 Hello, OscillatorSync here and welcome back to another video in the series where we are building patches from scratch on the mighty fine Behringer Deep Mind. In the first video in the series we built a pad patch because, well, what else do you do when you get a brand new poly synth, frankly? And I'd like to revisit pads today, but whereas the previous video was kind of a classic brassy warm kind of pad sound, today I'd like to look at building something that's a lot more sort of ambient and evolving and Drawn out and I want to maybe make more use of the Modulation and also the effects that are available on the Deep Mind Right, so let's get building our patch. So the first thing to establish Is that this patch is going to have a big long envelope. So I'm going to head over to the VCA So at the moment we've got this happening I'm going to just set everything up high for the Decay and the sustain and leave the attack instant for the moment and I'm just going to set the release super long Now I don't want this to be one of those pads that kind of Womps into existence I want it to kind of come on quite quickly and then for all the movement to be sort of the modulation that happens within that sound and in fact I could even make this a little bit plucky. I think on the attack. So How do we define pluck within an envelope? Well, it is a quick decay down to a lower Sustain level essentially. So What I usually do when I'm trying to get a plucky sound is I'll put my sustain down to zero So I'm just working with the pluck Work out how fast I want the pluck to be Kind of like that and then we decide where we're going to pluck down to So no pluck and that's kind of where the pluck becomes Evident I think So we've got that kind of a plucky attack and then a very long expansive release okay, so that's kind of The starting point in terms of the the envelope of the sound obviously we're going to look at the filter envelope in just a second But let's come over to the oscillator section and kind of define that main sound. So I'm actually going to start Just with oscillator two Because on oscillator two if we bring it up tune it Or tune it respective to the first oscillation a second. So oscillator two has this awesome tone mod Thing here and it's kind of like a pulse width modulation But with varying alternating pulse sizes. It's pretty interesting. But what it does sonically is as you sweep across it you start introducing All these different harmonics It's almost like you get all these Ghost notes because the harmonics Like there for example, the harmonics are so strong that you're getting these sort of Essentially whole extra notes happening within your oscillator So if we have a very long LFO sweeping across that We're going to have this constant evolution of the sound where We're getting these different notes and harmonics just kind of popping out of the sound I think that can be really really beautiful So let's do that. So we're going to head into the edit menu And click across till we get to the oscillator two parameters And you see here, we've got the T mod source the tone mod source That's currently set to module to module to manual, which is what I was doing sweeping the Sweeping the fader if we switch that over to one of our LFOs, I'll go with LFO two, I think LFO two is currently running very very slowly, but might work out very well and we'll just crank the tone mod up And you can hear that as I hold down the note now We're getting all of those harmonics kind of popping out into existence We just drop it down a little bit No, let's be brave. Let's get a bit more So we want to get to that point where it does that It's almost like it's changing octave at some time. It's really really cool Right, so let's go back over to oscillator one now and bring in the pulse The square wave the pulse wave Because these are two pulse waves that are more or less in tune with the pulse width Essentially mod changing between them. You're getting The way they're interacting is really really interesting But we can probably add some pulse width modulation to that as well. So at the moment, this is set to manual as well So we can sweep it you can hear there When I'm sweeping it manually all of those cool interactions With the tone mod so we definitely want to make use of that So I am going to go into the edit menu again flick across to the oscillator one parameters I'm going to set my pulse width modulation source to Let's set it to LFO one so it's running at a different rate. Shall we? Uh, yes, so come out of there We can turn up the pulse width modulation You can start to hear it's changing Adjust the LFO speed there You can even have it quite fast maybe Be brave with the pulse width modulation Starts to sound out tune Let's get to the point where it just starts to sound out tune So far Nice, okay, so um The sound that we've got at the moment is quite sort of hollow So if we bring in the sawtooth wave, hopefully that will just anchor the sound a bit more Hear now that how that's anchored it so before Quite hollow Just giving us something to sort of hold on to that's not moving around everywhere So, um, let's just make sure that we're happy with the way that the pitch of oscillator two is compared to oscillator one Oh, I just nudged the pitch mod there It's out of tune We're getting slightly out of tune so you get that kind of richness, but let's um Let's talk a bit more about the out of tune and how we're getting that richness there. So, um What we could do is we could introduce some pitch mod on uh on our oscillators now by default if we bring in the pitch mod Both these oscillators are going to orbit at the same time. Obviously that's far too much pitch mod But just as an illustration there, but if we come into the edit menu for oscillator one We have this brand here called p mod mode and the moment it's set to oscillator one and two which means that the pitch modulation here affects both of these Oscillators at once but we can change that so that it only affects oscillator one. So what that essentially does is we can pitch mod oscillator one without Uh pitch modding oscillator two and that creates essentially chorusing. So let's check that out so you can hear there in the background that the The oscillator two is kind of just the same You got that weird wobbling on top if we just find the point It should just be really really subtle. So we're talking Yeah, a couple of cent 20 cent I mean 20 cent is is more than you would have probably if you were just pitch modding normally But because it's kind of anchored by that that second oscillator Doesn't kind of sound out tune. It just gives you that kind of chorusing The other way that we can make things sort of nicely out of tune because putting things slightly out tune is a nice thing to do It creates this kind of warmth and chorusing Is if we go into the poly menu here We've got our oscillator drift and that means that the different voices On the synth. So we've got six voices on the deep mind six or twelve on the deep mind twelves It means that all of those are constantly kind of drifting in and out tune with each other So it's not oscillator one being out to tune with oscillator two It's oscillator one and oscillator two of one voice being out of tune With an oscillator one and oscillator two of another voice if that makes sense As a starting point, I I usually find that something around 21 is quite nice. So this is without This is with okay, so That's kind of our oscillators kind of talked about we'll maybe come back and fine-tune them But that's kind of a good starting point now at the moment. This is all too All too bright for me. So let's Dull it down a little bit. I think I'm going to go with a two pole filter today with the VCF and And I'm also going to bring up that resonance because that's going to help pull out those harmonics as they fly past in oscillator two right Now I don't want that filter just to stay Where is the whole time? So I'm going to modulate it both with the envelope and with the LFO So the envelope I'm going to just give it a bit of attack Maybe try and introduce a bit more of that pluckiness at the attack And also then that kind of gradual Release as well. So let's send a little bit of envelope to the filter Obviously that That envelope at the moment is not right. So head over to the VCF envelope here I do want an instant. I don't really want any Near that happening. So instant on set is is probably right as is probably quite Quite a quick decay. It's just that at the moment it's decaying Too far down And then of course, we also need to give this a nice long release to match our VCA Maybe even a little bit longer. Yeah Cool, okay The other thing that we could do maybe So when we're holding The the notes there obviously the envelope is sustaining at the sustain level So it's not really changing over time It might be nice to actually have that sort of just get a little bit darker over time so that New notes come in and they can kind of take precedence over the old ones the way that you can do this And this is really really neat on the On the envelopes on the deep mind And I think the curves often get talked about in terms of changing the curve of the attack and the decay And the release but what the curve mode does when you're altering the sustain is it basically gives you another If you see that on the Screen there it gives you another sort of long decay down to another value so we can Actually have it so that that sustained note also Gets darker over time like that Which I think is really really cool. It's it's a really It's not as interesting as changing all those curves to exponential logarithmic But I think it's actually such a useful sound design tool that often gets overlooked Nice, okay. So the other thing that I want to do is introduce a bunch of Sort of LFO movement in there as well. I want it to be the slower LFO 2 So if we go into the edit menu for the VCF, we can just check here that the LFO is LFO 2, which it is great Um, so let's bring in some LFO. I think I want to be quite brave with the LFO and have it quite wide Maybe even more than that It can get quite dark. I think Because we have that attack on the envelope at the start of the note, even when the LFO is set quite dark, you still get an attack You get this beautiful brightness otherwise. So here we're getting quite dark We still get that attack from the envelope So we don't lose the notes Cool, okay So the other part of the filter obviously is the high pass filter Um, so the first thing to address is the boost button Do we want to turn on that low end boost? Let's check it out. So That's without and that's with Let's have it on Often when I turn it on I find I need just to turn up the high pass filter just to tidy up those low mids I don't think we need to do it here really. It seems to be Kind of holding together without getting too weird Yeah, that's cool Right, okay, let's um, let's add a little bit more movement What I quite like to do when I have these very sort of long languid Evolving sounds is to have an element to it Which is sort of sharp and fast. It doesn't have to be like super Obvious to the sound, but it kind of just helps to To keep things rolling along keeps giving it sort of momentum So what if we created an additional kind of filter movement that's sort of a bit more sort of pinky repeaters or Kind of sound so let's see how we can do that now It will not have escaped your notice that I have used up both of my LFOs on all this long Moving stuff happening. However We kind of do have an extra pseudo LFO and that's because the envelopes on the deep mind can be used in looping mode So I've made use of the vca and the vcf envelope. I haven't yet made use of the mod envelope So if we come over here into the mod envelope On this top bit here in the screen we can Change the way that it's triggered. This is quite interesting You can have the envelope retrigger each time an LFO goes around That is an interesting trick on some patches But the one I'm looking for here is just the straight up loop here So we can create a shape here So if I turn my release to zero And my Sustain to zero And if we look here if we have an attack That's instant and then a decay set accordingly. That's essentially a sore tooth wave, right? Or a shark tooth wave. It's a shark tooth wave where you can adjust the The how sharp the shark tooth is actually which is quite cool So we can have more of a shark fin wave if we like So Okay, so we've created an envelope here and this envelope is going to loop as long as the as long as the key is held down So let's choose somewhere to send it. So if we go into our mod matrix here And I want to use my source so I can hold down the mod button and tap The mod envelope here that sets my source to envelope three just a little shortcut um, and I'm going to set the I'm going to set the destination to be my Frequency of my filter cutoff actually So just hold that down and just wiggle the frequency there and then So nothing's happened at the moment because we haven't set the depth, but if we turn the depth all the way up In here there that we've got that We've there that's way too long at the moment. So let's go back into our modulation envelope here And we can just basically change the rate by adjusting Into k time So That's kind of too obvious for me at the moment So we can just adjust the depth there until we find a kind of a sweet spot I just kind of want it to be Again, that's probably still too much Bit too subliminal Something like that now notice that when I release the key that movement isn't happening anymore That's a limitation of the loop mode on the envelopes that you do have to have a key down for that to work It'd be awesome If in a future firmware update they change that so that the loop could all space set to to roll As essentially act as a straight up LFO that's always moving If You leave you're listening then feel free to add that so that's kind of a cool additional bit of movement that we can add in there This is maybe jumping ahead a little bit, but I think it'd be really cool if we could add more of that movement by using our mod wheel That's actually really easy to do in the mod matrix So Jumping ahead, but let's do it. I really got to the mod wheel stuff, but you know, whatever So hold down the mod button again move our mod wheel and the destination We are going to set near the top here to The mod one depth what this essentially is is a modulation slots where the depth is going to affect the depth Of another modulation slot. So the mod wheel here is going to affect the depth here So if I turn my modulation wheel up I can now set a new obvious level Check and then turn down Which is kind of cool I think okay Okay, so we're about ready to get into some of the more sort of Modulation and effects stuff One thing that really needs to be addressed first though is at the moment this sound is quite mono I don't mean monophonic. I mean that if you're listening on on studio monitors or on headphones, it's all going to be sitting down the middle Let's spread that out a little bit Really easy to do on the deep mind. You just come into the vca edit menu here and we've got this pan spread What that will do is each time you play a note The voices will be given A new pan position It instantly makes this huge difference Now at the moment Once each of these voices has been given a pan position until we play a note which triggers that voice again. It's going to stay there So although we're getting a stereo spread we're not really getting movement in the stereo field But we can do that again coming into the mod matrix here I'm going to use I use the slower LFO LFO 2 as my source And over here on the destination I'm just going to move the vca. So I don't want vca active. I just happen to know that the parameter I want is near here We have got pan spread as a destination So we can modulate that pan spread amount that we just did there now There's also a vca pan. What that's going to do is it's going to sweep stuff across left to right essentially I find what that ends up doing is it ends up sort of shifting the sound to one side or the other Which can be cool. And if that is what you're after. So for example, if you're doing like um Faking a Leslie sound perfect But if I just want to have something sort of undulate in and out of stereo, I tend to prefer the pan spread So let's set that depth It's going out too wide. I think So hopefully now if you're listening on headphones or on studio monitors You're hearing that not only is stuff spread out it's also sort of Going to the outsides and then coming back into the center Which is really really nice. Okay, um Right, so towards the end of the patch. I think let's talk about effects and let's be pretty crazy with the effects in this case. So in the effects page If you pop your cursor to the end of the effects chain if you like you can switch between different arrangements of The effects. So for example, if you want all of your effects in parallel, you've got um m4 Here you've got A general path to begin with and then two in parallel at the end The one I am looking for however is this complicated looking fellow here m9 So this one's slightly weird to try and follow So the input comes in to slot three It travels to slot four And when it gets to slot four two things happen one is it travels to the output So you hear the output of four But you can see here there's also an arrow that sends it up to slot one Slot one goes into slot two and then drops back in just before slot four. So what you've got here Is a feedback loop And this is where you can do And i'm sure some of you saw this coming. This is where you can do shimmer reverb a shimmer reverb is a reverb Where there is a pitch shift In the feedback loop So let's take a look at that So where we want to put our reverb is in slot four. So if we come down to slot four, I'm going to choose I'm just a real sucker for the plate reverb. I have to say I just think that's gorgeous It's going a little bit spicy at the top end there. So let's just go into the uh, the deep editing here It's a big ambient patch. Let's just Pop the decay a little bit longer as well, shall we? So a bit spicy at the top end. So i'm just going to turn the damping down A little bit and maybe just drop that high cut There as well And then we've also got the bass molt I should learn technically what this does, but what I know that it can do is just emphasize the low end of the reverb Which I think can be quite cool on these big ambient patches Now usually I wouldn't keep the reverb that high in the mix and Even now I'm tempted just to bring it down a little bit Even creating big ambient patches I can't Bring myself to lean on the reverb quite that hard But that's kind of working Okay, so that's that's a normal reverb. Let's turn this into a shimmery reverb So if we put something that's going to do pitch shifting in one of these slots here the one or two That's going to give us a pitch shifting that's happening in the feedback loop of the reverb So that means that the reverb comes out of the reverb goes into a pitch shifter Which is going to send the pitch up And then that pitch shifted up reverb is going to be sent back into The reverb and then it's going to be pitch shifted inside the reverb And then that pitch shifted signal is going to be reverbed And then sent back into the pitch shift and you kind of get this feedback loop Where the shimmer sort of goes up and sort of blossoms out Which is what shimmer reverb is and it's very very pretty It's almost a bit of a cliche these days, but I think it's still worth playing with So slot two that's in our feedback loop. Let's find a pitch shift algorithm So we're looking for Where is it Dual pitch here we go now you'll notice here that Um next to the level We've got an exclamation mark. That's just The synth way of saying hey by the way, this isn't a feedback loop I've set it really low so that you don't sort of go completely out of control and overdrive stuff We can set it above one. It's just the moment it's set there. So, um Let's just go into the deep editing of the pitch So the two bits that we want to talk about in particular Are the pitch shifts here So we've got the semi one here and the semi two here. So those are the semitones Of pitch shifting. Uh, we want this to be up an octave. So that's 12 semitones up each And I'm just going to give it a little bit of course D tunes that's just going to give us a bit of chorusing between the two of them as well Uh Okay, and we can probably open that high cut up as well So Let's see what that sounds like at the moment If there is shimmer in there, it's very very subtle a moment And that's because the level on the pitch shift out is so low. So let's carefully Can you hear now that we've kind of starting to get this? There we go that chorus Of pitch shifted angels Still quite subtle A bit more obvious there They kind of blossom up because it has to go through the reverb and build up that pitch shift I'm willing to turn the reverb up, I think That's kind of amazing, isn't it? Shimmer reverbs become this cliche, but it is still Kind of gorgeous Okay, uh, but I tell you what let's not have that on our patch at all times Let's have that on our mod wheel so that we can bring that in and out So let's set the level of this back down to Where it was to begin with which is one which is basically no shimmer at all And let's come over. I'm just going to save this quickly I'm just going to come over to our mod matrix here And again, I'm going to our choose the source as our mod wheel And Across here, we're going to find the effects level. It's on effects two, isn't it our pitch shift? Let's just check that pitch shift is on two. Yep. Okay So Effects two level so that's essentially moving that thing that I was adjusting earlier Turn the mod wheel up and then let's find the point where we get The shimmer that we want Then we conduct the mod wheel down just to go back to reverb And dial in the shimmer as we want it Kind of cool Shall we add some more effects? Yes. Let's let's put a Let's put a delay Before the reverb perhaps. Yeah, so let's just go into The delay here, I just want the normal delay So you can hear now that that reverb doesn't come on instantly anymore Because it has to hit the delay first Which I quite like But because the delay has feedback It's going to keep putting itself back into the reverb as well. So with the shimmer But we can also make use of the delay to make things a little bit wider So if we go into the deep editing for the delay In the mode here, we said it's ping-pong. It's going to be shifting backwards and forwards Across the stereo and we could even set the feedback a little bit higher as well So I've got that delay happening in before the reverb And we could go on actually there's one more thing that that I will do just quickly Is I'm going to go into my oscillators here and I'm just going to set the Pitch bend wheel to give us a little bit of extra pitch mode because I bet that sounds awesome Once you've got the shimmer happening as well I mean, there's lots more that we could do to sort of keep this patch moving There's other places we could send the alophones. I think that would maybe We might get to the point where we're doing it for the sake of movement, but it might be fun anyway But I think we'll leave it there for today So thank you for joining me on this ambient journey. I'm sorry the video is a little bit longer I guess that's appropriate when you're creating ambient patches If you enjoyed the video and you found anything useful, please do hit the thumbs up button It really helps me out and also if you're interested in seeing any more videos on the DeepMind 6 Or any other synthesis stuff in general, please do make sure that you're subscribed to the channel as well You know hit the bell button so that you get notifications when there are new videos as well I've got an idea for a series with the DeepMind where I just look at individual little Sort of sound design tips or ideas that you can maybe make use of on an individual basis Like building blocks within your patches, which I'm hoping to do fairly soon It would be a nice counterpoint to this very very long video Anyway, if you made it to the end Hi, thanks, and I hope to see you again soon guys. Take care