3 Synth Hacks // The Pro 3 Is Amazing

[Music] nerds so a few days ago on i think it's the community tab i'm not really fully sure how this works in the youtube realm i posted a video on like my youtube story think instagram story but for youtube about the pro 3 asking what you want to know about it and whatnot i got a lot of stuff asking about eurorack integration cool but i wouldn't really dive into that too much just because it's not something that i'm really into i'd rather just use the euro rack itself i'm sure you can get some cool creative results but there's a lot of modulation on here already that didn't need me to go and dive into the modular world but another thing i got mentioned a lot was about the wave table oscillator also mentioning kind of some softer more calm sounds not just like crazy insanity and then doing some more lfo tricks i feel like i'm a lfo card tricker dealer thing so this also has some really cool tricks up its sleeve when it comes to the lfo as well so let's go ahead and listen to some of those actually check out this wave table here this wave table is called uh sequential reason being if you play it right cool nothing crazy maybe an octave down what's that what'd you say it literally says sequential and this is one that got brought to my attention by redmi's recording jeremy and uh yeah it took me forever to get to this but basically it's this here an up ramp of an lfo being sent to the shape mod because if i don't have this here i know this is totally not at all what we're gonna talk about but i just thought this was really cool so here that's the wave table each wave table oh you know what yeah let's talk about the wave table oscillator so each shape of the wave table oscillator has i believe 16 positions so listen to this if i just hold down the note position one [Music] this is all one wave table that's it from zero to 255. that's so tight do any of these others say anything else no they don't not that i know so the wave table is cool this pro 3 really makes me want the pro 2. the main difference is from what i can understand when it comes to the pro 3 versus the pro 2 is that the pro 2 has four oscillators that are all digital where this has two vcos voltage controlled analog oscillators plus one third wave table that made no sense a third wave table oscillator and this wave table is where it leaves me wanting more because on the pro two you get four of these i don't know if it's this exact same wave table i don't have the pro two i've always wanted it and it's like who would design a four voice paraphonic digital synth like that is the weirdest that reminds me of like mono machine weird like a monophonic digital thing like what but because of those limitations you come up with some crazy creative things so with this having this wave table here it sounds really good for being digital because you can go into some weirder sound for example if we go back to the sequential one check listen to this like lower end right there and if you were to add some more bass from let's say one of the analog vcos do a little pluckiness if you're like man this dude cannot play the keys you are correct [Music] you know what's funny my most used patch on this thing um is an initialized patch oh thank you everybody on the original pro 3 video this one where i said i it sucks to have to reset the patch this way but it's literally down latch is a basic program but this is literally my most used patch it's just a triangle wave down in octave and if you want to get really bassy i just go down a second octave the reason i love this patch so much is because there's still like a little bit of a bite or a hiss to the oscillator you hear it it's like [Music] i mean you can fight this off with a little bit of cut off you don't like that pop sound a little bit of attack and honestly if you're on your cell phone or a laptop right now you probably do not hear this at all and this you probably hear this and i that's why i like this so much because this has a little bit of a bite and a sizzle to it which helps it just cut through a mix when it comes to listening to your music on speakers that are not studio monitored so if you go to an uh a car with crappy speakers or a cell phone or a laptop the base is gone your kick might be gone this allows you to still kind of get the idea and hear the sound of a bass within your track i used to always have to just use a sine wave and then add a little bit of a bit crush on like a sand and that's what would allow my sine waves to cut through but the fact that i can just do this is awesome but uh yeah the wave tables focus enrique focus so the wave tables get really cool and they're so nice when it comes to making softer sounds whatever that might mean to you so i'm gonna go into paraphonic mode and i've already turned all the oscillators down except for the third one which means we're playing like a round robin through the oscillators right all i'm counting is what oscillator is playing so smoothie's cool duh so turn up oscillator one oscillator two i'll set those two triangle wave shapes jeez another thing i noticed is if you turn the oscillator levels all the way up it starts it kind of reminds me of the moog cp3 mixer where it starts to kind of saturate the sound so i kind of just set them around 12 o'clock [Music] turn up a little bit of release [Music] and again one thing i love about the pro 3 is that by default all the oscillators if i move this shape they all by default have a little bit of slop on them so i'll just turn that down to make it a bit more this just kind of um pulls them a little [Music] tighter go down so if we go attack up release up [Music] [Laughter] now we need something to open up that filter every time we hit a key right so i'm going to turn the filter envelope up a little bit and our sustain is where that filter is going to land we'll do a little bit of [Music] attack you might not hear the attack happening at all this is because by default the envelopes are not set to re-trigger until you've let go of all the keys but this can be fixed in miscellaneous parameters re-trigger boom that means every time i press a key no matter where what other keys might be pressed it's going to still re-trigger all the envelopes [Music] a little more resonance state variable [Music] here's a what is it cs50 trick 80 60 has it too i think uh ring modulator so ring modulator can get really crazy here it is uh if i turn this up come on come on where are we at by default it's set to a saw do it to sign really slow almost acts like um is it tremolo is amplitude but what's great is you can mix this in so it's just a little bit in the background [Music] oh i know i'm playing four notes even though it's only three voices let's do a little bit more pluck sound destination filter cut off so there's not even that much harmonic frequencies when it comes to this because you can hear with the filter all the way up there's not much going on but i can so now if i bring this down it's too fast [Music] dude okay the three things that i actually want to talk about that are on here the wave the wave tables that was just for the homie who brought it up in that story again i don't know how those stories work i hate saying this but maybe you have to subscribe in order to get those if you do i really appreciate it you know i try not to push that stuff i mean it's we're just chilling right so um maybe that's the cause of you possibly not seeing it but if i would love to get more input from you so if you can do i'd love to hear what you got to say but what i wanted to talk about on the pro 3. one thing that's cool to do with the wave tables and this applies to a lot of synthesizers is setting up let me just go back to a blank patch i'll turn down all the oscillators except the wave table and we'll choose a wave table let's say this has a ton of range right when it comes to its wave table what i'll do is i'll set a sample and hold of let's say let's do lfo1 just to be clear destination i want it to be sent to the shape of the wave table so what it's going to sound like now is really random but what's great with lfos majority of the time you can set them to a frequency level of zero so that they don't move or they take really long to move then you're wondering why assign the lfo if it's never going to move if you go into lfo control at least on the pro 3 it's in the lfo menus on peak you select wave reset and this will then tell the lfo to change position well positions every time you hit the key so watch [Music] you can even see this reflected on the led [Music] right go lower octave or let's go back to our favorite sequential one turn up a little bit of release and i use this on a lot of tracks too [Music] what's great here is i can say source lfo1 destination filter cutoff so now this is also going to be opening up the filter cut off if i turn this up a little bit you can see there lfona filter cutoff turn up the resonance so you can really hear it right but we don't want it that much [Music] a little bit of a pluck then to just round this off and kind of bring it back home i would then introduce that patch i mentioned earlier the triangle wave just knocked it down maybe turn oscillator through down a little bit or even higher up an octave let's try different wave table [Music] it just kind of helps keep things interesting say you have a really [Music] oh actually this song [Music] basically uses this exact patch it just went initialized and you can hear it in the bass right and that is just just the a e i o u or whatever it's called changing on top of just a really subby baseline so using a sample and hold to then just modulate different parameters every time you press a key is almost like an idea that i stole from the memetic digitalis the little step sequencer that i use in my tiny pallet case this case here but applied in a synthesizer form and it's really simple and a lot of synthesizers have this another thing that's really fun to try when it comes to using a synthesizer again let's go blank patch we'll say paraphonic boom boom boom we'll get something pretty gone i turned this as if it was one of these and just blasted into the next dimension let's do pulse so what i want to do now is create rhythmic movement again a lot of this i've learned from diving into the modular world because it just really opens up a synthesizer for you so let's actually add a little bit of slop this is going to be really pretty so this oscillator i love the way this sounds so how can i build up going to octaves right this is fun nerdy stuff again so i'm gonna go to pulse width on one and two what i need to do here is make sure that they are both synced to a tempo and on top of that i need to make sure that both of their waves get reset every single time i hit a key so now if i go to lfo2's shape you can see that our step length is 32 steps let's just do four steps on one and then we'll do two steps on the other so now you can see that [Music] lfo2 destination the coarse tuning just to set this up i'm going to set it to unparaphonic mode so we can always hear oscillator 3. ugly that's an octave here same thing destination to the course tuning but an octave as well right and if there's a little bit of a popping sound that you don't like [Music] yeah that sound you heard that [Music] it only happens once in a while i'm guessing it's wait do these have a slop also okay they don't but what they do have is this slew amount and this will just soften the edges of your lfo a little bit so i'm going to turn that up maybe to five on one and five on two dang it's still there let's try it a little more [Music] so let's go back to one and set that a little more [Music] come on man weird it only happens on the first actually it's kind of random there almost is are the lfos analog david answer anyway back to paraphonic mode now we go like this play a cord too much slew we'll get rid of that slew right now [Music] that's the one super plate rotating speaker is wild that's what i want to know okay using rhythmic modulation on lfos awesome really fun apply that to multiple things again source lfo1 destination filter cutoff now there's a rhythm within a rhythm right [Music] then we'll go to state variable instead then we'll say lfo2 instead of going to the filter cutoff right source lfo2 we'll go to the state [Music] tight but we lose a lot of the warmth because of this maybe not that much [Music] one's too low effect one [Music] so now that we've gotten the sample and hold of three you know if we do that whole thing that we mentioned a second ago and we got the rhythmic modulation the third synthesis tip and trick thing that i really like that i originally got from my expander r.i.p sold it it's gone um is delays on the envelopes so if we listen to this now i turn up the filter cutoff amount it gives off a little pluck right but what's cool is if i hold down aux 1 turn up filter turn the filter envelope down i've now assigned auxiliary 1 just by holding this and turning this knob to send this auxiliary envelope to the filter cutoff and if i just turn this up i'm now sending that shape right to the filter cutoff but check this delay this is really cool this is basically what's the delay time of when i press a key and then that envelope goes off and another thing to note is that this is also in the filter sections envelope right here delay but i just want to do it here because then i can easily assign it elsewhere so there it is you heard that and if this is set to re-trigger this will happen every time you press the key because if it's not say i do this and it pops off and then i press some more keys it doesn't happen again so this you can use to your benefit or to your demise but if i turn that on [Music] right give it a little more attack let it land a little softer and then if we pile both of these onto the filter [Music] foreign [Music] taking this delay trick a step further if we go and look at it you can actually set it to loop tight [Music] and here is maybe where you want it to be the red sugar off and what's cool here is that delay time acts as its resting point because most other synthesizers when you turn loop on of an envelope the release time is how long does it stay off before it repeats but that's going to be the delay time here so right if i shorten that this is cool because you can start or none it's gonna be really fast [Music] use this as another lfo maybe assign this to the shape of oscillator 3. [Music] turn all these down the amount [Music] there's just ugly happening in the background or again you go back into here no loop yo that this is so tight let's let's apply that to everything so source lfo1 go to all course source lfo2 all course and then both by plus 24. does that mean that those are going to oscillator 3 plus a gajillion or 24-44 i guess let's find out new key [Music] let's go negative 24 what's that dude then here we'll just go nothing i don't like that [Music] oh these are still going to the filter cutoff right and then this variable shape oh my god i'm sorry you had to hear that geez it's cool i mean it's all just exploratory at this point let's just mess around with stuff and you know mess around with lfos messing around with envelopes doing the decay time stuff or the delay it's definitely not your typical delay of what you would expect inside your filter cutoffs it's the delay of the key being triggered kind of thing so there's a lot to be explored when it comes to synthesis these are three of my favorite things sample and hold that's set to a really slow rate and key sync so every time you hit the key it sends a new value out which adds a bit of spontaneity to things but it's really usable when you set it to like a filter cutoff or something like that because it's not changing the pitch value it's just changing the tone and the texture of the sound but keeping things the same it's one way to easily keep things interesting even though you're hitting the same note from there doing some tempo sync stuff like if you had a drum machine going and this going at the same time forget about it it's it's so tight and then on top of that delay times and or decay times no delay times the delay of the envelope because that's the decay of being sent somewhere and that's also a fun thing to do but um yep thank you so much for coming by and hanging out i appreciate seeing you uh see you in the next one excited to see you there if you want to support the channel got some merch down here but kicking it's more than enough you already know the drill show the love share the knowledge knowledge is power peace [Music] [Music] [Applause] so [Music] [Music] [Music] [Music] [Music] [Music] so [Music] foreign [Music] you

Channel: Ricky Tinez

Views: 54,633

Keywords: ricky tinez, enrique martinez, ricky tines, pro 3, wavetable, analog, synth basics, synthesis, LFO, what is an LFO, synthesis basics, how to, pro 2 vs pro 3, sound design basics, pro 3 ambient, boards of canada tutorial, synth tutorial, pro 3 review, pro 3 overview, sequential, dave smith, synthesizer, sequential pro 3, best synthesizer 2020, best first synth, easy synth, sound design tutorial, how to use a synthesizer, what ar LFOs

Id: -IJGyAOaTgw

Length: 32min 46sec (1966 seconds)

Published: Sat Jul 18 2020