 Hello oscillators in here and welcome to a new series of short videos for the channel where I want to share with you some of the tips and tricks that I've discovered while I've been building patches for the lovely Behringer Deepmite. Now I think it's safe to say that we are living in a golden age of the affordable analog synth and if you're anything like me before you purchased your Deepmine synth you would have done a lot of shopping around and a lot of watching of YouTube videos to check out some of the other synths in the price range. One of those of course is the Korg Minilog which is a wonderful synth in its own right. One of the really nice innovations that the Minilog has is that voicing mode with the voicing knob that allows you to change the way that the keyboard kind of reacts and how it interacts with the different voices within the synth. So one of those modes is the mono mode and in the mono mode what happens on the Minilog when you change the voicing switch is that you get kind of this octave spread of the voices octaves down actually in particular on the Minilog and that's really great for fattening up a patch you're still giving it a full sort of pure mono response but you've got that that octave spreading which gives it a great great sound. Now the Deepmine's got its own mono mode as well I've got a little mono patch here just a little sawtooth wave patch and we can see that it's mono because over here on the voice lights it's just voice number three that is lit up. Now we can stack up the voices on the Deepmine as well so if we go into the poly here and we scroll across until we get to the voice parameters here up at the top here we've got our polyphony and we can stack this so that's mono with two voices stacked up or three, four and six and on the 12 you can go all the way up to 12. I'm just going to go with three and as we stack them up it just kind of gets louder at the moment. We can of course detune which kind of gives you that sort of phasing and fattening sound all the way up to kind of sickness there but there's no way where we can actually spread the sound across the octaves or at least what I should say is that there's no way of spreading the voices across different octaves from inside this menu. Let's just consider for a second what it means to spread the voices across some octaves. What we're kind of saying here now that we've got these three different voices lighting up here is that we want each of these voices to be put onto a different octave so let's just think about what that means in terms of the mod matrix so if we head into the mod matrix here there are a number of sources that we can pick for our sounds and one of these sources if we scroll towards the end right near the end is voice number so what this means is that we can modulate a parameter based on it being set to one of these voices here so that means that we can detune our sound based on these voices here so if we set our destination to oscillator one and two pitch and we start to play a note and then move this modulation you can hear that each of those voices are getting very detuned more detune than we can get with our unison detune if we keep going and we get to 30 we've now got our voices spread across the octaves which is cool it's still a true monophonic voice but now with the octaves being spread this is different of course from actually just adding in a sub octave on oscillator two because what we have here are three of our sawtooth waves spread across the octaves which you can't do really any other way now those of you who are astute would have noticed that as i was doing that the actual pitch has moved as well so this was meant to be C that's C that's not a C anymore in fact what's happened is that we've come six semitones out so if we want to make sure that this patch works well with other patches we can go back into our poly menu here we can get to the second page where we get to pitch parameters and we can transpose by six semitones to get back to C now our unison detune still works here as well so if we want to actually spread it sort of slightly more than an octave apart so we can still get that sort of phasey chorusing thing happening but now spread across the octaves so i'm making use of this trick a lot on sort of my bass sounds and my lead sounds because it really does fatten them up in a way that you can't just do by stacking up the just the straight up unison it also as i said before is kind of different to kind of layering in with a sub or or a higher octave on oscillator two because of course oscillator two can only ever be a square wave or a pulse wave i should say whereas here we can actually layer up sawtooth waves across different octaves which is a sound that i find very pleasing anyway so anyway i hope that was useful i hope that's a interesting tip or trick that you can add to your sound design tool kit if you did enjoy this tip and you did enjoy the video please do make sure you give it the old thumbs up and make sure you're subscribed to the channel so you don't miss out on one of the upcoming videos in this series if you have any requests for things that you'd like to see in this series any sort of oh how do i do this kind of thing uh then drop me a message either in the comments of this video or you can find me on facebook and instagram and twitter i'm just oscillate sync on all of those platforms it'll be great to hear from you as always thanks so much for joining me guys i will see you again soon take care