 Hello, OcelatorSync here, and welcome back to another video in the series where we are building patches from scratch on the Behringer DeepMind 6. So in this video, I'd like to aim for a kind of sparkly sequence kind of patch. You know, the kind of patch that's sort of plucky and slightly shiny and that works really nicely when you're running it in our Peggiator. So with that in mind, let's hit PROG and compare to get to our initialized patch, and let's get building. Now before we do anything else, what I want to start off by doing is establishing that pluckiness to the sound. So at the moment, I've kind of got an organ type attack with a bit of a release there. We don't actually want it to sustain at all when you hold down the note. It doesn't matter how long you hold down the note, I want a pluck kind of sound. So heading over to the VCA envelope, I'm just going to turn my sustain all the way down to zero. That means that no matter whether I hold down the note or not, it's always going to decay to zero. The other thing I want to do is kind of balance the decay and the release so they last the same amount of time at the moment that they are. They're both on 128 here. I think I want it a little bit shorter, so maybe just try 100-ish. You can do this on the sliders as well, but just for fine tuning, you can use the parameter knob instead. Yeah, something like that. Okay, so because I've kind of got this goal in mind of wanting to use it with an arpeggiator, let's actually turn on the arpeggiator switch on hold mode so that I don't have to keep playing anything, and let's set one going and we can work to that kind of idea. Already that's kind of a cool sound. You can arpeggiate to see mine accord with almost anything, it sounds good. Okay, so let's talk about the oscillators. So oscillator one at the moment, we're hearing both waveforms here, both the sawtooth and the pulse wave. The sawtooth is kind of brassy and sharp, and obviously it's a great sound, but I wouldn't call it sparkly. So on the other hand, the pulse wave immediately has that kind of lovely sort of... For me, it's actually a bit reminiscent of 8-bit computer games as well, that kind of sparkliness with the arpeggiator that sort of calls out to me, so I'm going to go with that there. Of course then we've also got the option to adjust the pulse width modulation. I guess we probably want to have it modulating with LFO, should we do that? Okay, let's head over into our edit screen here for the oscillator. We've got the pulse width modulation source here, let's set it to one of our LFOs. Probably don't want to have any pitch mods, so I don't mind using an LFO1, which I usually save for pitch mod, but let's get that little bit of a boost at the moment. LFO1 is running really slowly, so we could go higher and get that kind of coursing, or we could go lower and just get that sort of evolution of the sound. Maybe ever so... It's a bit ravy up there, isn't it? So let's maybe go slower, maybe a bit faster than it was to begin with, so you can kind of hear it changing, but it's not so obvious. Yeah, something like that, that's nice. Okay, so that's oscillator 1. Let's also bring in oscillator 2, so we'll just bring the level up here. So the moment it's an octave down, I don't really want that on it. See that's really nice with a bit of detuning, but what might be more interesting is to actually make use of the oscillator sync here. So if we set these absolutely in tune, then I'll just turn off oscillator 1 for a second. If we turn on sync when they're absolutely in tune, we can't hear any change at all. There might be the slightest change, but essentially there's no change at all. So what oscillator sync essentially does is every time that oscillator 1 completes one of its waveforms, it forces oscillator 2 to complete its waveform as well and sort of restart. Now, when they're in tune, that means you don't get any change, but as soon as you start changing the pitch of the synced oscillator, that means that it's either got slightly further through one of its oscillations, so it's sort of gone through one oscillation, then started another one, or it hasn't quite finished the first one, but then it's been forced to reset regardless, and that basically gives you new wave shapes. So you can use the pitch to get these different sort of timbre changes. And up at the top here, we've got these lovely, around here, these lovely sort of sparkly things happening. So let's find the start of that sparkle somewhere around there. And then let's head into the edit screen here, go to oscillator 2, and I'm going to change the pitch mod source to LFO2. So that means we're also going to be moving this pitch knob a bit. So if we turn up the pitch mod just on oscillator 2 now, and here we've got all those lovely, that's just lovely, sparkly kind of sounds happening there. It's really slow at the moment, like it becomes an obvious sync sound there. If we set it just slow, it's just this evolution of the sound, that's really pretty. And if we bring our first oscillator back in, because these two LFOs are running at different times, and they're both evolving their sounds, it's just got this overlapping thing happening. Really pretty. Let's change this chord on board of it now. Let's maybe not just go to another minor chord tree. Let's try that. Okay, so that's a nice start. Now the other thing that oscillator 2 has is this tone mod control, which does some interesting sort of inter-pulse wave forming. I don't really know how to describe it. It's all like pulse width modulation, but uneven. This can also bring in some really nice metallic sounds. Let's see, I like that. It's probably, doesn't need to be quite loud. You kind of get those sort of vocal, almost digital things happening in there, which are really kind of pretty. Lovely. Okay, so although I want this kind of shiny, I don't want it to be too shiny, so let's actually turn on the filter. Now, because I kind of want to have that sort of fizziness, I'm going to go to pole today, and that's just, that's nice. And let's just bring up the resonance, see if we can accentuate just the corner of that to get a little bit more sparkle there. That's nice. Yeah, okay. I'm also going to maybe give a little bit of filter envelope, but again, if we head over here, let's make it always jump down to zero, and let's make it really short. So it's just like a little ping on the front of the note. So that's without anything. We can just bring that little pinging, and we'll do the same with the release as well. You can get more ping by turning up the envelope range, and don't need much. And again, this resonance is also kind of accentuating that. Cool. Let's try a different chord, shall we? I can't deal with two happy chords at the moment. Yeah, something like that. Okay, cool. Okay, let's go into the VCA edit here, and let's take a look at the pan spread. The pan spread means that each of these voices is going to be panned randomly each time, which is definitely going to help to the sparkiness. So let's turn it up. Lovely. Isn't that pretty? Really nice. The other thing I'm going to do here, as I quite often do, is I'm just going to turn down the velocity sensitivity here, which just means that there's a slightly more even response depending on how you hit the keys. And what that does, generally speaking, it just means that the sound is a little bit louder. Yeah, that's nice. I kind of wonder what we should put a little bit of LFO sweep on the filter, shall we try that? Which of the two is running slower? They're both running pretty slow. So by default, the LFO here is LFO2. I'll give that a go. Okay, don't need too much movement. That's quite pretty. The other thing we might want to think about is the keyboard tracking for the VCF as well. So that means that higher notes will get brighter, because it'll open up the filter the higher up you go. So let's just try that a little bit. Again, probably don't need much. Discretion is the better part of Valor and all that. But that's pretty. Just a little bit more sparkle at the top in there. So, just out of interest, let's hear what this sounds like if the overall sound is a lot darker. Oh, that's nice, actually. I like that a lot. Probably as I also like that a lot. Okay, so how about we assign the filter cutoff to our mod wheel. That way we can have this as the default sound and then we can turn down the mod wheel to get the darker sound perhaps. Let's give that a go. So for that, you can't by default just map the mod wheel to the cutoff frequency. You can map it to the LFO depth, but not to the overall frequency. So in order to map this to this slider, we're going to have to use the mod matrix. So if we go into the mod matrix, we can see here that we've got a number of sources, a number of destinations and then we've got a depth that we can apply to those two things. So our source wants to be our mod wheel. Let's change this chord, shall we? Back to C minor. So our source wants to be the mod wheel. Our destination wants to be our VCF cutoff and the depth we want to be negative. Now, you can scroll through on this screen and find the thing that you wanted to do, but there's a really neat trick that they've implemented on this synth that I really, really love. Let's see, if you hold down the mod button when you're on the right line here, you move your source and it automatically detects it and then you can move your destination and for the most part that just kind of works and it automatically detects it. There are a couple of quirks here and there that you need to sort of learn what the shortcut is, but generally speaking that just works. So what we can do now is we can turn our mod wheel up full. Obviously no change at the moment because we haven't adjusted the depth. So in this case we want the depth to be negative because we want to turn down this control so we can just turn it down and find that point that we liked. Somewhere like that. We have control over that, which is cool. I wonder what it would sound like if we turned up the resonance a bit when we have the mod wheel turned up and get more of that sort of acid thing happening. Again, let's just try it. So move on to the next line on our mod matrix or hold down mod. We'll move our mod wheel to say that we want that to be our source. We'll just touch resonance there to say that's what we want to be our destination and we'll scroll across to the depth here make sure that our mod wheel is on full and just turn it up. It starts to get that sort of vocal resonance. Yeah, I like that. Okay, cool. It's a weird one. Okay, right. Let us talk about effects because obviously this sort of sound is just dying for some reverb and some delay. So let's head into our effects here. Now we need to be a bit careful here if we're going to have reverb and delay because if we have our effects just in a line which is what this is doing here so if we have reverb into delay that means that just the reverb gets delayed and if we have delay into reverb then your original sound doesn't easily get delayed but what we can do if we head over to this area here is we can scroll through different configurations of effects and what I'm looking for, here we go is a configuration where the last two effects are in parallel which means that we can have the reverb and the delay taking their own paths out of the effects unit essentially which means that you get a pure reverb and a pure delay, not a reverb going into a delay or a delay going into a reverb which is what we're after. Okay so let's get a reverb happening first. I'm a big fan of the late reverb and you can hear why, it's just gorgeous. Okay so the level is probably too high at the moment we'll adjust that in a second let's just go into fine tune the parameters first pre-delay is fine decay is that a bit too long? yeah just turn it down just a little bit keep the size on full it's a bit bright at the moment so we'll just turn down the damping a little bit low cut there's a too much low end build up here not by much but just dialing it out just brings the emphasis up a bit high cut again so on top of the dampening let's just turn down the high end on the reverb full stop yeah okay that's nicer back into the effects menu here and let's adjust the level so that it's not quite as overbearing I don't want the reverb to define the sound so much it's enhanced it there's a spot just around here where it becomes really obvious you just kind of want to find that spot where you definitely know there's reverb but it's not part of the sound it's just enhancing it okay that's nice new chord seventh chord like that okay cool okay so I also want a delay which is for some reason all the way near the end okay so that's a bit of a mess at the moment it's quite a beautiful mess but it's still a mess and the reason for that is that the delay time is not synchronized with our arpeggiator and because we want this to be a sound which is especially useful for arpeggiation what we can do is we can go to this time parameter here and when you get right away down to the bottom it gets to this section where it can be defined in terms of the arpeggiator bar length essentially we're going to turn the mode here onto stereo because we've got quite a lot of panning we won't take advantage of that kind of movement and then we've got this factor L and this factor R which basically will change so we're basing it around a quarter note but we can change that a little bit so now the right hand side you can obviously hear that it's now sort of two thirds so you get this massive opening up of this space low cut that's what we did with the reverb just take some spot on the end out just to take the subs out and again it's pretty bright at the moment and we've got this feedback it's the feedback so it's a feedback low cut I believe that as it is then we've got the feedback high cuts this allows each repeat to get a bit darker so it doesn't sit around cluttering everything up cool and then back into here and let's drop that down to a level again which isn't quite so overbearing maybe a little bit more of the delay okay let's see how that sounds that reverb sounds really good when it's on that lower do you know what I could go almost it would always be nice to have more reverb at that stage which believe it or not because of the mod matrix it's something we can do so let's do that shall we so again into our mod matrix our source again is going to be on modwheel but this time let's just check so the reverb is on slot 3 in our FX okay so our destination in this case that's right near the end you get to the point in you get to the point here in your destinations where you get to effect using the mod matrix individual parameters on the effects which of course is crazy and sometimes you can go overboard with this kind of stuff but before you get to FX 3 level here we go so we want this to be more reverb let's turn this up like we did before and let's just find the point something like that so if we turn down we've got that basic sound as we turn up we also get more reverb now it gets sort of swampy and starier that's cool okay sound interest noise level we're losing to this you don't want it in there all the time do you but fading in and out now and again it's kind of cool does that sound when it's darker equally as cool okay right I never like really reaching for sliders during performance so how about okay so we don't really need a pitch bend for this kind of sound so let's turn off the pitch bend acts as a pitch bend so to do that we can go into the poly menu here click across and we get to the pitch bend range plus and minus so let's turn that down to zero on both of them like that so what that means now is my pitch bend is not going to do anything which is what I wanted so let's go into the mod matrix find an empty slot and hold it down hit our pitch bend up and then hold put it down carry on and hit the noise level and then same as before we'll turn our pitch bend up bring the slider up now we've got the noise on the pitch mod instead it's lovely plucky almost kind of woody sound that we can bring in by turning up the mod wheel that's a fun patch okay guys that's the patch it's a fun one to build so I hope you enjoyed watching it as well make sure you give the video the good old like and also make sure you subscribe to the channel so you don't miss out on any of the upcoming videos on the deep mind and all the other synth stuff that we are putting out as well if you've got a suggestion for a type of patch that you would like to see me build then also please leave that down in the comments because I am happy to take requests it's a very versatile synth so we can do all sorts of stuff so I am happy for you to let me know what you would like to see on the channel take care guys and I will see you again soon bye bye