This is a cool idea for a video series. Well done and easy to follow. For me, I'd prefer it without the same clip of music between every chapter. I'm going to come back and watch again when I have time to sit down with my Hydrasynth. Unfortunately I have the explorer, so I'll need to see if I can figure out a way to substitute for the patch cable.
Thanks for the feedback. Yes the music in between was an idea to bring back the end result, but your feedback is good to not make it do repetitive. Let me know latter if you found another route for the patch cable on the explorer, do that we can share with others how to do it there.
they always say its the filters that really define the character of a synth. definitely contributes to the differences here, but you definitely got close. i will copy the patch tomorrow if i have time.
There is an “out of the box” factor, that with some classic synths you get these characteristic sounds of the songs we like (that have used those synths in the first place) with no effort, because the architecture, preset patches, sound sources or filters simply sound like that. But then people gets tired and starts experimenting with crazy modulation or “hacks” like the famous Mini Moog feedback. But this is why I like this exercise, to take you out of the comfort zone of the out of the box.
@@ShaperSoundChannel yeah its something that will teach you about the strengths and limitations of both machines. part of why i like this series so much. i switched from rotate to random on the voice menu when i tried this cause on the deluxe the 16 voices didnt get from left to right fast enough and i also shifted the octave up once on the keyboard. i think if you wanted to do something more like shifting between the notch and band pass you can set an LFO to modulate the mixer parameters OSC1F1/2 and OSC2F1/2 and see if series or parallel filters works better when you do it? I tried that with LFO 3 and it definitely had an effect on the sound, but im not sure if it was more OB6 like or not. then you could set a macro up to to influence that further with either mixer parameters or LFO parameters maybe?
@@GillamtheGreatest love it! Yes to be honest I have not tried to run a spectrometer on the OB6 to try to understand what on earth is the wave form looking like when they do that modulation from Notch to BP, but the volumes in the mixer should have a cool effect. Does it sound cool when mixing it? Always cool to ping pong these things with you guys!
@@ShaperSoundChannel yeah i would say it sounds pretty good, while staying in the same ballpark. i think i would need to have an OB6 on hand to see if im getting closer to it sound wise though
The same filter slope without resonance and without drive is pretty much the same on every synth - once you drive into the filter or use resonance - there is the characteristic - for casual pads you dont really do this and therefore for pad sounds the filter usually doesnt matter Its much more important for monophonic/bass sounds Thats at least what i´ve found out@@GillamtheGreatest
Saved for later - title has me hooked ;) ❤
This is a cool idea for a video series. Well done and easy to follow. For me, I'd prefer it without the same clip of music between every chapter. I'm going to come back and watch again when I have time to sit down with my Hydrasynth. Unfortunately I have the explorer, so I'll need to see if I can figure out a way to substitute for the patch cable.
Thanks for the feedback. Yes the music in between was an idea to bring back the end result, but your feedback is good to not make it do repetitive. Let me know latter if you found another route for the patch cable on the explorer, do that we can share with others how to do it there.
That’s the idea, this one end up very long, I almost split it into two 😅
they always say its the filters that really define the character of a synth. definitely contributes to the differences here, but you definitely got close. i will copy the patch tomorrow if i have time.
There is an “out of the box” factor, that with some classic synths you get these characteristic sounds of the songs we like (that have used those synths in the first place) with no effort, because the architecture, preset patches, sound sources or filters simply sound like that. But then people gets tired and starts experimenting with crazy modulation or “hacks” like the famous Mini Moog feedback. But this is why I like this exercise, to take you out of the comfort zone of the out of the box.
@@ShaperSoundChannel yeah its something that will teach you about the strengths and limitations of both machines. part of why i like this series so much. i switched from rotate to random on the voice menu when i tried this cause on the deluxe the 16 voices didnt get from left to right fast enough and i also shifted the octave up once on the keyboard.
i think if you wanted to do something more like shifting between the notch and band pass you can set an LFO to modulate the mixer parameters OSC1F1/2 and OSC2F1/2 and see if series or parallel filters works better when you do it? I tried that with LFO 3 and it definitely had an effect on the sound, but im not sure if it was more OB6 like or not. then you could set a macro up to to influence that further with either mixer parameters or LFO parameters maybe?
@@GillamtheGreatest love it! Yes to be honest I have not tried to run a spectrometer on the OB6 to try to understand what on earth is the wave form looking like when they do that modulation from Notch to BP, but the volumes in the mixer should have a cool effect. Does it sound cool when mixing it? Always cool to ping pong these things with you guys!
@@ShaperSoundChannel yeah i would say it sounds pretty good, while staying in the same ballpark. i think i would need to have an OB6 on hand to see if im getting closer to it sound wise though
The same filter slope without resonance and without drive is pretty much the same on every synth - once you drive into the filter or use resonance - there is the characteristic - for casual pads you dont really do this and therefore for pad sounds the filter usually doesnt matter
Its much more important for monophonic/bass sounds
Thats at least what i´ve found out@@GillamtheGreatest