 Hello, Oscillator Sync here, and welcome to another video where we build some patches from scratch on the wonderful Korg monologue. In this video we're going to build a couple of different patches because today we're going to be looking at how we can create percussion and drum sounds on the Korg monologue in case you get caught short without a drum synthesizer or a drum machine. And we're going to start with the fundamentals, literally in this case because we're going to be talking first of all about kicks and toms, those low end drums. So typically the way that these are synthesized on most drum synthesizers, most classic drum synthesizers, is that we have a very simple oscillator, typically a sine wave and we modulate the pitch of this oscillator using an envelope generator. And the pattern that we usually take when we're doing this is to jump very quickly, instantly ideally, to a high pitch and then decay to a lower pitch. And that gives you that sort of dung sound, that is sort of an approximation of a tom and that classic sin tom sound. So we're on the initialized patch, now we don't actually have a sine wave oscillator on the monologue. So we could possibly use our triangle wave, which is also a fairly simple wave, but we can actually get a sine wave out of the monologue. And that's by using the trick that I showed in my super secret third oscillator video, which you can find on the channel. And that's by using our filter as an oscillator. So weirdly, we're going to start our patch by turning off both of our VCOs. And instead what we're going to do is crank the resonance on the filter, until it starts to self oscillate. And you can see on the oscilloscope we've got a nice sine wave here. Because we're going to be dealing with our low end drums, I'm going to turn that cutoff right down. You'll need headphones or good monitors to enjoy this video perhaps. Okay, so what we want to do is modulate the pitch of this oscillator up very quickly and then decay off. And the way we're going to do that is we're going to direct our envelope generator in attack decay mode to the cutoff, which is essentially our pitch of our filter oscillator. So we're going to want an instant attack. We're going to want to turn the intensity to an arbitrary place, and we'll just turn the decay to an arbitrary place as well. And we'll hit a key to see what we've got. Instantly we've got that kind of classic synthom sound. Now ideally, with a synthom we want to be able to play it. So again taking the idea from the tricks video where I looked at the super secret third oscillator, what we want to do is go into edit mode, go over to our fourth light here, click through to we see cutoff key track, and turn that up to 100%. What that means is that we're going to be changing the cutoff knob essentially as we play notes on the keyboards. Higher we play, the more open the cutoff will be and now we can get that kind of sound. Now if we want to have a quicker decay, obviously we can turn that down. If we want to have less of a pitch variation, we can just turn our intensity down to basically just an oscillator. If we want to get more of a blippy kind of sound we can turn our decay down and then crank the intensity up to get your laser gun sounds. Okay so if we get back to this sort of way too high, this kind of sound here. Now this is, if you wanted a particularly boomy kick drum, this would kind of work. But personally I like my kick drums to have a bit more punch at the start. Now if we had a full ADSR envelope generator here, we could do that. So we could have a very, very quick decay which would get us down to a particular point, which would be set by our sustain, and then a much longer release which would get much more of the attack, the resonance of the drum if you like. But we don't have a full ADSR here. But what we do have is our second super secret second envelope, which I also showed off on the channel, where we can use our LFO as a second envelope. So what we can do is we can put this into one-shot mode and we'll put it into a square wave which again gets us this instant attack and then a cutoff. And we're going to direct it to the cutoff. And we're going to have a much faster rate. So you can hear there that we have this quick jump down from a higher pitch and then we have a longer tail. As we turn up that's intensity, we get more of an attack up to the point where it becomes obviously blippy. Without it, you get that initial attack. So if we turn the rate up, it's going to make the attack faster and clickier up to the point where it really is a click. Turn it down, we get more of a kind of a blip. I actually quite like it with a middle sort of rate and then less intensity being sent to the cutoff. This will also work for our toms if we play high up now. It sounds especially good down here. Now what I really like with kick drums as well is that we can give it some drive as well, give it some feel. And all of the controls here that we're using now have a slightly different interaction because we've got a lot of compression coming from the drive. If we turn the intensity down on the main envelope generator it becomes much more about that initial attack and less about the decay of the main body of the drum sound. So it sounds quite dull with the drive off, but meaty with it on. So that's your kicks and your toms. So let's initialize our patch again. So let's talk about snares and cymbals a bit because they kind of work in a similar sort of way. So for this we're going to be making use of VCO2. We're going to be using VCO2 because it has a noise mode. Now if we just took that noise mode and gave it an envelope, again we'll just go into attack to K mode here. That could be a snare or a cymbal depending on what you do with it. But there are a couple of tricks that we can employ perhaps. So we can essentially do what we kind of did with our previous kick drum on the LFO here and use it to accentuate the first part of the sound. So if we turn the cutoff down a little bit we're going to go over to the cutoff mode here and again we're going to have a fast rate. Make sure it's on one shot mode and sawtooth. We're just going to find that point where that attack is quite naturally accentuated. So our EG is dealing with the main decay of the cymbal or snare and the LFO extra envelope generator if you like is dealing with that attack sound. The other thing that I would say when we're looking at the cymbal sounds is don't forget that although this is a low pass filter if we up the resonance and it's set quite open we actually accentuate the top end quite a lot. So we can actually use our filter to get more top end or pull out those upper upper mids to make things sound a little bit more bright with the attack. So that sort of snares and cymbals anything that's using noise as its main source. So finally to round this off what we're going to look at is sort of more metallic sounds. Back to the initialised patch. Now the way that we are going to get metallic sounds is by abusing the ring modulator. The ring modulator here applies to VCO2 and when we turn it on the VCO2 oscillator has been ring modulated by VCO1. So actually we want to turn VCO1 off and turn 2 up. Now for my money the ring modulator on the monologue sounds best when we're using the triangle wave on both VCOs. So we're going to switch over to VCO1 at the triangle wave there. That's not going to make any difference to VCO2 across. There's VCO2 triangle and then we're going to turn on the ring modulator. Now if we're going to get more metallic sounds what we're interested in is by having lots of non-harmonious partials in the sound. Harmonics, if you like, non-harmonic harmonics sort of thing. I think it is. That's sort of typified of the sort of bell sounds and metal sounds. So to do that we're going to detune VCO2. Also tend to find it works better when VCO2 sets a bit higher. Move everything up a bit as well. So trying to find a point there where we've got as many weird strange harmonics as possible. There's quite a few weird bits there. Again we're going to set up our envelope generator on attack decay and we're going to set our decay fairly short I think. And we're starting to get that sort of metallic sound. Again we can emphasise the top end of that metallic sound by upping our resonance and just finding that point. There we go, on the cut off where it really starts to bring out that attack. So that's cool. The other thing that is worth checking out whenever you're using the ring modulator is the shape controls because it can really bring out some of those other overtones. Again so that's really nice and metallic. But I want to make it even more metallic. And how can we get things more metallic? Introduce frequency modulation. Because Korg are lovely, the LFO here when it's in fast mode pushes way up into the audio range. So I'm just going to crank the rate to begin with. What you send this to is kind of up to you. I actually quite like it FM'ing the cut off. But let's try pitch first. So we've got the rate really, really high on fast mode. As we turn up the intensity we start to introduce more overtones through frequency modulation. What we also might want to do is we could turn our cut off down a little bit and use our intensity here on the envelope generator. I don't want to send too much because it would be obvious with the resonance cranked. There's our sort of a go-go bell kind of sound. It doesn't sound like lower down. Not as good. Sounds kind of ring mod... Bit crushed. Really bit crushed. That's cool. It's not a very good metallic. Convincing metallic sound but it's a really cool sound. So if you want your Latin kind of sounds in your drum beat then that's how you can get to them. Thank you very much for watching guys. I hope you enjoyed that. I hope you got something out of that. If you did make sure you head up to the thumbs up and give the video a like. And also make sure you subscribe to the channel for more videos on synthesis and the Korg model again, all sorts. And just a quick spoiler alert. The next video I'll be posting after this will be another how to build but we're going to actually build a drum beat. So we're putting some of these ideas into use there. So that's something to come back and check for in a couple of days. I think that's going to be a really cool video. Thank you so much for watching guys. I'll see you in the next video.