 Last time I tried to do a stream everything went wrong, wrapping it up, hopefully. That won't be the case this evening. What shall we do, what shall we do? Let's try and make the opposite as spook as possible. Before it can be a very spooky boy indeed. Can you allow me to take excellent thank you? This is not the start of the patch, this is just an arpeggio I poshed together before the stream started. It will be a lot spookier than this. Let's address the microphone so that I am more comfortable. Okay, so it's time to spoop it up. What it is, Spoopy Night, isn't it? So, let us spoop. So, that's enough of you. Right, let us start from an initialised patch, I think. It's a rum this evening, by the way, if you are wondering, the spookiest of all the drinks. What was that? A Bloody Mary. Okay, so I think what I am going to do is start by going over to the user algorithm and we will create some operator mistreatment to create a bed of weirdness to begin with. So, let's just edit this. So, let's have one and up to both going to output. Let's have one go into two and two go into one. I am just going to create noise because it is infinite feedback, basically. Which isn't very spooky, but we are going to make it spooky. So, what we will do to begin with is we are going to come in to our first two operators which are working as like a feedback loop and we are going to drop their ratios nice and low. And we are going to bring them out of FM mode because obviously FM is a little bit angry. So, let's move them across to ring mode instead. And with ring mode you can have these like full on blasting into each other so that they are just becoming an awful mess, he says. The upper six apparently dies when I did that. Interesting, is that the first bit of spookiness that has just straight up brilliant. That is a really good start on stream. Let's just quickly restart that. That might well be my first crash that I have managed to create on the Ops 6. It would be on stream, wouldn't it? Classic. Classic live. Have everyone as well. Okay, that's good. Well, clearly I pushed it too far there. But I haven't made patches like that before so I know it's okay. So, let's try that again. Embarrassing, but not for me so much. Okay, user algorithm, yes. Let's hear both again. Let's hope we can make it crash. Let's hope not. One into two. Two into one. Back over to ring for both of those. So we just get back to where we were. What we'll do is detune them. Probably maybe even someone has fixed. Right, so that's better. It's not crashing. Let's give this some reverb. So we've got something to work against. Reverb. Let's go with space. I might switch this to the rise or something a little bit more aggressive as we go on, but we'll start with this. And we'll start getting some movement in the sound. So let's go to our LFOs and we'll set up a couple of random LFOs on two and three. Set that to per voice and per voice. Okay, we'll do this one. So source, we'll set to one of our LFOs. And destination, we'll set it to operate two's pitch. Randomly sweep around a little bit. I'm saving a lot now because we don't trust it. Let's also change our waveforms to triangle so we get a little bit more in terms of monics in there. Okay, let's filter some of those on monics out. Let's give them a more gentle loop because that's quite aggressive over time of playing night at the moment. A nice long droney. Lars says, from a sound design perspective, the Sim has to be a beast. Oh man, I already have an FM synth. Yes, but this isn't just an FM synth. It's just other stuff. So what I want to do with these two operators is give us like a atonal ghosty spooky head for the rest of the patch. Because we can kind of think of our different operators as sort of different parts of our sound that can operate almost independently. Obviously based around the note that you're playing. But I think we're going to have to live with the fact that one of our LFOs has got to be like a ghostly vibrato, right? Like it has to be. There's no getting away from that. So let's... The one of these which isn't. I think we need to go back to the sine waves. That's going there. It's going there. Let's try a nice high note. I think we can probably modulate the levels of these two, but I don't want to get into that quite yet. Just in case I want some of those modulation lanes. What I will do however, I think, just because I think it's essential for this kind of patch, let's start getting the sound swooping around the panorama a little bit. So I'll come into the V-patch. I need you to just stick this at the end to keep it out of the way. But we'll send one of our LFOs. Give it a three. We'll send it two. And because the LFOs are set to per voice, they should give us independent, beautiful stuff. Just taking it on chat. Instantly thinking about the high pitch screaming drone that introduces the joker in the dark night. I have not seen the dark night. But I can imagine what that might sound like. So let's try and replicate that without overhearing it, shall we? And Big Man Lizard asks, what reverb are we using? We're using one of the built-in reverbs on the up six. So it's just one of the built-in effects. At the moment it's the space mode on the main reverb. But I might switch to one of the riser ones. So I want something that's kind of creeping, like dropletty kind of sound. And that's something we can do on the opposite. It's quite nicely using filter operators. Now, I'm just going to work out whether I can do this with just one or whether I want to use two. I'm going to try it just one to begin with. So we'll come back into miscellaneous and I use our algorithm. And I'm going to put op three as an output. Yeah, the reverb is on this sound really, really good. I think there's similar algorithms to the one you get on the Prologue series, the NTS1 and all that kind of stuff, which are really good sounding reverbs. The effects on this are really, really quite something. This stuff can be with the new effects operators. So I haven't used one of those in a patch in anger yet, so that might be fun. So I'm going to try and do something with just a single operator first. And I might switch these in two if I need to. So I'm just going to go over to the filter mode here. And I'll select a mix. It'll be tricky to do with a single filter as an operator. I'm going to switch this around a little bit and go with multiple operators here. So I'm going to put three off, four as an output. And then I'll do three into four like that. Hi, Annie. Yeah, my advice is to get an op six once you've got the peak after that. Get both, why not? Do I find the short cube bed comfortable enough for sound design? I do. And part of that is because I'm a very bad keyboardist. So I don't miss any of the extra space. But yeah, if I wanted more keys, I would use a different controller. If I wanted more keys, I would also get a control with aftertouch, which is one of the only real downsides of the keyboard I think really. Anyway, what was I doing? Operator three, I'm going to set this to filter mode. Set the pitch to fixed. Switch that to a pass filter. Then operator four, I'm going to leave on FM mode. I'm going to switch it to two, noise sample and hold. And then I'm going to set its pitch to fixed. Turn the right down. So you can hear there now we've got a clicking. But if we come back into operator three, which is currently a band pass filter, a gob load of resonance should start to hear. Why doesn't that sound right? It's because I've got them back to front. Do we? Okay, so operator three needs to be FM and sample and hold. And tuned down. And then operator four needs to be in filter mode. Turn this all slightly mixed down. Band pass. Adjust the... So what I've got here is a source of noise that's sort of random, which is then going into a high resonance band pass filter. Essentially we're pinging the band pass filter linked to the ratio actually. Okay, let's mess with the levels a little bit. Opposite and waves take all one peak. Peak in the opposite. Let's not mess around here. Joseph says, I love your videos. Thank you. And you're in love with me. That's really... I'm really quite passionate about teaching stuff. I was always... My plan when I finished university was to become a teacher. And so this is my hobby where I get to pretend I'm a teacher. So that's great to hear, thank you. So I'm going to modulate the speed of the sample and hold that slow noise so that we can get some different densities of droplets happening. So FO's destination will be operator three pitch pass filter and we modulate. Flowing says, I think the keyboard is not velocity sensitive. No, it is velocity sensitive. You need to set it your patch to be velocity sensitive. And the way to do that, the easiest way to do that is in the level menu. We'll do it here. Just so you can hear it. So I'll turn down this other part here. And if we come to the level menu and we want to pay each three and we just turn up the velocity sensitivity here. And you can turn up it as sensitive or as not. So if I play lightly now and now if I play hard. So yeah, no, it is velocity sensitive. You just need to root it. It's not velocity sensitive by default. It's part of the patch design. I think we'll try some string synthesis with the new effects operator. So again, we'll come into the miscellaneous and we'll set six to be an output. Five into six like that. Excuse the rattling. So we can hear what we're doing. I'll just turn those down for a second. And operator six. We're going to set this mode to effect with comb filter. We can turn off its own oscillator. Do we really need to do that? Could we get away with just a single oscillator here? No, I'll stick with it again. Okay, so this won't make any noise on its own. So we need to push something into it. What we'll push into it is some noise. Try pink noise. Yes, a latch outside of the off projector would be a really useful thing in this patch while we're doing drone things. So what we've got there is a string synthesis essentially. What I'm going to do is set this to filter mode and band pass. Similarly on the comb filter which is acting as a resume here. We can mess with the filter that's going. We can modulate that filter, couldn't we? Yeah, for sure we should be modulating that filter. That's a good idea. So we want one of our random friends. That one will do. And we want to go to operator pitch which will be linked to the... Just a reminder, this is marked as an FM synth. I'm going to use LFO 2. We want to use LFO 3 here. I'm going to go to LFO 3, 2, operator 6. I'm going to go to pitch actually as well because I'll do the frequency. This kind of modal synthesis is what I'm doing now. It's kind of carpalastrong-ish. A comb filter is just a really short delay basically which is what you need for carpalastrong. It's really simple carpalastrong because really carpalastrong you should have two delay lines and you'd be able to move the tap by changing the relative length of the two of them. But yeah, this is like carpalastrong in its most basic form. We've got a really short delay. That delay is going to be controlled. The time of the delay is controlled by the pitch of what we're playing and we're exciting it with, in this case noise. Let's try the other types of noise just to have interest. So white noise has got more top end in it. Blue noise is more band-past but it's also quieter. It's going to pink. I think let's lower the filter in general which resonates a bit probably a little bit. We'll also try one of the other types. This part of the patch here instantly as it's currently playing I think it's too low isn't it? This patch part of the patch as it's playing now has no FM in it. In fact none of the patch has because there's a ringboard here isn't it? So no FM in this patch. FM synthesizer. It's not an FM synthesizer. Let's have the filter in resonance on the filter move around a bit I think. LFO2 is already there so we'll do that. We'll use LFO3 for the resonance in the B patch. Filter. Resonance. I think I'll make these two LFOs move a little slower as well I think they'll move a bit faster at the moment. So we'll slow them down but try not to get them at the same speed. Filter. Be a bit more aggressive. Now we're getting this crunch from the MS-20 filter model which is quite aggressive. So I think there's probably a bunch of other ways we can get movement into this patch. So I think we want operator 1 and 2 to have their levels modulated so they swoop in and out of existence a bit more. So let's do that. Operator 1 level. And the same thing for operator use level. We'll use LFO3 instead. Yeah I would never say that the opposite isn't an FM synthesizer. It can't do FM because of course it can and that's where the whole idea of algorithm operators originated. But I think what Korg have done in terms of expanding that idea of operators and algorithms to apply to things that aren't FM I think is incredibly smart. And like with the introduction of the... It filters me from around too much isn't it? With the introduction of the effects and stuff on there. It's just doing so much more with the idea. I think it's really really exciting. I think that it's come out this year. If it came out this year it's the center of the year. It's certainly the most unrated since it's come out in recent memory. I would do my best to hip everyone to how exciting it is from a sound design perspective. The fact that you can build entire architectures inside it is kind of crazy. So a lot of that crunch. Part of that crunch is coming from the ring mod dual oscillating that's going on here. But a lot of that's not coming from the FM. Sorry, from the filter, the MS24. If we switch this just to the standard 24 dB. When the air is much crunch. And you know, perhaps that's better. I like that menace. I think people suggest that the filter models on this aren't very good. I really like them but maybe it's more for courses. Do I think there are any very similar synthesizers to the Ops 6? I suspect weirdly that something like the montage and its FM engine is probably the closest in terms of being able to do advanced FM stuff. I don't know whether it has the concept of doing different types of modulations. Probably the montage is the closest in terms of pushing what's going on with this idea of algorithms and operators. But I personally haven't seen it done quite the same way. It's on the Ops 6 anywhere else. That's not to say it hasn't, but I haven't seen it, certainly. So I think I might sweep in operator 4 and 6 a bit as well. Move those around in terms of their level. Because I think the LFOs can push it above 100% as well, which is quite neat. HydroSynth is a good shout. It doesn't do FM in as advanced a way, but in terms of some of the ways that you can treat things with the mutators and stuff. I haven't got a HydroSynth, I would like one. But I haven't got unlimited money and ASM didn't reply to money unless. I don't have one. I think it would be really fun one to explore and push pretty hard. What do I drink? I expect it. I suspect it's whisky. It's not, it's rum. Diplomatico, it's finished. It's cask strength as well, so it's like 50 something percent. I am feeling it a bit more than usual. But it's very delicious. It's a very, very good rum. Quite fiery. Let's go back to our effects, because we haven't really touched these since we set it up. So at the moment I'm just on the space, just on the space reverb, which is pretty spacey. But let's just out of interest, let's try one of the shimmers instead. So this is the clear one. It's pretty clear. The riser, which is our shimmer angel set above the chaos. Which ends up sounding a bit like organs, like an organ set up of the whole of the mix. Which is obviously spooky, organs are spooky. So that's the riser, so that's octave up. But we've also got the submarine, which goes down, lots of bomb in there. I think I'd prefer the space one we had before. We've also got one called horror, which is probably a bit on the nose, but this one does like tritone risers or something. But I think I'd prefer the space one we had before. So we can put some other effects on here, we're only using one of the three. So we could put a guitar ramp on it if you want. So that's our patch now running through a Vintage A virtual AC-30. That's something, isn't it? If it wasn't distorted enough already, it is now. I quite like that though. I'm just assuming we're going to be a JCM-800. It's a lot of gain, like a DSL or something. Is the time different to the distortion effect? Yeah, because the guitar amp puts a cab simulator on it, so the distortion is just straight up. Interestingly, the guitar amp isn't in stereo. Didn't know that. So that's the distortion. And then we also have the decimator. The original sound with this one on. LFO the decimator. The problem is with the bit rate so low, it makes very little difference. I mean, the obvious other effect would be delay, I think. Because there's the tape echo, which is only, I guess, quite crunchy. All sorts of demons in background. So let's do that. Let's modulate the bit one of our LFOs. Just some friends hanging out in there. Stuck some octaves tritone in there, shall we? Like it was screaming, which I think is the delay time changing. Hello, we're into the weeds in terms of fine tuning a patch, but I think what I'm going to do is just have the filter on the notes so it gets less screaming. I think I'll save this patch and then we might make one more patch before bringing themselves to sleep. Perhaps we'll do something with, we could do some more string stuff. Try and create like a spooky string pad type thing. Sort of put together a couple of different comb filters. Have them sort of modulate off each other to unsatellite, maybe put like four over to that and then have like a traditional synth voice over the top, something like that. Let's try something like that. Good. Okay, so what do you use for algorithm again? That's probably an algorithm that fits this actually, but it's just easier for me to think about if I'm doing a user algorithm. So I'm going to do, operator one has a noise source and then two, three and four is comb filters tune differently, wandering off each other and making them sort of uneasily beat into each other. Let's try that. So for this we want two, three and four to be outputs. So that's our comb filters. And we don't want anything going into one. We want to go into two, want to go into three and want to go into four. I might also have each of the different strings cross modulate each other as well a little bit, but we'll come back around to that idea in a minute. I want to be set up the main patch. So operators, so let's just set up operator two first and we can copy stuff across. So we'll set that to effect and comb. We'll have one again be filter, probably band pass and pink noise. Don't want to hear any of its own thing. So I'm changing the envelope of the exciting signal rather than comb filter, comb filter, which is also going to be dictated by the feedback. So that's one string. Let's just mess with the exciter a little bit. So if we copy that across to the other two operators, there are going to be our strings, which we can do in here. Just speed it up to three and four. Cool. And then on operator three, if we change the frequency to like an octave above, we'll detune all of them slightly, but then we'll have an LFO moving some of them around as well. So because the frequency of the comb filter is linked to the pitch of the operator, we can use the fine tune here to do that or the detune. But we'll use the lowest one where it was. At this point, let's add some effects. Let's stick a review in there. We'll go with the space one, because that worked before. There's the resonance of the band pass filter as well. Let's get those operators moving. We kind of want something to like pluck the strings as well. That means I need to use another operator. I don't know what I could use. We need to have a thing how important it is. I suppose I could use an LFO on the level up. Let's have one of these strings, at least one of these move around in pitch, just a little bit to be seen. So LFO three will set to one of our voice. Slow down. Interestingly, no FM in this patch currently. We can modulate the filter on the noise source. We can either use the random one we used before, or we can take the piano approach and have it. So low notes from one side, high notes from the other. Also how that sounds, the only problem with that is that you lose where the subs should be a little bit. But we could make use of a wave shaver thing in the effects. I think I want to do that. It'll move each of these back into themselves. So the strings which are nearby to each other are influencing each other a little bit. That might be fun. Effects from the cork or something else, they are from the cork, as we'll say. That's why they weren't ringing out very long. It's because they weren't set very long. So just take that down for a second. So on Opsix, we're going to set that to effects in the wave shaper. There are all these different shapes, wave shapers. It's similar to the way that like face modulation works. And there's a lot of level dependency in there. The spookiest one. The one called Zinger was great. It's one called Zinger and that while back, which I think is probably the spookiest one so far. There is the audio in that isn't sadly. That would be good. But a lot of these effects are something like on the NTS-1. So if you have one of those, then they'll do something. So the nice thing about this wave shaper mode which is taken from like the 01W workstation from the 90s. So you get a lot of different time ball change based on the input level. So you can hear that we really get this sort of swoop up clips over into a new part of the shaper curve. I think we certainly want to give this some much. I have to say this is one of those patches where I just bash operator 1 a little. I mean send that via. So the nice thing with the Mod Matrix here is that you always have this fire, or control as it's called here. Which means that this intensity, but through this. So the obvious thing there is if this was the pitch wobble you would do the intensity of your maximum pitch wobble and send it via the mod wheel. And then you can turn it up and down, which is what I've done actually on this patch. But here I'm saying this sort of excitation of the timids because in this side of the stereo there's some more effects before we finish. It's obvious, but probably because it's a good idea. And I think now that we've got these, now it's a good point we could tempo sync those to the tempo sync that shouldn't we. Either says now it's finished. That's quite nice. And he's refining because we're still getting overdrive happening where we shouldn't. So much of the waveforms, or many of the way FM in that one. Because this isn't FM synth, it's an everything synth. Before we go, let's just remind ourselves of what the other patch was. Do I use my Ops 6 to produce ambient music? Yes. Do I combine the Ops 6 with other synths? Have I? I haven't much honestly. That's for no other reason than I'm lazy and I tend to only setup one synth at a time. I'm working on a project which is kind of ambient music and something else. Which I will talk about more in the channel when I have something a bit more concrete to talk about. That's really, really exciting. And I think a lot of people are going to enjoy it. And that's entirely using the Ops 6. So it's a sort of EP bit vague. I do think this would pair with something like the Mini Brute. Which has a lot more sort of inherent. Certainly I've done stuff in the past but it's been sort of like Mini Brute and Digitone for example. And that's worked really well. But sort of combining the digital and the analog that way. Yes. So I would combine it with other things if I was less lazy. I'm just thinking of the only other... Oh, this is a string synth kind of thing. Using the comb filter. Quite a lot of philosophy sensitivity in there. Which is nice. So these are prototypes for the musical stuff. This is just a nice pad synth I was working on. Because, you know, digital synths are cold and not warm. You've probably heard that. And here's a nice cold. Yeah, so I've been working on some stuff. This is nice though. At this point you could probably recreate at least half of the plant synthesis in the Ops 6. That's probably true. Yeah, I mean, yeah, that is probably true. I'm just thinking through them. It's difficult to do like a proper super source. I like the clusters and it's probably a bit tricky to do. Most of them pinged filters. You can do FM, obviously. You can do just the general filtered stuff. Yeah, you're probably good. That's probably true. Probably most of the braids as well. There's a cover which involves sync, which you can't do directly on this part. Yeah, I think you could do most of the plant's modes. And with 24 voices of polyphony. Which is nice, isn't it? Anyway, I think it's probably about time to wind this up. Before we are talking about creating a classic, I guess classic these days. Modular. I am just before we finish this. Going to put some velocity sensitivity into this patch. I'll help myself. It sounds like poor stretch, doesn't it? Anyway, let's have a nice final stacked C major chord to say goodbye. So we can leave on happy terms. So shall we?