 Hello, OsladeSync here, and welcome to the series where we are building patches from scratch on the mighty Autoria MiniBrute 2. So this is a kind of episode zero if you like of the series where we're going to talk about our starting points for patches, because if you've seen any of my patch building videos before, the first thing I do pretty much in every video is load an initialised patch, but of course the MiniBrute does not have patch memory or presets. So what we actually need to do is turn the knob so that we get to a sensible starting point. So that's what I want to establish in this video, so that in all of the subsequent videos we've kind of got a starting point that if you're following along at home with the patches, you'll be starting from the same place as well. So at the moment, I've got a needlessly complicated patch, lots and lots of patch cables here. Trying to emulate something from the portal soundtrack, kind of. Quite a fun little patch, but it's not a good starting point for building other patches. There's also reverb on it, which I'll take for the second, but I was playing with my new reverb and I like the spring reverb on it. So let's talk about what an initialised patch on the MiniBrute looks like as far as we're concerned for this series. So the first and most obvious thing is we are going to remove these patch cables, which makes me feel very sad because I spent forever plugging them in to do interesting stuff, but that is what we deal with when we have a synth without patch memory. There's a certain zen to that right there. Okay, so moved all the patch cables. Now, I think what we'll do is we'll start with the LFOs and then we'll kind of move across from left to right because that kind of makes sense when you're looking at what we're doing here. So first of all, the LFOs, pretty straightforward. I'll just stick the rates somewhere in the middle, switch them over to triangle waves and make sure they are on free mode rather than sync mode. So if they're on, sorry, the seek mode, they'll be synchronised to the sequencer, at least to begin with, I think it's probably better to have them free so that you can set the timing exactly as you like. So moving across to the VCO1 section and the oscillator mixer associated with it. So fine-tuning we'll leave where it is, collider will set to zero, pulse width will set to zero. That means that it's at the normal square wave, a metalliser will set to zero, FM will set to zero, oscillator will set to zero. This is pretty straightforward, we're setting all of these to zero and then we'll turn down on the mixer here, everything other than the sawteeth over on the oscillator 2. What we could do just to make life a little bit easier, let's get to our point, which we are at the moment where the two are in tune. So that's good, but then I'll turn it down. So moving over to the filter section, we'll have the cutoff set to full, we'll have the FM in the middle, this is a bipolar knob, so a negative FM and positive FM, so we want that in the middle. Resonance will set to zero, same thing with the resonance mod, that's bipolar, so we want that in the middle. We'll have a low pass mode set on the filter and we'll turn the attenuator to cut off down all the way, proof factor will turn off. And then coming on to the envelope, for the ADSR we're going to set up with an organ style envelope, which means that we have our attack and release at zero. Our decay remodes we'll have at zero to begin with and sustain me one on full. And then here on the AD envelope we'll have attack and decay at the bottom and we'll make sure we're on gate mode so that when we play a note it carries on playing, we've still got that reverb on, turn that off, like that. If we have it on trig mode and we have attack and decay at zero, we hear nothing because it closes straight away. And if we have these up then we'll have fade in, we just want straight organ sound. And that other than clearing our sequence of course, so we'll just go to erase here and we'll erase the sequence I was working on there. Now we have a completely blank slate with which we can build the rest of our patch. So there we go guys, we have got our blank slate that we are going to work from. It's not an exciting patch, it is intentionally the most boring patch you can make, but it does mean that we have a nice blank canvas in order to build the wonderful sounds that we're going to be building across this series. So I hope you'll join me for the actual patch building parts of the series. We'll have some bass and some lead sounds first of all and then I'm happy to take requests if there are certain things you want to see let me know in the comments. Until next time guys, take care, thank you for joining me, bye bye.