 Hello, Oslo to Sync here and welcome to the first video in a series where we're going to be looking at how we can build certain styles, types of sounds on the Korg monologue. So in this first video we're going to start where I guess a lot of people probably start with a fresh mono synth in front of them which is that we're going to put together a bass sound. Now we'll probably do a couple of videos on bass sounds because there are lots of different styles of bass sounds that we can make, but we're going to start with something fairly classic, nothing too aggressive or wubby or whatever. Just a nice classic punchy bass sound that can sort of contribute melodically as well as rhythmically to your tracks. So we're just on the initial patch and of course the first thing we're going to do is we're going to drop the octave down at least one click because this is a bass sound we don't want to be sat in a higher register. Okay so in the initial patch what you get given to begin with is just VCO1 in sawtooth mode. Now sawtooth waveforms are nice and harmonically rich so they react very nicely to cutoff frequency. But they don't contribute a lot of bottom end because of the harmonic richness. The harmonics are quite uniformly spread which means that the fundamental isn't particularly emphasized. So the first thing I'm going to do is I'm going to mix in VCO2 and I'm going to put it into triangle wave. You can hear there immediately that that is giving us some bottom end weight. Nice. The other thing I'm going to do to begin with is bring my cutoff on my filter down a little bit. This is a bit bright for a classic bass sound at the moment. Now we're going to open that filter up a little bit using the envelope in LFO but we'll start with it a bit more closed. So okay so that's kind of the basis of our bass sound. Now the first thing I want to do is give it a more punchy attack and I'm going to do that by going into my envelope generator. I'm going to go into the gate envelope mode so the gate will open up the VCA fully but then we can have control over something else using the envelope generator. So I'm going to switch that over to cutoff and I'm going to turn up the intensity of it. Okay maybe we'll bring that decay down a little bit so we emphasize the attack a bit more. Okay so that's given the front end of the note a bit more punch. Now if all I'm doing with my envelope generator is having an instant attack and a fairly rapid decay what I might do actually is not use the envelope generator at all and instead as we showed in one of the other tricks videos on the channel if we switch our LFO into one-shot mode and send it to the cutoff and make sure that it is in sawtooth wave so that starts very quickly and tail off exactly how we had our EG setup. We can approximate the same thing and that allows us to free up the envelope generator to do a couple of different things but first let's talk about our filter a little bit. So the first thing I might suggest that we do here maybe is turn up the resonance a little bit because you want a little bit more of that honk. Now on a lot of synths turning up the resonance is going to rob you of a bit of bottom end and that is true actually on the monologue but as long as we keep our cutoff low it's actually going to emphasize the low end just the way this filter design sounds so we can be quite aggressive if we want to. Yeah so that's still giving us bottom end quite nicely. Now the other thing that I'm going to suggest here that might be nice to play with is at the moment every time I play a note it's kind of coming out the same way and the reason for that is that there's no variance with velocity in how I'm playing so I can play as hard as I like or as soft as I like and nothing's really changing but it'd be quite nice to add some expressiveness into the sound. So we're going to go to edit mode and we're going to go over to the fourth light along make sure that we're in the program settings so we should be in the other settings setting group. We're going to click across twice and we're going to go to cutoff velocity I'm going to turn it up to 100 percent and what that's going to do is it's going to send the velocity of how how I'm striking the keys to the filter cutoff and that gives us a bit more expressiveness which is nice. So we've got a fairly nice bass sound but I still don't think that first part of the note is punchy enough to really contribute something rhythmic to the track as well as melodic but if you remember we freed up our lovely envelope generator here so we can use it to emphasize something else now. I'm going to be a bit quirky here and first of all I'm going to jump up to pitch so that's not a good bass sound anymore that's laser gun sounds. However having a pitch jump at the start of your note and closing it down pretty quickly so if I turn down my decay that's as much pitch as we had before but much much quicker to get back down to the original pitch so there'll be a sweet spot there maybe reduce the intensity of it so that pitch bend at the start of the note really gives you punch to your sound and we can find some intensity to find out find out where that works really nicely so that's cool but there's another way that we could utilize this same sort of idea and that's if we were to turn our second oscillator into sync mode so we'll talk about oscillator sync maybe in another video but basically it's a way of using pitch of an oscillator to change its harmonic content because of reasons so if we're going to make use of oscillator sync we're going to switch our pitch our envelope generator into pitch two instead. If we make our decay much longer we can kind of hear the effect that we've got there maybe give us a bit more intensity so there's there's there's a classic sync sound that's probably a bit much for our bass sound that's nice because we're getting up to a fifth fifth not fifth we can do a similar sort of thing and just sort of fine tune our decay and our intensity to get a bit more punch personally i quite like the straight-up pitch like that so there's one other area that we might want to consider for our bass sound when we're building this patch and that is the drive section so the drive section on the monologue is interesting as we turn it up it actually kind of darkens the sound up as well as adding more fizz to it so we might want to add a bit of drive there probably go over the top without it depends on what sort of track you're going to be using it in and of course we could go in and we could fine tune the shape controls on our oscillators as well we might find some sweet spots there so on the sawtooth yeah seems to have hollowed it out made it a bit more like a square wave maybe the same with our triangle so as we turn it up we're getting more mid-range we're losing some of our bottom end we drop the octave interesting but yeah one last thing to address depending on how we're going to be using our our bass sound we might also want to consider adding a little bit of portamento so if we something like that we may also want to head into the edit menu make sure on program edit go to the first section here where we've got portamento time so we might want to add some portamento as well sounds like that so there are some ideas starting points for when you're building kind of a classic punchy bass sound i think the the tip about the pitch envelope is a really really useful one it's not necessarily one that is so obvious when you come to build sounds especially when you're tempted to send this envelope to cut off but don't forget we have the one-shot mode here in the LFO and that frees this up for that sort of pitch attack which really does make a difference to the punchiness of the sound anyway um that's all for this video i really hope that was useful if you enjoyed it please give us the thumbs up click that like button and also the subscribe button so you don't miss out on any of the upcoming videos on the kogman log and other synthesizer stuff thanks so much for watching guys and i'll see you again soon