 Hello, OscillatorSync here, and welcome back to another video in this series where we're building patches from scratch on the Korg Ops 6. So my plan for my next video on the Ops 6 was actually to start doing some of the deep dives into the various different operator modes. But I had this idea for a patch come into my mind, and I kept thinking about it, and I thought it would be a really interesting one to explore on the channel. So we'll be doing those deep dives next, I promise, but first I just really wanted to explore this patch idea in a video. So the patch that I wanted to create was an E-piano, electric piano patch. There are probably a thousand electric piano patches out there for FM synths. But the specific patch I wanted to make or to try and make was an electric piano that was kind of a bit broken. Maybe it was tore extensively in the 70s and then thrown into storage, bad temperature management, and it's been pulled out now and it's working. But it's got weird resonances and it's sort of a bit clangorous and a bit fragile sounding because as nice it is to have like perfect sounds, I find there's a lot of beauty to be found in the fragility of patches as well. So that's kind of what I want to pursue today. So in the last video when I was making the pad sound, I stuck to FM more out of familiarity. In this case, I'm going to stick to FM because I think it's going to be the best way to achieve this particular effect. So let me just set out the basic plan because it's going to tell us what algorithm we're going to start with. So there are going to be sort of two basic sounds that are in this patch. The first is going to be a really basic E-piano sound just to keep the patch grounded. And the easiest way, the simplest way to create that is just with a two operator setup. So just one modulator into a carrier with feedback and getting some velocity sensitivity in there. You can get a lot done with just that. So that's the first thing I'll need in my algorithm is a two op, just modulator into carrier setup. The other part of the sound is going to have a carrier with three modulators going to it. And each of those three modulators are going to be doing a different job in the patch. One is going to be creating an overall kind of weird metallic resonance to the sound. One is going to create some A harmonic overtones that are still related to where you're playing. And then there's going to be another one, which is just going to create an overall tumble change that gets brighter when you hit hard, that kind of thing. So the algorithm I'm looking for is going to be one modulator into a carrier, and then three modulators into a carrier. Now I don't know all of the algorithms off by heart, but I do know that this exists in here somewhere. So let's scroll through until we see if that looks good. So we have two carriers here. We have this algorithm 12, if you're following along. You've got one and three are carriers. Operator two is the modulator for operator one, and then operator three has operators four, five, and six in parallel running into it, which is going to allow us to achieve the effect that I hope we'll be able to create. So other than selecting the algorithm, we are just on an initialised patch. So I'm going to bring up my operator three, which is the one that's going to have the three things going into it. Just a sine wave. Probably going to stick with sine waves. Probably. We'll explore maybe if I think there's going to be some stuff that we can do to make it more interesting. So let's just start with operator three. We'll go into the, so in the mode, it's just on FM as standard, go into its level and go across to operator three, and we'll just choose an appropriate envelope. So obviously an electric piano isn't going to sustain forever at that level, but by the same token, I'm not adverse to it sustaining. If you want to like hold out a sound, it just needs to be pretty quiet, I think, wouldn't it? Maybe that an exponential curve makes the decay slightly faster. Let's do it fast. Perhaps it was okay where it was. Or maybe longer. No, that's too long. Just about getting that feel right. And then we'll also have a little bit of release here where things are just sort of dragging off a little bit into a little bit longer. Yeah, I think something like that. We will adjust some of the velocity sensitivity once we've got the basic sound working, I think. So, each of these three modulators are going to be doing those three different jobs. So let's start by adding just an overall sort of weird metallic overtone. So I'll just bring up operator four here and select operator four. We're going to go into its pitch first. Now if we want to have like a fixed resonance to the sound, we're going to want to move away from the ratio mode in pitch where the pitch of the other frequency of the operator is tracking the keyboard. And if we just go to fix, then it's just literally staying in one place which gives you these different fixed overtones. Now we'll probably turn this down quite low. In fact, all of these will probably be quite low because they'll just be sort of contributing different parts of their character as we go in. But let's try and find an interesting sort of bell sound. To a degree, what's going to work here is going to be dependent on the key that you're playing in as well. I always end up playing in C. So this will be tuned for playing in C, which is an interesting aspect of the patch, I suppose, that you can adjust this to sound right for the music that you're playing. Okay, that's the chorus. I want to go to the chorus. Bring that down. That might work. Interesting lower. I quite like that as well. Let's go with that. So 392 hurts fixed there. Now we're going to have to adjust this operator's level as well. So the first thing we want to want to do, if you listen when I release the key, I would immediately, that overtone disappears. We want to make that release a lot longer. We probably want to make the decay a little bit faster. So it's a bit more of a pingy attack and drop that sustain. Maybe make it exponential. Yeah, let's get some some vibe happening there. Let's go into page two or three rather of the level here. And let's get some velocity sensitivity onto this. So let's put it somewhere in the middle and see how that feels. So if I play lightly, play hard, maybe raise the overall level bit more sensitivity. Yeah, that's working okay, I think. So let's bring up the next module later. What we'll do with this one is we'll try and create something that is sort of a harmonic, but is still going to be following along with the keyboard now. So we'll want that in ratio mode, but we're going to want to move away from simple ratio. So a one to one is going to create something that's harmonic and we will come back and add one that's going to be doing this sort of general sort of extra harmonic grit. But this one we want to go a harmonic. So let's let's go to point something and try and find something interesting. That sounds pretty cool. So again, coming into our level for this this operator here, we'll do a similar sort of job. We'll drop that sustain so it doesn't need to stick around so high and drop that decay bit and up that release so it doesn't immediately die off with the overtones. And we'll follow the template that we did with the other one as well by introducing some velocity as well. We had to get quite high with the other one. So we'll do the same here. Probably afford to now bring up the overall level of that operator. It's feeling nice and responsive under the fingers, which is something I always look for in a patch. That's working well for me at the moment. So we'll come on to this last operator here and this is going to be just the general grit when we play harder. I just want it to just ping a little bit harder. So we're going to want to stay with simple ratios with this one. And with our pitch, maybe half, two to one's cool as well. Obviously it's way too much of it at the moment, but we'll dial it back. And let's try two to one. I think that's that's given an interesting vibe. So let's go into our level here again and adjust our envelope at similar sort of idea. We don't want it to sustain at a high level. We want it a little bit pingy. Give it some release. And again, we want a high degree of responsiveness to velocity as well. Cool. I'm feeling that. I might just with this one here put a little bit of detune just so it wobbles a little bit subtle, but it's just adding a little bit of movement without and with. So even the bit that's perfectly in tune isn't even perfectly in tune. Probably drop them a level of that one overall maybe. Yeah, that's that's sounding cool. So the last thing we probably want to do on this side of the voice is just give our career a little bit of velocity sensitivity as well. Just to not as much as we have for the other ones because there's quite a lot of variation going on there, but just so that you have that sort of general feel to the sounds or try somewhere around 30 here with all the other stuff that's going that even that might be a little bit much. Yeah, something like that seems about right. Now, obviously, let's move on to the other operator and get that sort of baseline electric piano sound happening in there as well to hold the whole thing together. But first, as a treat, let's head into the effects section because there's something that I've realized this is crying out for and that is some reverb but not just any reverb that we don't want nice whole reverb. No, no, no, that's not going to enhance this patch so much. So let's go into our type here and come down right to the bottom when we have our spring reverb instead. And that chirpy chirpiness that's adding there and the sort of weird haziness around it is definitely much more what we're looking for here. So it's interesting to note on the spring reverb that we have two parameters that kind of sound like they're going to affect how long the reverb goes on. We have time and we have length, but they're doing slightly different things. So length is changing the length of the emulated spring. And what that will do is make things sound more sort of delay or more sort of short and splashy. So the moment somewhere in the middle, if we shorten the length, it sounds much more like a tank and more of a straight-up reverb. Whereas up at the other end, you can hear individual sort of delays in there and it's all diffuses as well. But what you have to think about is the length of the emulated spring, the sound if you like has to travel down to the end of the spring and then back and down and back and down and back. And the longer the spring is, that's going to introduce like an actual delay that you can hear. So this is representative of what happens in the real world as well. Short spring tanks are sort of splashy and reverby and long tanks tend to have more of that sort of delay and ripple to them. And then the chirp control here is going to enhance that somewhat as well. And since we're trying to make something that sounds a bit broken, I think that kind of chirp there is going to really, really help with that. It really enhances those higher notes and those higher overtones. Yeah, nice. Okay, so let's come over to our operators again and bring up operator one. At the moment, it's going to sound like an organ over the top because our level envelope here is going to be hanging out at a high sustain. So let's bring that sustain down. And then immediately just adding that sine wave in there. We haven't got any of the modulation happening at the moment. Just helps ground our patch really nicely. So let's just turn down this one, just mess with the overall envelope in isolation. Release in there as well. A sine wave in the spring reverb is a nice thing. I keep coming back to this fact, I just like the sound of sine waves with a short envelope. It's just a very pleasing sound to me. Anyway, so let's think about adding a little bit of overtone with our modulator there. And really, like I said, a two operator basic sound is a good starting point for any electric piano sound. Let's come across to operator two and think about how we can shape it. Again, we probably want to shape that envelope in a similar sort of fashion so that things get a little bit darker over time. So I think if we come back to the level envelope of this one, we want that decay to be a bit longer. We can push the output pretty high, I think, because we're going to tame the output of our modulator again with velocity. And again, we'll probably have quite a high degree of that. Electric piano sounds really that easy with FM. Even more, because it's barely happening when we play lightly. Cool, let's just put a little bit of velocity variation with the carrier as well. So I suspect probably on the higher notes here as we go up, we're going to find that things are a little bit too brash. So we will come again, operator two, yeah, we'll be in our level page two and we will apply some of the operator scaling here. So C4 is probably a sensible centre point. So past C4, we want the overall output of our modulator to go down as we go higher so that we get less of that overtones probably a bit too much. And conversely, we might actually want it to go a little bit higher as we go, or louder as we go down to get a bit more harmonics out on the lower notes. This sort of level scaling stuff is fine tuning stuff that really helps finesse your patches as you make sure that they play well across the entire keyboard. So let's bring our broken sound back in and see how everything molds together now. So I think that the attack is just ever so slightly too harsh in a lot of places. So the easy way to do that is just to come into our two carriers, make sure we're on our envelope here, and we'll just add the tiniest amount of attack envelope. It's just going to soften the overall feel of the onset of the note in a nice way. Yes, that's feeling a little bit more pleasant, a little less clicky like that. So let's get a little bit more movement in this patch and the obvious place to look at that is probably in operator two and just having the level of operator two be affected by an LFO just so you get that kind of almost sort of semi-auto kind of feel to it. So if we come over to operator two here, we'll take our operator three out of just for a minute, come into page three of the level for operator two and we'll just introduce a bit of LFO here. A little bit fast but just the tiniest bit there has made all the difference to the vibe of that I think. So we'll come into our mod page, we'll go down to LFO one which is what is automatically rooted there and we'll just reduce the speed a little bit. Maybe try a sine instead of a triangle, probably push it a little bit harder now. Yeah, so I've got this set to key sync common which means that the LFO shape is going to start with the first note that I play down and then all of the other voices are going to follow that. Actually probably what we want is to turn key sync off in this case so that the LFO is free running. It's probably subtle and much of a muchness but it is more representative of just having like a tremolo circuit that's running in an electric piano. Cool, this is really starting to come together I think. So I don't think we need to have any movement, we don't need to have a filter envelope on this. It's not kind of the patch where we want to have like a funky clavinet kind of thing on but I think we probably dial out a tiny bit of the top end just to make things a little bit more smoky. So we'll just bring the cut off down because we're trying to create a broken electric piano here of course and probably the capacitors have gone a bit funny and everything's a little bit darker. So without and with. Of course we have the different filter models as well so let's try some of the other low-pass filters so this is the 24, third 12 there, this is the MS-20 which overdrives probably a bit much I think probably six which is the one I usually end up using on almost all my patches because I really like it. Honestly I think this is the basic 12 pole. It's doing a good job there. Yeah okay that's that's feeling pretty good. So I think I'd like to get a little bit of stereo movement going in this. I don't think I want to go for like a full rotary speaker effect on it. I don't think but I think a little bit of auto panning might be nice. Now there's an auto panner inside the FX engine but you can do it just within the synthesis engine as well just as well so I'll do that because I'm not struggling for LFOs at the moment so let's look at our LFOs here. We can just use LFO 3 I guess because we're not assigning it to anything else at the moment. Yeah okay LFO 3 is what we'll use so we'll come into our V patch here and we've got an empty slot here. We'll go to our EG LFOs, we'll go to LFO 3 and our destination is going to be in program and we want to send it to Pan. So yeah immediately I really just like that a little bit of swimming around that's going on here so let's just mess with LFO 3 a little bit. Key sync again if this is going to be an auto panner that's happening within the cabinet of our electric piano. We probably want that key sync to be off so it's just always running and we might want to again try sign instead if we want something that's a little bit swampier. When you're thinking about your modulation shapes for your LFOs the difference between a triangle and a sign is that a sign spends essentially proportionally more time at the extremities whereas a triangle just kind of goes through them it stays in the middle as much as it's staying anywhere else a sign because of that rounding shape at the top spends more time in our case at either side of the panning. So it makes things a little bit wider in general but it also makes things a little less sudden at either end as well a little bit swampier as I said. Yes that's really nice that's immediately made me feel a lot happier. Let's send that via our mod wheel so that with the mod wheel down we don't get any and then with up we get some nice panning. If we're doing that of course we can probably afford to just make it a little bit wider because we've got all this points in between that we can work with as well. Yeah great. Do we want to get any other sort of modulation sounds going on in here? I don't think I want to have a filter wobble I don't think. Ah so instead why don't we go into our effects and think about adding a modulation effect inside here. So we'll come down to slot two. I think a phaser might be quite nice. Let's try that immediately. That's good a bit deeper maybe a little bit faster. Yeah okay so I don't think this is something we want on at all time again so I think I'm going to route this via our modulation wheel as well. So what I'll do is I'll turn the mix all the way down for the moment which essentially turns it off for our intensive purposes so we'll come into the V patch again and we'll go into a spare slot. Source same deal mod wheel destination we want to go to oops I've just no don't randomize anything that was close. What am I doing? Coming into effects to phaser mix take it up to 50% when it's all the way up so with mod wheel down yeah cool yeah that's fun unlike that being on the mod wheel as well so we've still got another slot left in our effects and I've got to wonder if we're creating something that's inherently broken whether the obvious thing to add here would be some distortion not that much though uh let's bring that drive wrong knob let's bring that drive basically all the way down just a little bit of drive so without and with if I play lightly it barely kicks in cool yeah that's adding a lot of vibe I think maybe a little bit more drive we can afford it's a bit much up at the top though um so we could use the EQ here so we have an EQ section and we can find where that harshness is and maybe duck it out a bit so we'll go EQ all the way down so the harshness is kind of around there we'll just tuck it down a couple of dB instead might just round it off a little bit with the phaser and panning there's still maybe a little bit too much at that top end duck it a bit more I think when we go out to the top there we lose a bit of perceived volume I doubt it's getting actually quite about that sort of carving out of the mid-range that the phase is doing is maybe robbing us of a bit perceived volume so let's just fix that up and these are really sort of tweaky stuff when you're building patches but it sort of finesses the patch a little bit so again if we set our source as mod wheel and our destination in program and level we can change the level of the overall program as we move the mod wheel it's it's not a lot I think it it improves the overall range of that mod wheel anything else to finesse here okay let's um just go back to our filter now that we've added all this modulation stuff and just see whether we can go darker I think a bit darker makes more sense now in the context of everything make sure it's not getting too quiet at the top a little bit over modulated at the top there I think probably on the on our dirty side here so let's just really quickly again it's all about finessing the patches come into our modulators here we'll come into page two here with our key tracking probably want to move that center up a bit maybe up to c5 and we'll just tweak them down a little bit we'll just try like minus 15 on on all of them c5 and minus 15 c5 and minus 15 just make sure it behaves better at the top here yeah I think so I think we're probably done that's a pretty nice sounding patch I think I will even go as far as to save that one for later perhaps I'll turn up in a patch pack who knows so anyway I hope that was interesting useful enjoyable and if you did enjoy the video then as always please do hit that like button and make sure you subscribe to the channel especially if you're interested in the opposites because there's going to be a lot of opposite content coming in the next few weeks and months as always thank you so much for joining me till next time take care bye bye