 Hello OscillatorSync here and today I'm really excited to share with you a brand new feature that I've just added to Synth Marta, my free online browser-based patch editor for the Vulkref M and DX7. Now before we get started a massive thank you to everyone out there who's been using Synth Marta, those of you who have provided feedback and bug reports and especially those of you who've been creating your patches using Synth Marta and sharing them about. If you are creating patches, by the way, make sure that you're a member of the Facebook group called Vulkref M Patch Sharing Group. I'll put a link in the description in this video. There are a lot of great patches being shared about that have been created using Synth Marta. So on with this new feature, pretty much from the start when I first released Synth Marta, the biggest request for a new feature has been a random patch generator. Now I'm a really big fan of random patch generators. I think they are great, especially on analog style synths. Now the problem with random patch generation on FM, if you just randomly assign values to all of the parameters on an FM synth, about 90% of the time, probably more than 90% of the time, you're going to get stuff which is glitchy, atonal, unusable sounds. So although I really wanted to add randomness into Synth Marta, I had to think really carefully about the way that I was going to implement it. So with that in mind, let me introduce to you, if we just scroll down here, let me introduce to you the randomizer. So the randomizer is random automatic patch generation for the Vulkref M and the DX7, but it's guided randomness. So we have a number of parameters here which you, as the user, can kind of use to guide the type of random patch that you are after. And this is great for getting to a sort of great starting point for a patch that you're going to go on to develop a bit further. So we've got these values here which govern the timbre of the sound. So I don't really want to explain too much what they actually do. Atonality introduces Atonality complexity, introduces complexity, brightness introduces brightness. We've got the envelope controls here, so hardness is mostly to do with how fast the sound moves in all. Hit is about introducing sort of more percussiveness to the sound. Twang sort of introduces twang and it's kind of hard to define. We'll hear it in a second. Longness is kind of, as it sounds, you turn this up to make sounds typically last longer. And then we've got our movement parameters here. Wobble, that's to do with pitch. Wobble, that's to do with your sort of your filtering, not filtering sounds, but your sort of timbre changes within your sounds. And velocity is going to change it so that your patches are going to react more to velocity. So what I just want to do in this video after introducing this to you is just hit play on the Volcker. I've just got a little sequence running and we'll just try out a couple of the controls and talk about what they are doing. Okay, so we're here with a initialized patch to begin with. This is just the default setting here. So I'm just going to hit new patch and we get a brand new patch for our Volcker FM just like that. We hit it again. We get another one. Okay, so that's what we keep doing. We keep hitting this new patch button to get a new sound. So I'm going to come over to the envelope here. Let's try and get something that has a bit more attack. So I'm going to turn up my hardness. Now the patch is sort of coming on a bit faster. If we hit it again, again, another patch with that onset being a bit more rapid. At the moment, I think the patch is a bit too long so we could turn down our longness. We could hit new patch, short patches like that. Okay, so let's talk about the timbre a little bit. So complexity introduces complexity to the sound. It does it in a couple of different ways. If you're interested, you can take a look at the source code, but let's try just turning it up halfway and see what sort of sounds we get instead. Okay, if we turn the brightness, we might hear a bit more of it happening. So you can hear we're getting lots of really useful patches just sort of out the gate really. Perhaps we'll bring it even brighter. That's cool. So this sort of raspy kind of quality, you don't tend to get so much with the complexity turned down, but with it turned up sort of all bets are off and you get all sorts of stuff happening. It's really short. That's really cool. So atonality basically introduces more and more detuning and a different sort of relationships between the operators. Let's turn that up a little bit and see what we get. You can hear that things aren't quite as stable. Okay, that's kind of percussive. If you wanted to get more percussion into it, you can turn the hitter a bit, might increase the longness for a bit. Turn the twang down. Getting some more percussive sounds. Twang will tend to temper the percussiveness a little bit and get more sort of movement. Hear that? That's not quite as percussive. Let's turn the complexity down a bit and maybe temper that brightness, maybe make it longer. So let's try and make a bit more of a pad sound. So let's turn down the hardness, turn down the hit a bit. Okay, turn down that atonality a bit. Turn the twang, turn down the brightness. Okay, so over here we've got the movement here. So if we wanted to introduce a bit of pitch movement, we can turn the wobble up a bit and now that harness bit more. That sort of backwards thing happening, that's cool. If we turn up the wobble, then we're going to get a bit more sort of timbre or change over the over time. Something like that. Let's maybe bring a bit more of an attack back but keep that length perhaps. More complexity, a bit more brightness. Sometimes even though you've got the longness, sometimes just because there's randomness involved, some of these things are kind of ignored sometimes. So although long this has turned up, it's still quite a short sound. Let's turn that complexity all the way up, see what we get. That's cool. Brighten it up a bit. Wow, okay. So let's talk about velocity. So if we turn this up, basically what it's going to do is make our patch more reactive to the velocity slider on the Volgra FM. Okay, so let's play with it. So this is the velocity turned all the way down and turn it up. Let's try another one. Okay, that's the velocity up full. Let's bring it down a bit darker, a bit quieter. Oh wow, should we turn that one up? It gets angry. Let's turn that A tonality up to see what we can get happening. Okay, that's velocity full there and bring it down. Darker, less weird. Try again. Let's velocity down, bring it up. Let's turn twang down perhaps. Turn, hit down, velocity down, velocity up. Of course, if you push everything to the max, you know, or to the extremes, I should say, you know, you do get some pretty out there sounds, sound effects and stuff. If we keep things a bit more conservative, we can certainly create some very usable sounds. It's great fun to play with. In fact, it probably took me twice as long as it should have done to develop because I just spent so much time just hitting the new patch button to see what it would bring out. Now in some cases, you know, you're going to get lucky and you're going to get a patch, which is basically a finished patch. You might want to go and tweak things like your operator scaling type operations here or maybe just bring in some of the weird stuff just to make it a bit more usable. But really, what I see this as is a great way to get a starting point. You know, you set your sort of ballpark sound that you're looking for hitting your patch a few times and find that great starting point that's going to lead to a really cool patch that you can carry on and build rather than working from an initialized patch every time. Anyway, I hope you like that. I've had so much fun playing with it already. I really hope that you're going to have fun playing with it as well and that you create some awesome patches off the back of it. So that's about it for today. If you enjoyed the video, please do hit that thumbs up button and make sure you're subscribed to the channel. Also, make sure you're following me on Facebook and Instagram and Twitter. I'm just oscillating to sync one word in most of those places you could be able to find me that way. Other than that, let me know what you think in the comments and I will see you again soon guys. Take care. Bye-bye.