 Hello, Osolator Sync here, and if you are a regular viewer of the channel, it will not escape your attention that I have recently welcomed a new synth into my collection, and that is the Behringer DeepMind 6. Now true to its name, the DeepMind 6 is an incredibly deep synth with lots and lots of sound design potential, and I'm certainly going to be featuring this video a lot on the channel because there is a lot to talk about. Beyond the panel here, there's so much depth to the sound design potential, and I want to really do a deep dive into what you can achieve with this synth. But I thought for the first formal video of this synth on the channel, we would go and do one of our patch from scratch videos, and I think we'd all be lying to ourselves if we didn't think the first thing that we were going to create on a analog polysynth was a pad sound, so that is exactly what we are going to do today. So I'm going to start by holding down the PROG button and hitting compare, and what that will do is give us an initialized patch. Like that. Okay, so at the moment we are only hearing one of the oscillator, but we are hearing both waveforms, so oscillator one can do a sawtooth wave and a square wave with pulse width modulation. So I'm going to turn off the sawtooth wave to begin with, so we get this lovely hollow square wave sound here. Now obviously with any square wave, we want to get some of that pulse width modulation going in, that lovely crispy chorusing sound, some of this here. Now obviously at the moment, I'm having to wiggle the knob myself, which I don't really want to have to do, so what we really want to do is get this to be driven by one of our LFOs. That's easy to do, all we need to do is go into the edit menu for the oscillators, make sure we're on oscillator one, and we're going to go to our pulse width modulation source here, and we're going to switch over to one of our LFOs. I'm going to use LFO two, just because I usually use LFO one for pitch wobble. What that means is now this slider here doesn't set the actual pulse width, rather what it does is it's a depth for the modulation. So if we turn this up a bit and turn up our rate on LFO two, we start getting that lovely crispy chorusing sound, which is just so lovely. Okay, so I'm going to leave the sawtooth off for the moment, just because I think sometimes it can be a bit overpowering, but we might bring it back in once we've got some other parameters working for us. So we've got a second oscillator here. So oscillator two is always a square way, but it's got this cool tone mod thing that can happen. So let's bring that into the mix a little bit. So at the moment it's set an octave below, so it's kind of a sub oscillator. We could also bring the pitch closer to the middle here. So there we are, it's just sort of slightly detuned. We can, with any of the parameters, once you've moved it with the slider, if you want fine adjustment, you can use this knob here. So I think it's probably, we push it a bit more. It's a bit fuzzier at the bottom end then. Okay, that's a nice sort of starting point for our sound. Obviously, the moment's a bit bright, so let's head over to the VCF here and we'll bring the filter down. Now obviously that's too dark in general, but we can open it up using the envelope. Okay, so by default the VCF is connected to this second envelope here. It says VCF here, it's really known as envelope two inside. So at the moment it's not been affected by the envelope, but we can bring it up. Now I want to have this tussle of a womp happening, so I'm just going to lengthen the attack a little bit. Maybe we want to leave it resting somewhere a little bit darker. Okay, so it's dropping too fast down there, so that's nice. Please excuse all this white key playing that I'm doing here. This is all going to be in the key of CS, in fact. Okay, let's also go to the VCA, so that's kind of our loudness envelope. I'm just going to soften the attack not much. Don't want it to be like a swell, I just want it to be a little less. Yeah, and let's give it a big old release because it's a pad sound. Okay, so it's darkening too quickly. That's because the release on the VCF envelope is probably too short. It could go longer. There we go. Epic. Right, let's give that a little bit of resonance because I just want to get a little character on that sweep. Okay, so that now feels like it's getting too bright. So I'm just going to on the VCF envelope spring. Actually, we'll just bring the envelope amount down a little bit here, actually. Nice. Okay, so now we've got all of that in place. Let's just see what happens if we bring in the saw teeth as well. Let's see if it improves or whether it just sort of muddles it. Okay, I could dig that. Yes, okay, I like that. Now, one of the things you might have noticed when I boosted the resonance here is that things, the bottom end's kind of dropped off, which can be cool on pads, but this feels like one of those big warm pads, I think. So on the high pass filter here, we've got this boost switch. And what that does is it gives you a big old bottom end boost, which can help compensate for high resonance or higher resonance here on the VCF. So without it and with it. Lovely. Okay, now, one of the things I've noticed just while I've been playing with it is if I play the notes sort of too lightly, it's almost no sound. Like that jump there is when I play hard versus playing lightly. It's too much for me, like I think that probably creates more trouble rather than making it particularly expressive. Now we can do something about that. In the VCA edit here, we've got this velocity sensitivity here. Now, so this governs how much, how hard you hit the notes is going to open up the VCA. And the moment it's opening up too much, so we can drop that down a bit. So now if I play lightly, we still get a nice loud sound if I play hard. We still get a louder sound, but it's not that sort of same level of jump. Okay, the other thing that's in the VCA here that I'm going to take advantage of right now is this pan spread. So what this does is it, because we've got these six voices, pan spread is going to spread those voices out across the stereo range, and that will give us some lovely spatialization into our sound. So I'm just going to turn that up a bit. Let's try it there. Okay, let's give you an opportunity to hear without. Then as we turn it up, if you're listening on headphones, things have got wider. Things have got too wide. It feels like the midsection has kind of dropped out. Anyone else feel that's still a bit too bright, maybe? Let's bring down this envelope mount again. Yeah, that's nice. Now that we haven't got quite the same level of expression with velocity on the VCA, let's dial some of that back in by going into the VCA here. We've got the same thing here. We've got the velocity sensitivity for the VCA and what that does similarly to the VCA, it governs how much velocity is going to open up the filter. So let's basically crank that. So now if I play lightly, brighter and louder. Nice. Okay, so one of the tricks that we have on the DeepMind 6 for making things sound in air quotes, more analog is in this Poly menu here and we've got this oscillator drift setting here and what this does is it makes the individual oscillators kind of randomly detune themselves between themselves. So when we were setting the pitch of oscillator 1, that was making sure that... sorry, pitch of oscillator 2, that was making sure that oscillator was always out of tune with oscillator 1 by a fixed amount and what this oscillator drift does is it will put things out of tune randomly between the voices and that can kind of add a nice warmth and chorusing. It can also make things sound totally broken. So if we put it, if we turn it to 0, which is where we are at the moment, we have that sound and as we turn it up, oops, wrong slider, you can hear it starts to sound out of tune and broken and horrible and why would you ever want to do that? But if we find a nice sweet spot where we just get a bit of detune somewhere around there, it's too much still I think. I can hear that it's out of tune. I just want to get to the point where you can't hear that it's out of tune but it's just adding that little bit of chorusing. Yeah, something like that. Okay, so I'm just going to save that because I'm quite enjoying this patch. So let's talk about a bit of pitch wobble so it would be nice maybe to get a little bit of vibrato happening. Now by default the oscillators, if we go into the edit menu, you can see here that their pitch mod source is set to LFO1 by default so that's fine and what that means is if you turn up the pitch mod slider here, that's going to introduce some vibrato at the moment LFO is running very slow so let's speed that up a bit so we can hear it a bit more normally. Now I probably don't want that happening the whole time although that's kind of a nice sound. It might start to get a bit seasick so what I'd like to do rather than having that on all the time is actually assign that to my modulation wheel instead. Really simple to do so I'm just going to turn the pitch mod back down here. If we go into the edit menu again for oscillator 1 we have this parameter here which says wheel to pitch mod and that defines how much turning up the wheel is going to basically move that slider up. So what I like to do in this situation is I put my mod wheel at full and then I'll turn up this parameter until I find the spot where I'm getting that nice amount of wobbling. A bit more, a bit braver because it's on the mod wheel we can adjust it on the fly. Yeah, so what that means now is that I can have that original sort of straight sound but I can bring that vibrato in and it's much finer control than the pitch mod control had because if you saw before it was barely on really and making those finer adjustments is quite tricky but now we've got all of those nice steps in between like that. Nice. Now we've got this high pass filter here which allows us to dial out some of the bottom end. Don't think we need it in this patch but with the boost on you can kind of use it to pull out some of the lower mids. Maybe it's a bit like that. Sort of tidied up the lower mids a tiny bit. Yep, okay, we'll have that. So we're just sort of in the final stretch of this pad I think where we're sort of fine tuning things a little bit. Let's see how it sounds on higher octaves. I like that. I think it could be a bit brighter on the higher octaves and that's really easy to do. Here on the VCF section we've got this keyboard slider and what that does is it gives you your keyboard tracking for your filter so by turning it up we're going to open up the filter the higher up we go on the keyboard and also conversely the lower we go on the keyboard it will close the filter off as well. So we'll just maybe find a sweet spot there but we've still got the velocity sensitivity on the filter so if we want to get darker here we can still do it. Let's just double check how that's affected our lower registers. I think it's only made them cooler. Nice. Okay so what else can we do? Well we've got this noise here, we've got a noise source now obviously turning it all the way up. It's going to sound like we've got a windstorm which you don't really want but I always find on pads there's a little bit of noise to create a little bit of fizz. What it can do is help emphasise what the filter is doing. Can you hear there that the filter sweep just seems slightly more prominent now? Doesn't really sound like we've got a noise mixed in as such it's just sort of made that filter a bit sort of... buzzier. Nice. Okay so final step really at this point I think is probably to head into the effects here. Now Beringer have really spoiled us with the effects here we've got four instances of T.C. Electronic and Clark Technic effects algorithms built in here which is bonkers. It is easy to be tempted to throw too many effects on now I think all we really need in this pad patch to kind of finish it off would just be a little bit of reverb at the end so I'm going to scroll through here I'm going to go ahead and pick a plate reverb now obviously that's made things big and epic arguably it's made things too big and epic and it's going to sort of stick out in a mix a bit too much so we've got this master level control when we're in send mode and let's just dial this back to a point where we're getting that character and that width but without things becoming sort of overbearing it really doesn't need much even that might be a bit too much so let's hear what that's doing if we bypass that so this is without it this is with it just adding a bit of richness, a little bit of width and of course we could go in here and we could sort of do the deep editing but I kind of like the way that it's sounding on that default setting to be honest so I am tempted just to leave it if we add some of that pitch wobble I bet that sounds real nice with the reverb now lovely okay so that is a patch from scratch a nice classic pad sound for DeepMine 6 we really are only scratching the surface with the stuff that we've looked at here we've mostly stuck to the front panel we've gone into the edit menu just to tweak things a little bit and maybe re-root some sources here and there but in general everything that we've kind of seen here is more or less achievable sort of on the front panel at least the main sort of body of the sound now there's so much more we have to talk about for this synth but we can possibly do it one in one video so if you enjoyed this sort of introduction to the DeepMine 6 please do hit the thumbs up button on this video make sure you are subscribed if you are interested in seeing a bunch more videos on this quite wonderful synth also let me know in the comments if there are specific things that you want to see or hear for this synth I'm happy to take requests as it were there's so much to explore so if you want to guide where you want me to go then that's absolutely fine and I will be happy to try and accommodate any requests other than that guys thank you so much for joining me on this first step of my journey with the DeepMine 6 take care and I will see you again soon bye bye