 Hello, Oscillator Sync here, and welcome back to another video in our series where we're building patches from scratch on the Volcker FM. Now in the last couple of videos we've taken a look at pads, and today we are going to look at bass. FM is kind of well known for being killer at bass sound, so let's see what we can dig up. So here we are in Synth Marta, my free browser based editor for the Volcker FM, and we're ready to get going with our patch. So we're going to start off the way that we always do, which is by picking out our algorithm. And today we're going to use algorithm 27. 27, interesting algorithm. So we've got three carriers. The first carrier is operator 1, and it has no modulators, so that is only ever going to be able to be a sine wave. But that's actually quite useful on a bass, so we'll come back to that in a second. We've then got operator 2, which is our second carrier, which has been modulated by operator 3. And operator 3 also has feedback as well, which we will definitely be making use of. Finally we have operator 4, which is being modulated both by operators 5 and 6. So that's an opportunity where we can get a little bit more harmonic richness out of our sound. So okay, let's get going. We'll treat each of these carriers kind of as its own voice. So we're going to start out by looking at operator 2 and 3. So I'll just switch off all of those other operators there. So we've got a sound like this, like that. So it's kind of reedy at the moment. Let's make sure that our carrier is up on full. And we'll start with our modulator up on full as well. Got the old random arpeggiator on there, so we're sounding a bit sort of like a Star Wars droid there. So what are we going to do here now? I want to keep things kind of bassy and cool. So one of the things we can do is set our course tuning for our modulator below the tuning for operator 2, which is currently set just at 1. Cool. Okay, so I want to make use of the feedback I think here. It's like a big part of the sound. So let's see what that sounds like. Okay, so we're getting buzzy, almost like a fuzz bass. And that's kind of cool. This pairing of operators I think is where we're going to get like the character for our sound and everything else is just going to kind of fatten things up a bit. Cool. Okay, let's detune, see how that sounds. That's a bit of richness around there. Still kind of getting this sort of farty sound happening. No doubt pleasing to anyone with a UR rack. I'm joking, of course. So let's get an envelope on that. So obviously we don't necessarily want that fart happening the whole time, but it's certainly an interesting start tonight. So let's try and set up a bit of an envelope here where we drop off quite quickly to a lower level. Okay, maybe the operator is set ever so slightly to a higher level. Okay, and now maybe we're dropping off to a lower level. Yeah. Yeah, I think that's... That's interesting. Now let's just turn off the arpeggios quickly so that we can hear how that is actually sounding with a sustained note. I think maybe that initial attack is a bit too fast. We want to get a bit more character out of that. That's quite weighty. Or maybe we keep that first attack quite quick. And then we have a slower release down like that. Yeah. Now do we want that to actually hit zero? Probably not. We still want to get some of that character happening. Yeah, it's too low. Yeah, so it's still a little bit of rasp there, even when it's pretty much died away. Cool, yes. Okay, so that's kind of the character of our sound. We've kind of got that fuzzy bass thing. Do we need to do anything with the operator here? We could probably try and get a little bit more punch by doing the similar trick here and just having a bit of a click at the start of the sound maybe. So similar trick here. But after that we probably want it to sustain at that same level. So 96 we want to set L3 to 96 as well. That is essentially our sustain. So it's not going to drop off. Cool, okay. So that's the character of our sound. It's already pretty weighty actually. Let's get a bit more sort of stability to that bottom end there. And this is what operator one is going to be so great at. So operator one is just carry a sat on its own. It's just a sine wave. And that of course is where we can get a bunch of bottom end. So there it is sat in a higher tuning, but let's drop that tuning all the way down. Okay, so let's compare that without. And with. You just hear that extra weight there. Now it feels like it's attacking a little bit too hard. So I'm just going to soften that attack because it's so low at the moment. There's so much bottom end there. Almost too much. Almost. There's never too much bottom end. Okay, right. So that gives us our character and our weight. So now we want to fill out the body of our sound. And that's where operator four is going to come in with its associated modulators, operator five and six. So. That's immediately. So let's set this little sequence going so I don't have to keep reaching back and playing notes. Okay, so let's see what we can do here. So the moment it's tuned a bit higher than the rest of our sound, but perhaps that's a good thing. Yeah, let's have it tuned also slightly higher. We might turn it down a little bit. Let's turn off the two carers so we can hear this on its own. Okay, so here we have two modulators currently set at two and one. So I want them set differently, I think. That's cool. Probably not what we want. So at the moment, the operator output levels for these two operators are lower, but that's probably fine because there's two running into a single carrier. We don't want to overwhelm things. That's kind of mean in a good way. Okay, yeah, I like that. So that's with one of our modulators set at four and one of them set at one. Let's get some detuning there. Yes, immediately. Yes! Love it, love it, love it, love it. Similarly to our other modulators, I don't want these to be quite a static and I want them to have a bit of a wobble and start the sound. So let's adjust some of our envelope here. So similar sort of ideas we've already got on the other ones. We might even... Is that cool? I think that's pretty cool. Okay, let's hear that with the other part of the sound. I think it's overdoing my interface, which I'll tell you now. Yeah, and I think we need that wobble. I think we want force at the start of our notes. Okay, so let's get some of that instead. So similar tricks we've got in our other envelopes here. Now at the moment they're dropping down to zero. I don't think it needs to go to zero. Now I think... Now we have everything else in. Operator two is too much fantastic action going on. So let's just go back there and just tamer just a little bit. So it might just be that we need to drop the feedback down a bit. Then we can bring the volume back up. Maybe we can soften that attack a little bit. I mean I guess the other thing is that we're going to apply velocity to that. So maybe we'll see how it sounds when we've got a bit of velocity happening. So everything back in. Now you might need to listen to this on proper headphones or on studio monitors because there's a lot of bomb end information happening there alone. Yeah, still maybe too much fartiness happening now. Maybe it's dropping off too slow so we can't really hear the effect. I guess the other thing that might need to be addressed for just go back to that. No, I like it again now. I think maybe the issue here is that we need to probably bounce everything off a little bit. So at the moment I think operator four has probably given us too much information about what our sound is about and I really want it to be about operator two. So let's just bring the volume down a tiny bit there. I don't want it to feel like it's in the background though. So it must be sort of integral to the sound. Okay, somewhere around there. Okay, right, so let's get some velocity happening in here. So obviously one of the key bits of velocity information is going to be on our fizzy fuzzy situation here. So let's give that bit of velocity sense. Let's try it against the off and fading up. Okay, so I found a point about two thirds of the way up there where I felt like it's super balanced. So let's just lower the output so we can get that more like that when it's at full. Yeah, like that. So bottom and then all the way to top. So similar sort of idea I think probably here with modulators that are going into operator four. Maybe it doesn't need to be quite as extreme. So I'll just give them one of each. Okay, now this has got really interesting. Okay, so that's at the bottom. And then as we fade up, let's get that. So I wonder if we could give operator five which is the one that's tuned higher more of a journey so we don't get it quite as early. So that's where they're quite low. That's where they're full. I really like it with the low down like that, so that's nice. Okay, I'm going to try turning on operator key sync. What that does in theory is restarts the operator every time you start a new note. So sometimes it brings a little coherence to the sound. So that's where they're off. There's not too much difference. They're going to have it so slightly preferred with that one. I think the bottom notes seem more together. That's a great bass with the velocity all the way down. So I guess this shows you that sometimes it's better to be subtle with your output levels. So that's barely tickling the modulators. Let's see what it sounds like with operator two up and off. Okay, so I've left operator two where it was but I've turned up operator three which is kind of our fart operator. I think that makes more sense sonically now. Feels more together. Cool sound. Okay, so let's just check that over a bit more of the range of the keyboard. Hello. Is this one of those bass sounds that also sounds great up at the top as well? Yeah. Okay, so feels pretty balanced to be fair. It's going even higher. Okay, so right at the top there things are getting a bit weird but honestly I don't know if we're ever going to play it that high. So I don't think we need to look at the operator scaling in this case. So what else can we look at? The pitch envelope. Don't see that this is going to benefit from any of that. And LFO, LFO, LFO. Do we want any movement happening there? Do you know what? I don't think we need anything in the LFO as well. I think this is one of those times where discretion is the better part of valour. Yeah, I don't think we need any sort of wobble. Let's just find out what sounds up with the pitch part. Okay, I can't help myself. I don't think that's doing anything interesting. Yeah, no. It doesn't need it. So let's turn it off. Cool. In which case... I think we'll call that a patch. That's cool. It also sounds surprisingly cool in the upper registers. Also expected to sound that interesting up there. So although I'm going to call this a base patch, I think this is probably an all-purpose electro patch. So I'm going to call this base 1. There we go. I'm going to create a shareable patch link so that I can share this patch with you in the description of this video. So you can check it out and play with the sound as you wish. I'm also going to save it quickly. Right, cool. Well, I hope that was interesting and useful. I hope you liked the sound that we've ended up with there in this patch. If you did enjoy the video, please do give it a thumbs up and also make sure that you subscribe to the channel so you don't miss out on any upcoming videos on the Evolcro FM and Synthesis in general. So this will be the last video that I post until after Christmas. So if you celebrate Christmas or even if you don't, do have a wonderful festive period. And I hope if Santa does visit your house that he brings you all of the synthy goodness that you could possibly hope for. Thank you so much for watching, guys. And I will see you again soon. Take care. Bye-bye.