and then we're back full could we be braver there let's find out let's set that to two and just take a listen through that range again you can hear now because we've pushed the key velocity sense a little bit and our velocities on full things have actually got slightly brighter because it's actually pushing the output level beyond its maximum I don't find that unpleasant so don't mind let's have listen to the range against this is that's minimum so that's darker a nice way that's nice that's pretty I really like it sorry distracted by the nice sound okay so you push it up yes this seems like a better better progression over the whole range I love that's on full now and now it's pushed a little bit harder with the key velocity sense it's just a slight sickness to the way that it's sort of wobbling now that I'm really keen on I love pads that sound a little bit unstable that's doing it for me now that's nice there's something anything else that we really want to address here I'm gonna avoid doing my pitch envelope thing that I always do on pads if you're interested in what I'm talking about there take a look at the previous video where I did to boy pitch envelope thing I guess the one other thing that we might want to consider is do we want to put some amp mod on the modulators to get them to sort of throb with the harmonics I think there's so much beating happening in the sound that it's not really gonna add anything other than destabilizing the overall sound so do we instead want to put some amp mod on the carriers to get essentially some tremolo again I'm not convinced it's gonna add anything there's so much movement already in the sound so for the moment I think we're gonna call that patch that's nice please with the way that's come out now despite the fact I said this was kind of an FM does analog kind of approach obviously this doesn't sound terribly analog it definitely sounds digital and FM but I'm suddenly with the lower velocity it's got a certain warmness to it that I quite like it certainly sounds like as we lower that velocity what we're doing is we're turning down a low pass filter which kind of gives us that FM does analog kind of feel so let's go ahead I will create a shareable patch link so that I can share that with you guys that will be in the description of the video oh wait a second forgot to name the patch must do that first we're gonna call it pad to that says pass pad to there we go so that will be in that will be in the video description for you to click on and send it straight to your vulcrafem so that you can have a listen to it this is definitely one of those patches I think would probably work well on the actual DX7 because I think it will be really nice and expressive to play sadly don't own one never mind anyway I digress thank you so much for watching guys I hope that you enjoyed that and found that interesting and useful I hope you maybe picked up some new tricks or some new approaches that you might want to take when you are creating your patches if you enjoyed the video please do give it the thumbs up and make sure that you're subscribed to the channel so you don't miss out on any upcoming videos lots of these videos still to come we'll be building oh I don't know what I'm going to build next let me know in the comments what you want to see next bases leads bells percussion I've been building a lot percussion stuff recently I'm really into that at the moment now if you are interested in seeing the patches that I'm building in the background for the new patch pack make sure you are also following me on Facebook where I'm posting a lot of sort of teaser videos for those sounds as we go along but other than that thank you so much for watching guys and I will see you again soon bye bye