I'm excited to announce a new patch pack for the Korg Monologue that is being released in association with Korg.
This patch pack is maybe a little different to most others for the Monologue. It's actually more of a “loop pack” - 30 drum and percussion loops for the Korg Monologue.
I know what you're thinking: “the Monologue isn't a drum machine”. But thanks to the Monologue’s exceptional sequencer, it absolutely can be, and using a monosynth as a drum machine can yield exciting, unique percussive loops and textures that you'd just never arrive at with conventional drum machines.
Although you can select one of these patches and play the keyboard, the real fun comes when you start the sequencer. Each patch is designed to be a standalone loop which you can use out of the box, but I've tried to leave plenty in each patch to explore. The mod lever is set to offer instant tweaking gratification, but playing with the other parameters can reveal all sorts of new expressions; also try enabling and disabling the sequencer steps, tweaking the motion sequence and changing the notes in the sequence. Please note that because some of the patches rely on tempo-synced LFOs, you may need to restart the sequence after changing patches,
These loops also sound great with additional processing - try adding compression, saturation, delay, reverb etc. in your DAW or on your mixing desk to enhance and augment the loops.
I hope that in addition to being fun loops to use in your own music, whether you use them as they come, or you tweak them to perfection, this pack demonstrates how you can create your own unique percussion loops on the Monologue.
Korg Monologue Drums and Percussion Loops Patch Pack - Demo of All 30 PatchesOscillator Sink2019-03-22 | More information about these patches here: youtu.be/Ti9PAxq2lqc
I'm excited to announce a new patch pack for the Korg Monologue that is being released in association with Korg.
This patch pack is maybe a little different to most others for the Monologue. It's actually more of a “loop pack” - 30 drum and percussion loops for the Korg Monologue.
I know what you're thinking: “the Monologue isn't a drum machine”. But thanks to the Monologue’s exceptional sequencer, it absolutely can be, and using a monosynth as a drum machine can yield exciting, unique percussive loops and textures that you'd just never arrive at with conventional drum machines.
Although you can select one of these patches and play the keyboard, the real fun comes when you start the sequencer. Each patch is designed to be a standalone loop which you can use out of the box, but I've tried to leave plenty in each patch to explore. The mod lever is set to offer instant tweaking gratification, but playing with the other parameters can reveal all sorts of new expressions; also try enabling and disabling the sequencer steps, tweaking the motion sequence and changing the notes in the sequence. Please note that because some of the patches rely on tempo-synced LFOs, you may need to restart the sequence after changing patches,
These loops also sound great with additional processing - try adding compression, saturation, delay, reverb etc. in your DAW or on your mixing desk to enhance and augment the loops.
I hope that in addition to being fun loops to use in your own music, whether you use them as they come, or you tweak them to perfection, this pack demonstrates how you can create your own unique percussion loops on the Monologue.
Transparency notice: I have had this synth since early this year as I worked on the factory patches for this synth, which was a paid job. I have not been asked to make any videos about the synth and am not being paid to do so, but obviously there is an existing relationship between myself and Korg as far as this synth goes, which I feel is important to disclose.
Transparency notice: I have had this synth since early this year as I worked on the factory patches for this synth, which was a paid job. I have not been asked to make any videos about the synth and am not being paid to do so, but obviously there is an existing relationship between myself and Korg as far as this synth goes, which I feel is important to disclose.
http://www.oscillatorsink.com Facebook: http://facebook.com/oscillatorsink Twitter: twitter.com/OscillatorSink Instagram: instagram.com/oscillatorsinkThe Uncompromising Sound and Philosophy of the LEP Lumanoise SeriesOscillator Sink2024-07-21 | One of the things that gripped me at Superbooth was the LEPLumanoise series of instruments. They seemed to possess that arcane electronic magic that interests me these days. So, I got in touch with LEP and they kindly agreed to send me across some of the instruments in the series to make a video about, namely: the Lumanoise v4, the Monocassa and the Lumamix resonant mixer.
In this video we’re going to get to know them individually and in concert with each other and other instruments, explaining the features and exploring their sounds.
Transparency Notice: LEP prvided the units shown in this video for free, but I have not otherwise been paid to make this video and they have had no oversight into the video's content.
Chapters: 00:00 Intro 01:42 A moment of madness 02:08 Introducing the Lumanoise V4 03:22 Lumanoise v4 - Architecture 10:23 Lumanoise v4 - The art of internal saturation 12:02 Lumanoise v4 - Sub-audio saturation as animation 14:55 Lumanoise v4 - XXX 19:12 Lumanoise v4 - Various patches 21:54 Lumanoise v4 - Summing up 24:26 Introducing the Monocassa 29:51 Monocassa - With a low-pass gate 31:40 Monocassa - With a sequencer 37:01 Monocassa - The trigger delay trick 43:19 Introducing the Lumamix 48:03 Lumamix - Dancing in dirt 55:17 Lumamix - Glorious Extreme Distortion 59:04 Final Thoughts - Being Uncompromising
Chapters: 00:00 - Intro 03:20 - What is it, how does it work and how does it sound? 14:35 - FM Percussion 18:39 - FM Melodies with All The CV 22:15 - Lo-Fi FM Drones
The percussive element is the Lep Monocassa, and I'm routing its internal trigger through a delay to get additional rhythms when required. The drones are the Lep Lumanoise v4 and the Crows Elecromusic Ovum. The Lep Lumamix is bringing everything together, gluing and smooshing the signals in a way that makes each instrument feel interactive with the others as they dance and fight for dominance at the edge of distortion. The Magpie Pedals Wet is on the send of the Lumamix and is vibrating, clanging and resonating along with the other signals - it really is glorious in this setup.
I'll be speaking more about most of the things on the desk soon, but for this one, I'll shut up and let them do the talking.
http://www.oscillatorsink.com Facebook: http://facebook.com/oscillatorsink Twitter: twitter.com/OscillatorSink Instagram: instagram.com/oscillatorsinkAdventures in Thyme! - Episode 2 - Transforming Ambience and Drones with the Bastl Thyme+Oscillator Sink2024-06-13 | It's time for episode 2 of ADVENTURES IN THYME! A short series on the channel where we'll be exploring Bastl's stereo digital tape loop machine through a few different lenses. In this episode we take a look at how we can use Thyme+ to completely transform, re-contextualize and animate a drone (coming from the Crows Electromusic Ovum).
Transparency Notice: Bastl kindly provided the Thyme+ to me for free for the purposes of making video on it. I wasn't otherwise paid, and they have not asked for, nor have they been given any editorial oversight of the content I create.
http://www.oscillatorsink.com Facebook: http://facebook.com/oscillatorsink Twitter: twitter.com/OscillatorSink Instagram: instagram.com/oscillatorsinkAdventures in Thyme! - Episode 1 - Making lovely echos with the Bastl Thyme+Oscillator Sink2024-06-07 | Welcome to ADVENTURES IN THYME! A short series on the channel where we'll be exploring Bastl's stereo digital tape loop machine through a few different lenses. In this first episode, we're just going to make a really nice stereo delay, full of movement and character - because delay makes everything better!
Transparency Notice: Bastl kindly provided the Thyme+ to me for free for the purposes of making video on it. I wasn't otherwise paid, and they have not asked for, nor have they been given any editorial oversight of the content I create.
In this video I’m going to explain why that is, talk about some of the things that I enjoy about this instrument and touch on some things which I think could be better, and then explore the sound and workflow of the synthesis engine by way of making a patch from scratch.
Chapters: 00:00:00 Intro 00:00:40 Why the KKN is special to me 00:04:02 Underestimating the synth 00:05:24 It's multi-timbral and that's good 00:06:33 Exploring the powerful oscillators 00:32:15 The filter is great (but could be even better) 00:36:37 Oscillator drift makes everything better 00:38:06 It's proper stereo 00:40:04 The stuff I don't like 00:40:15 The V-Patch is limited 00:43:07 The reverbs are disappointing 00:46:08 Let's make a patch from scratch 01:03:56 Outro
http://www.oscillatorsink.com Facebook: http://facebook.com/oscillatorsink Twitter: twitter.com/OscillatorSink Instagram: instagram.com/oscillatorsinkBONUS PATCH - Using Neo Trinity as a Drum Machine?!Oscillator Sink2024-01-13 | Here's a little bonus patch that I couldn't fit into my main video on the Neo Trinity, but I thought was worth sharing. This is a drum machine made out of Neo Trinity and 2 VCAs. The sequencing and all the sounds are being generated by Neo Trinity. The sounds are made by "abusing" LFO channels to run at audio-rate, so this is somewhat of an extension of the self-playing patch I showed in my main video.
Transparency notice: this video is sponsored by Bastl - thanks to them for supporting the channel.
http://www.oscillatorsink.com Facebook: http://facebook.com/oscillatorsink Twitter: twitter.com/OscillatorSink Instagram: instagram.com/oscillatorsinkBastl Neo Trinity - A Modulation Mastermind?Oscillator Sink2024-01-11 | Neo Trinity from Bastl is a module for generating control Voltage - which is the most generic description of a module I've ever made, but that's because it's a very flexible module which makes it hard to describe in a single sentence. It caters to your envelope, LFO, offset generation needs, but that's mixed in with a very “jammable” approach to sequencing and automation, that welcomes rapid iteration on a performance.
In this video my plan is to introduce Neo Trinity to you from an architectural standpoint, then try to give you a feel for its workflow by building up a patch through a few layers of complexity, while mixing in a few extra examples of patches I've been playing with as I've been exploring it.
Transparency notice: this video is sponsored by Bastl - thanks to them for supporting the channel.
Chapters 00:00 Introduction 01:07 Overview of Architecture 03:15 Building A Patch Part 1 - Basic Monosynth Modulation 03:48 BAP pt. 1 - Setting up an envelope 06:18 BAP pt. 1 - Using "Meta" to trigger the envelope 07:37 BAP pt. 1 - Setting up a second envelope (copy + paste) 08:50 BAP pt. 1 - Adding a "hold" section to the envelope 10:05 BAP pt. 1 - Adding a scalable LFO for PWM 13:31 Minipatch - Evolving Drone LFOs 16:09 Minipatch - Self-playing VCO 19:27 Building a Patch Pt2. Sequencing and automation 19:54 BAP pt. 2 - Trigger Automation 20:59 BAP pt. 2 - Rate Automation 21:34 BAP pt. 2 - Automation Length (polymeter) 22:17 BAP pt. 2 - Pitch Sequencing (and Quantization) 26:01 Minipatch - Auto Chord Generator 28:13 Minipatch - Audio Processor 31:40 Build A Patch Part 3 - Algorithmic Beats
The main "motif" you hear at the start of the track is the 1010 Lemondrop granular - a new acquisition that really impressed me when I tried it out at Synthfest a few months back. I'm glad to have added it to my collection and I can see it getting a lot of use. It's playing a "self--playing" patch based around a couple of the factory samples. The reverb you hear on this sound is coming from the synth itself.
The next sound you hear is the Bastl Microgranny - another granular synth but with a polar opposite vibe to the 1010. It's running through a cool filter unit from TSL Studio Equipment and then into the Lyra-8, taking advantage of the delay and drive (the Lyra-8 is then going out into the GFI Specular Reverb).
The Lyra-8 is being the Lyra-8, that is to say: it's beautiful and destructive and chaotic and alive. I've really been digging into embracing the Total Feedback mode recently and there's a lot of that going on here, which is what's causing the pitch glides and the fighting between the notes played for dominance. Cool.
I'll probably do a separate post about it, but I won't be doing Jamuary/Droneuary this year - I have 2 big, exciting but time-sensitive projects happening in January and I just won't be able to justify working on anything but those projects in the small amount of free time I have, so take this to be an offering to the Drone gods in penance.
In this video I'll run through each of the upgrades, demonstrate how they work and clarify what's the difference between the Chroma and original versions.
Transparency notice: Arturia kindly provided the KeyStep Pro Chroma for free for the purposes of making this and other videos. I was not otherwise paid and Arturia did not request, nor were they given any editorial oversight.
Chapters 00:00 Intro 00:27 What's the deal with the original vs the Chroma? 00:43 Track Colours (Chroma only) 02:08 Fixed Velocity 04:01 Program Change per Pattern 08:15 Transpose Latch 10:47 Outro
The new 2.0 update for the Minifreak and Minifreak-V includes the introduction of the sound store and I'm really happy to say that one of the free sound packs available at launch was one that I created called "Deserted Lands". You can install it via the Minifreak-V software or hear some short samples on Arturia's website here: arturia.com/sounds
In this video I'll explore each of the patches in the pack and talk a little about the intent behind them.
Chapters: 00:00:00 Intro 00:01:34 A Darkening 00:02:52 A Warmth 00:04:25 Algalic bloom 00:06:02 Bad tempera 00:07:30 Badnews 00:08:34 Bonez v Hornz 00:10:26 Chewd Tape 00:11:50 Creeping Fear 00:13:56 Declockgen 00:15:03 Doomfloot 00:16:34 Dynobreaking 00:18:26 Easele 00:19:44 Ermpet 00:21:45 Gazed 00:24:10 Gravikeys 00:25:28 H4RP-C-KORD 00:26:59 Klang 1965 00:28:49 Odyseq 00:31:38 Pumpchange 00:32:52 Quiet Chat 00:35:14 Resody 00:38:09 Screechnmoan 00:41:01 Sigh and Halo 00:43:12 Slight Excite 00:46:09 Solar Oh 00:48:40 The Chapel 00:50:31 The Pinganing 00:51:40 They Sang 00:54:18 Trancemission 00:56:02 Unbidden 00:58:48 Unponent 01:00:06 XOR-XOR
Transparency Notice: Arturia kinda provided this unit to me for free for the purposes of making videos. They have not asked for, neither have they been given, any editorial oversight into the contents of this video.
Chapters: 00:00 Intro 00:54 Sound Store 01:46 New Effect - Super Unison 02:48 Super Unison - Controls 07:19 Super Unison - Sub Types 12:19 Super Unison - Compared to other FX 14:14 Mod Matrix Macros 17:25 LFO Waveshaper Improvements 20:24 Wavetable Oscillaor 20:35 Wavetable Oscillator - Caveats 21:42 Wavetable Oscillator - Controls 24:09 Selecting Wavetables 24:48 Auditioning the Wavetables 30:39 Building a patch with the new features 44:32 Outro
Let's pull apart the patterns used in my most recent release to see what makes them tick.
http://www.oscillatorsink.com Facebook: http://facebook.com/oscillatorsink Twitter: twitter.com/OscillatorSink Instagram: instagram.com/oscillatorsinkElmyra 2 - 2.2 Firmware Update: Exploring the new featuresOscillator Sink2023-11-29 | The new 2.2 update for the Elmyra 2 was recently released and it ticked off almost everything I had on my wish-list in terms of new features - so, that's nice! In this video, rather than just reading out the release notes, instead I decided to put together a patch which just happened to make use of all of the new features in the update - almost as if I planned it.
Transparency notice: the Elmyra2 was kindly provided to me by Neutral Labs for free for the purposes of making videos on it. No editorial oversight has been provided to Neutral Labs and no other payment has been received. As always I'm only interested in featuring instruments that I'm genuinely excited about on the channel.
Chapters: 00:00 Intro 00:00 Introduction 01:16 Magic numbers (and the need for cheatsheet) 02:31 Chord Mod Mode 05:09 Octave Shift 06:18 Sequencing some chords 09:55 Stepped/Smooth Random (S&H LFOs) 15:06 Signal Routing - Swapping the delay and filter order 17:47 Dual Filter Modes 22:55 New LFO Wavetables/Shapes 27:42 Complex Waves for LFO1 29:13 Patching some more because we can
http://www.oscillatorsink.com Facebook: http://facebook.com/oscillatorsink Twitter: twitter.com/OscillatorSink Instagram: instagram.com/oscillatorsinkTimber - Exploring Bastls Most Underrated ModuleOscillator Sink2023-11-23 | Timber is a dual waveshaping module combining clipping and wave-folding circuits in a typically "Bastl Way" which combines some novel routing with utility that you wouldn't necessarily expect to find in a module of this type. It is also, in my opinion, Bastl's most underrated module as its ability to transform and animate a signal is huge considering its small size.
This video hopefully serves as half-video manual, half-sonic exploration of this module.
Transparency notice: the Basil module was provided to me by Bastl for free for the purposes of making content about it. I was not otherwise paid and Bastl did not request, nor were they given any editorial oversight.
Chapters 00:00:00 Intro 00:01:30 Introducing Timber, Signal Flow and I/O 00:02:44 Waveshaping - Overview 00:03:06 The Shape Control (and CV) 00:06:14 Exploring the Wave Driver (I) 00:11:46 Exploring the Wave Folder (II) 00:15:22 Symmetry 00:20:10 Combining Shape and Symmetry Modulation 00:22:55 Shaping other basic waveforms 00:31:29 X-Fade 00:40:15 Audio-rate modulation 00:43:47 Noise modulation 00:45:39 Sample and Hold modulation 00:47:37 Putting together a little patch 00:50:45 Waveshaping CV - Transforming LFOs 00:55:44 Waveshaping CV - Variations of Sequences 00:58:26 Waveshaping more complex audio, delicious drones 01:07:13 Waveshaping Drums 01:12:16 Dynamic Waveshaping with Envelope Followers
http://www.oscillatorsink.com Facebook: http://facebook.com/oscillatorsink Twitter: twitter.com/OscillatorSink Instagram: instagram.com/oscillatorsinkWhat is Ovum? (And how might one use it?)Oscillator Sink2023-11-03 | Ovum, from Crows Electromusic is an analog oscillator bank containing 5 freely tuneable oscillators. It is a simple instrument suited to drones and ambient, but becomes most interesting (in my opinion) when paired with other instruments. So join me on this calm voyage of discovery as we get to know Ovum and how you might pair it with other instruments.
Chapters 00:00 - Introducing Ovum 04:57 - Ovum plus Overdrive 07:51 - Ovum with Meng Qi Wingie 2 13:35 - Ovum as Sample Fodder (with Elektron Digitakt) 21:36 - Build Quality and I/O 23:10 - Ovum as a Drone Sidecar (with Lyra-8) 27:41 - Ovum as a Pedal Tone Oscillator (with Monlogue) 31:02 - Criticisms, Wish-Lists and Final Thoughts
It is, capable of traditional delay and echo sounds as you might expect, but through its wide ranging controls, CV, and a selection of parameters which modify the behavior of the two delay lines you can find chorus, flanging, comb filtering, pseudo reverbs, lo-fi effects and more - and all in stereo.
In this video I've aimed for the first part to act as a kind of video manual going over each of the features in turn. That's followed by a number of example patches which can hopefully show the module in context, showing some of its versatility.
Basil is a module with a lot of hidden depth, so this video is, predictably, pretty long. To help you navigate to the material you're interested in, I've added extensive chapter markers so feel free to jump around to find the info and sounds you're after.
Transparency notice: the Basil module was provided to me by Bastl for free for the purposes of making content about it. I was not otherwise paid and Bastl did not request, nor were they given any editorial oversight.
Chapters: 00:00:00 Intro 00:01:34 I/O 00:02:37 Introducing the front panel (and a note about CV control) 00:03:47 Delay Knob (Time Mode) 00:05:39 Speed Control (Delay Range and Fidelity) 00:08:44 Delay Knob (Stereo Mode) 00:10:29 Delay Knob (Fine Mode) 00:11:28 Sync Input 00:12:35 How "Fine" affects a synced delay 00:13:55 Feedback Knob 00:15:42 Feedback Knob (Ping-Pong Delay) 00:17:03 Wet/Dry Contol 00:17:46 Freeze Control 00:18:44 Delay Knob in Freeze Mode (Time Travel!) 00:19:28 Range Control in Freeze Mode 00:21:02 The effect of Sync on the Freeze function 00:23:37 Lo-fi Mode - what is it? (Anti-aliasing filters explained) 00:25:24 Lo-fi Mode - how does it sound? 00:30:13 Space Control (and Hyper-Space mode) 00:30:49 Hyper-Space Mode (using all the Space at once) 00:31:55 Space Modes: Blur (diffusion and pseudo reverb) 00:36:49 Space Modes: Filter 00:38:24 Space Modes: Taps 00:39:48 Combining Space Modes (Hyper-Space!) 00:42:01 CV Control - Delay V/oct 00:47:05 CV Control - Feedback 00:50:27 CV Control - Space 00:53:34 Ctrl - Assignable CV 00:54:14 Ctrl - Time 00:55:03 Ctrl - Stereo 00:56:00 Ctrl - Fine 00:57:43 Ctrl - Wet Dry 01:00:13 Ctrl - Feedback 01:01:07 Ctrl - Range (Beautiful glitch madness!) 01:03:35 Ctrl - Freeze 01:05:37 Ctrl - Lofi 01:06:25 Ctrl - Space 01:07:35 Ctrl - Hyper-Space 01:10:56 Example Patch - Lush Stereo Chorus, Flanger and Vibrato 01:21:13 Example Patch - Beautiful Echos 01:27:12 Example Patch - Lofi-izer 01:30:29 Example Patch - Comb Filter 01:37:40 Example Patch - Destructive Looping
Also on the desk is a EHX Platform Compressor (after the Wingie, to keep things slightly more controlled), and a GFI System Specular Reverb on the output for...well reverb).
So in this video I start from a "blank slate patch" and work my way up to something along the lines of the pieces I have recently posted, exploring the synthesis engine, effects, sequencer and more.
Reverb, when it comes on later in the video is from the Digitech Polara reverb pedal.
Transparency notice: the Elmyra2 was kindly provided to me by Neutral Labs for free for the purposes of making videos on it. No editorial oversight has been provided to Neutral Labs and no other payment has been received. As always I'm only interested in featuring instruments that I'm genuinely excited about on the channel.
Chapters: 00:00 - Intro 01:33 - Elmyra 2's sound design architecture 09:25 - Patching begins 21:08 - Exploring the sequencer 30:07 - Finessing the patch 34:46 - The secret codes 38:14 - Final thoughts
Here, the Elmyra is being fed into the External Audio input of the Lyra-8, so that it can benefit from the Lyra's delay and distortion circuit (which also helps blend the two new best friends together). Doing this also allows the Elmyra influence the behavior of the Lyra's delay as it is being modulated in "Self" mode.
In terms of their roles in this piece: the Lyra-8 is performing the more conventional drone underlying the piece; whereas the Elmyra (with the benefit of its internal sequencer) is providing something more melodic and, thanks to the various ways the voices can be modulated and the "ouch" distortion circuit, something which feels very expressive and almost orchestral.
It's no shock to me that the two of them work will together, but I am still more than pleasantly surprised at how their contrasting tones blend together.
Reverb is provided by the lovely GFI System Specular Reverb in its default mode.
Transparency notice: the Elmyra2 was kindly provided to me by Neutral Labs for free for the purposes of making videos on it. No editorial oversight has been provided to Neutral Labs and no other payment has been received. As always I'm only interested in featuring instruments that I'm genuinely excited about on the channel.
http://www.oscillatorsink.com Facebook: http://facebook.com/oscillatorsink Twitter: twitter.com/OscillatorSink Instagram: instagram.com/oscillatorsinkNeutral Labs Elmyra 2 - Study 2 (At The Oceans Core)Oscillator Sink2023-08-27 | For this second study I wanted to try for something less obliquely "ominous" (although I'm not sure I necessarily achieved that). Early in the process of putting the patch together, the combination of the pulsing bass running into the delay along with the fading, distant noise put me in mind of a submarine's sonar and the waves of the sea, which provided the inspiration for the rest of the piece.
The occasional, glitchy arpeggios come from slowly modulating the delay time with the delay in tempo synced mode which results in harmonically related pitch shifts as the delay buffer gets squashed and stretched by simple factors. Although it's not immediately obvious in how this patch came out, this patch also helped me further understand how you could have the sequencer act in a more "conventional" manner - it's probably missing the point of the instrument a little, but I've long held that the intentional misuse of an instrument is how you get to know it in more depth so I'll see where those experiments bring me!
This time, reverb is provided by the lovely GFI System Specular Reverb in its default mode.
Transparency notice: the Elmyra2 was kindly provided to me by Neutral Labs for free for the purposes of making videos on it. No editorial oversight has been provided to Neutral Labs and no other payment has been received. As always I'm only interested in featuring instruments that I'm genuinely excited about on the channel.
http://www.oscillatorsink.com Facebook: http://facebook.com/oscillatorsink Twitter: twitter.com/OscillatorSink Instagram: instagram.com/oscillatorsinkNeutral Labs Elmyra 2 - Study 1 (My Little Doom Machine)Oscillator Sink2023-08-24 | The Elmyra2 is an experimental (and maybe I would go as far to use the word: "esoteric") semi modular synthesizer, based around 4 digital wave-table voices (each with assignable digital sound modifiers), paired with a dirty master delay, filter and a distortion circuit named "ouch" (for good reason!). It also has a sequencer per voice (which can each have different lengths) and two LFOs (one simple, one complex) each with modulatable speeds.
It is, I think, safe to say that this is an instrument which is very much aesthetically and sonically up my street. Here is the first a few small musical studies I'll be posting with this intriguing instrument. You're hearing the Elmyra2 running into a Digitech Polara reverb pedal in Halo mode which is adding a little stereo width and a little shimmer.
And yes - I will be pairing it with my Lyra-8 in later videos - of course.
Transparency notice: the Elmyra2 was kindly provided to me by Neutral Labs for free for the purposes of making videos on it. No editorial oversight has been provided to Neutral Labs and no other payment has been received. As always I'm only interested in featuring instruments that I'm genuinely excited about on the channel.
This began as an experiment around using the Mod Delay to do pseudo-Karplus-Strong/comb filter things, and expanded from there are the Lyra made it clear what it felt like doing this evening. Lots of tuning and re-tuning of the voices as the Hyper LFO pushed and pulled things around.
As well as the Flashback delay pedal you can see on the table, I added a little bit of reverb in post, in particular the free and excellent sounding KPlateD from @(youtube.com/watch?v=lttn64XiWDg). @airwindows you should definitely check out the whole "KPlate" range of reverbs - they are very good.
I'm constantly charmed by the Lyra's ability to invoke some kind of "alternative history" of electronic music - it's always so primitive and raw in the best possible way.
I added a little bit of reverb in post, in particular the free and excellent sounding KPlateD from @airwindows (youtube.com/watch?v=lttn64XiWDg)., you should definitely check out the whole "KPlate" range of reverbs - they are very good.
http://www.oscillatorsink.com Facebook: http://facebook.com/oscillatorsink Twitter: twitter.com/OscillatorSink Instagram: instagram.com/oscillatorsinkMicroFreak Firmware 5.0 - Samples and Granular Processing! Full Walk-through.Oscillator Sink2023-05-10 | The MicroFreak truly is the gift that keeps on giving! This huge firmware update brings sample playback to the mighty little synth along with 3 different granular engines for processing, stretching and mangling the samples. Join me for an in-depth walk through these new features.
Chapters 00:00 - Intro 01:09 - New Feature: Envelope Snap Mode 02:59 - New Feature: Random Key/Arp Mode 06:05 - Introducing the Sample Modes 07:03 - Managing Samples in MIDI Control Centre 10:47 - Selecting Samples 11:16 - Sample Select in the Mod Matrix 12:55 - Introducing the "Sample" Oscillator 13:40 - "Sample": Explaining looping 16:24 - "Sample": Reversing samples 17:34 - "Sample": Modulating start time 19:13 - Introducing the "Scan Grains" Oscillator 23:04 - "Scan Grains": Time-stretching drum loops 24:03 - "Scan Grains": Density control 26:41 - "Scan Grains": Chaos control 28:58 - "Scan Grains": Building a patch 30:58 - Introducing the "Cloud Grains" Oscillator 34:17 - "Cloud Grains": Tempo-synced time stretching 36:49 - "Introducing the "Hit Grains" Oscillator 37:32 - "Hit Grains": the Shape Control 39:50 - "Hit Grain": Bouncing Ball patch 42:44 - Closing Thoughts
As an occasional purveyor of generative music, I'm a fan of the songs that the Krell can sing and I've previously featured videos of various synths being patched this way. But one synth I've somehow managed to overlook for this task is the Arturia MiniFreak, which is a crime, because it has a range of features that make it suited to not only the classic implementation of Krell patches, but also iterating on the core ideas to take the Krell to new sonic and musical galaxies.
Transparency Notice: Arturia kinda provided this unit to me for free for the purposes of making videos. They have not asked for, neither have they been given, any editorial oversight into the contents of this video.
Leaving aside the beautiful array of LED pads which adorn the front panel, its main distinguishing feature is its focus on generative, algorithmic and chance-based tools designed to help you quickly create and iterate on musical ideas.
Much has been said and demonstrated on the Play with regards to quickly creating often intricate beat-centric music - and rightly so, as that is an area where it excels, but many of the concepts and features on offer here apply equally well in the world of ambient music - so that’s what we’ll be doing today - making use of these features to put together a little generative ambient piece to chill out to. To demonstrate the workflow and sounds.
Transparency notice: Polyend kindly provided me the Play for free for the purposes of making this video. I haven't otherwise been paid by Polyend for making this content and Polyend have neither asked for nor been given any editorial oversight into this video's content.
Chapters: 00:00 - Intro 02:45 - What is the MMI and how does it work? 07:26 - Example Patch 1: Playing Rings 09:23 - Example Patch 2: Filter and Envelope Tweaks 11:55 - Example Patch 3: Touchable Pitch and Mod Wheels 16:06 - Other body patching instruments 17:23 - Example Patch 4: Routing triggers through your body 19:51 - Example Patch 5: Dub Mode 22:17 - Other considerations and outro
This video is sponsored by Bastl - thanks to them for supporting the channel.
00:00:00 - Intro 00:01:23 - The VCAs (I/O, Level Faders and Overdrive) 00:03:11 - The VCAs (Attenuverters and CV) 00:04:55 - Mixing (the Mix Output) 00:06:07 - Mixing (the Mute Buttons) 00:06:56 - Post/Pre VCA Mute (jumper settings) 00:09:20 - VCA Output Mixing and Normalization 00:11:34 - VCA CV Input Normalization 00:12:51 - Envelope Followers (Introduction) 00:13:21 - The "Side-Chain" Envelope Follower 00:14:23 - Compression and Expansion with the Side-Chain Envelope Follower 00:19:51 - Applying the Side-Chain Envelop Follower to Other Sources 00:22:23 - The Spectral Envelope Follower 00:23:46 - Patching a Specral Compressor/Expander 00:26:00 - Introducting cascading multiple Aikidos 00:26:34 - Example Patch: Using Aikido in a Synth Voice 00:30:32 - Example Patch: Panning 00:33:30 - Example Patch: Cross-fading 00:36:02 - Example Patch: Full dynamic performance mixer/VCA (feat. 2 Aikidos) 00:48:28 - Example Patch: Feedback processor 00:54:57 - Example Patch: Using the Envelope Follower to Process Audio 00:59:08 - Example Patch: Cascading Overdrive and Distortion 01:04:21 - Example Patch: Beautiful Drones with Stereo Audio-Rate Amplitude Modulation 01:12:26 - Example Patch: Parallel Compression
http://www.oscillatorsink.com Facebook: http://facebook.com/oscillatorsink Twitter: twitter.com/OscillatorSink Instagram: instagram.com/oscillatorsink#Jamuary2023 - Day 31 - Elektron DigitaktOscillator Sink2023-01-31 | Well. Here we are then. It's weird how over the course of the month that the pieces naturally progressed in a way that felt (to me at least) like there was a thread to the whole project. There were pieces which built to a climax over a few days and some quiet moments of respite between them; moments of dystopian soundscapes (quite a lot of them if I'm being honest), but some islands of hope dotted among them.
Early in the month most of that progression was more about how I was feeling as time went on, what felt right on each night, but the last week and a bit was more of a conscious effort and I've known "how it's going to end" for quite some time - like this.
I'm going to talk about this month in a video soon - it has been tough but I've learned some important lessons. Tonight I'm feeling a three-way mixture of emotions. First - relief that I will be reclaiming my evenings. Next - some sadness that I'm at the end of this project that gave concrete purpose to all of my free time this month. Finally - I'm feeling proud of my output this month; I know this music is of niche appeal, but there's nothing I released this month that I regret putting out, so yeah, I'm going to allow myself to feel proud of this.
The full collection of pieces, along with project files, patches etc. will be going up on my bandcamp on Friday: oscillatorsink.bandcamp.com
Anyway, back to overly long tutorial videos shortly. See you then.
http://www.oscillatorsink.com Facebook: http://facebook.com/oscillatorsink Twitter: twitter.com/OscillatorSink Instagram: instagram.com/oscillatorsink#Jamuary2023 - Day 29 - Elektron SyntaktOscillator Sink2023-01-29 | So I don't think that this is the final track of the month - I feel like there's one more needed, just to tie a bow on everything, but I do feel like this is the "finale". I knew I wanted to return to the Syntakt as it has been the "MVP" of the month in a lot of ways, and this felt like the most meditative writing session of the month. The Syntakt felt like it was guiding me throughout the process - the interaction of the different signals attempting to co-exist in the crushing analogue drive circuit letting me know what was missing (or what there was barely enough space left for).
A combination of time pressure and not wanting to outstay my welcome in previous tracks this month has led to an unconscious bias for things to last around 5 and half minutes, I went into this performance knowing that I wanted to wallow in this drone for as long as possible (and guessed that if you're still with me at this point, you're willing to spend the time amongst it too).
I think this is the piece I'm most proud of this month because it feels like the culmination of everything I've learned.
Like I said: one more just to put a bow on things and then I'll allow myself to actually go to bed during February (just kidding, I need to prepare all of these tracks for release on Bandcamp now!).
It's the only instrument I've used this month that seems to only push me towards a gentler, lighter, prettier place and given the last few jams, I think we need to take a breath, so here's the Deepmind to offer some respite.
With that I've broken my previous record for days of jams in Jamuary and I feel like I should be able to manage at least 2 more, so lets see if we can bring this arc to a close...
Kept it simple tonight because I had to start working on this waaaay later than ideal, so I worked up a fragile, kind of string-sounding patch (using two Bass-X oscillators, which is one of my go-to oscillator modes because it's fantastically lively) and found a little progression I liked that gave me a little bit of space to play with some variations.
One thing I took the time to do was set up aftertouch to "break" the patch a bit - making it sound like everything inside the synth "isn't quite right" when I lean on the keys a little harder or wobble them around a bit, which is why you might be able to see me giving the keyboard a bit of a hard time in this video!
So I grabbed the Digitone and started by putting together a very primitive beat to ground things, and then...well I whacked the master distortion up to full, added some deep heavy drones which phase in and out of consonance and dissonance with semitone movement, and finished it off with a higher drone that sounded like digital angels (but the bad kind).
Anyway, make sure you play this one loud.
This is, I think, the peak this month as far as "oppressive" goes, but it's good to be able to aspire to something...