This is STILL the perfect first synthesizer...

[Music] hmm [Music] hello my name is jor i love gear today we're talking about a synth that is a few years old and maybe has fallen out of public perception a little bit but i still think is one of the best ways to learn about synthesizers and synthesis in general this is korg's original mini log holding it like this will not be the thumbnail you may be watching this video for a few reasons one you're already a subscriber and you're coming back so you appreciate what i have to say and i appreciate you doing that two you knew this was going to be about the mini log and wanted to hear somebody else's perspective in which case thank you for considering me or three you're on the hunt for your own first synthesizer and the somewhat random tides of the algorithm sent you my way in which case fate has brought us together welcome gear is my entire life and this video will have value for all three of those groups but there might be certain parts you do or don't care about considering your approach to this and so i'm going to do chapters if you want to skip around feel free i'm bringing this specifically because the tutorial portion of this is very long and very beginner friendly so if you don't need somebody to step you through the parameters you don't need to watch that part i won't know if you skip around in fact if it makes your experience better you should do it but this whole video what i'm going to cover uh somewhat quickly why i think this is a good starting place for synthesis and of course enforcement for that is sprinkled throughout the entire video that will lead me into a walkthrough of programming and all the parameters which is very beginner friendly then i'll round up with what it's like to buy used and some tips for doing that what you need to be ready for sound good cool shall we focus on the mini log [Music] cool if at any point you think to yourself damn this kid knows what he's talking about that tells me you should probably subscribe and if you need a bit more convincing i have a whole bunch more videos on my channel and if you're interested in gear that's priced for somebody starting out which i assume you are because you clicked on this i use deepmind can be a pretty fine deal and i have a ton of videos focused on that might even be my specialty alrighty shall we focus on the mini log like i said this is the second one i've had i had one years ago right before i moved on to deepmind because i wanted more voices but it wasn't my first synth i had a micro brute for a bit and i had sold a few microkorgs but it was definitely early on in my synth journey and a lot of what i know now started uh on one of these bad boys uh and i know people are gonna ask about the white pointers right away so here's some footage of that i dabbed a paint pen let it fill in the groove that's already there on these knobs let that dry for a while which is important you got to make sure it's dry scraped off some of the excess uh with a tiny little allen wrench and then a final wipe down with a damp paper towel cool that's the whole story on that anyway yeah they're not perfect but that's okay it's for me to see better and especially if i'm talking on video for you to see better it's really really hard to see where knobs are pointing or especially before and after a change if they aren't marked out at all okay cool that's a huge tangent let's move on to the gear uh when i say that i think it's the perfect synth why do i say that what am i really trying to say first and foremost this is the most important thing use prices are hovering around 350. and that's why it's part of this conversation still at all if it wasn't affordable for a beginner if it wasn't priced reasonably for somebody starting out then it wouldn't be part of the conversation at all and i'm not saying that 350 is nothing but it is a believable amount for somebody to save up and put into a hobby especially that even as long as these have been out they've held their value essentially the entire time when i sold one of these gosh was it three years ago maybe four years ago uh it was about the same i sold it for 350 when i was done with it and i think i bought it for around 300. this again cost me [Music] about 300 i can't keep getting distracted by it i love the way it sounds uh anyway uh knowing that it's kept its value so well uh if you lose interest for any reason you can get a fair bit of your money back uh more exciting to talk about it's a good first synth because look at this [Music] crystal clear son of a having an oscilloscope goes a really really long way to helping you understand what you're doing being able to change a parameter and get visual feedback as to what that's doing can really help you put the pieces together in a way you couldn't if you were just listening to audio and i do seriously credit this with the reason i bought my oscilloscope that i use in all my other videos being able to visualize really helps me understand what i'm working on and what i'm hearing okay another one something i think is very important none of the parameters none of the controls are really that unusual and people might say ah it's limited uh it's simple but i think that's all to its credit the options you have for like your filter uh and your envelope and your lfo whatever are all labeled with what i would consider to be standard or the most common use the most common terminology for all of these things uh and i'm bringing this up so to highlight synths that don't do that if you look at like the micro freak even if it is in a beginner's price range and it really is a lot of the functions and a lot of the terminology specifically within the oscillator types can be confusing especially if you're encountering that form synthesis or sound design for the first time and again specifically with the microfreak even if they are named to the same thing is inconsistent between wave types that's really difficult if you're just trying to learn and another specific example the minilog xd the second version of this the second envelope doesn't have a knob for sustain or release to me those are pretty much essential features for a polysynth to have you should have full control over your envelopes especially if they're traditional standard four-stage envelope to me that's losing out on a ton of really like fundamental sound design option and having it right below uh on the xd looks just like this attack's case stain release for the amp envelope having the filter envelope with half those parameters being right below it it makes you say why don't these behave the same way why aren't these identical and other than panel real estate which is a legitimate concern i don't think there's a good reason for it but to focus on the good on this the original mini log the parameters are labeled what they are there's no secrets and without bringing up a few of my specific wants you have access to all the parameters you should have and it's all right here on the front panel yeah uh not to mention that there are very few parameters you get through through uh the edit menus and when you do they're ones that are reasonable to hide behind a menu like that there's no reason for them to be on the switch nearly every parameter is begging for you to reach out and touch it not per function why didn't i write down knob per function with almost everything right on the panel it really encourages you to experiment if i want to try changing a parameter it's something that's right on the panel i can just reach up give it a flick give it a twist and i'm already there cool okay i feel like that covered that in enough detail let's move on to our parameter walkthrough and i am going to scroll off and back on here we are on an initialize patch [Music] and i'm going to walk through this the same way i do for most synthesizers i cover but with a little bit more detail on everything because i expect beginners to be watching this our sound starts with our oscillators and unfortunately the mixer is in the middle and not on the far left but the mixer is independent volumes for each of your two oscillators and so we're going to turn up just just vco1 and it is on a sawtooth so this switch is accurate and its octave returns to the middle here so those lights will always tell you where it's actually at and so the other waveforms you have here's your sawtooth here's your triangle or low end right and here's your square wave cool very different and shape will do something different on each of those oscillators and so we're going to watch our oscilloscope already for the first time how exciting shape on your sawtooth actually let's go a little over [Music] you get sort of a mirror of it at the other end of its cycle [Music] you sort of you sort of phase in with a mirror of it until you end up with like an m [Music] and think about the difference you're hearing understand what it does when you go from zero to full say some more high end here when you have it about in the middle you hear this sort of ripping tearing especially while it's moving and then all the way up [Music] get a little more low end get more lower harmonics [Music] back to zero cool on our triangle wave shaping is sort of wave folding but it splits it down at its [Music] and peaks and again understand what you're hearing it's all it's all low end almost just the fundamental uh when we don't have anything going on with shape and as we pull in we get more high harmonics sort of ringing [Music] wonderful and down to the square which is the one you're probably most familiar with the shape that is changing the pulse width or the duty cycle and uh this might be a little too nerdy for some of you and you change your shape so we have no change in voltage there's nothing for you to hear we call that pulse width on a square pulse width modulation okay lovely and we have the same exact options for vco2 and when we combine them by bringing both the mixer right now they're on the same wave shape on the same octave look at the way they interact you see our pitches now are both zero so they're tuned to the exact same thing actually you know what i didn't show you uh in global settings here we go parameter display normal or all i leave it on all right because then you get to see a numerical value for any of the parameters you change i think that's really important okay we were talking about the two oscillators interacting this is them lock step with each other in the same way form on the same octave if we change our pitch just a little bit they start beating against each other which can be very desirable wonderful i will turn down oscillator 2. we have oscillator one on its own to demonstrate and i'll bring up noise here it is on its own just because we're talking about the mixer that's just white noise bring back in our oscillator one section here is the filter and you're probably familiar with these noises you're probably familiar with these sounds uh even if you don't know a lot of the terminology okay typically with subtractive analog synthesizers your filter will be a low pass filter which as i turn down the cutoff we lose high end and visually the way it looks we have less pointy waves right we have less dramatic changes [Music] and already i'm going to try and give you some already i'm going to try and connect some visuals to what you're hearing [Music] so this is a sawtooth filtered it sounded closer to me to triangle unfiltered even though we have a little bit of a volume difference because we're the shape we're drawing visually it's a little closer to what we hear on the triangle same thing with the square cool back to our sawtooth okay and as you turn the knob down you're reducing the high end content and it looks like softer edges softer peaks yep and resonance is feedback at the cutoff point we're going to do a full sweep okay then we're gonna add a little bit of resonance not a huge difference right [Music] now you hear something right resonance is feedback at the cutoff point when the cutoff is all the way up our cutoff frequency is really high and i turn up resonance here's some extra high end right and it also gets rid of a little bit low end that's just the way they work right so if i leave it high to emphasize the code off and then i turn the cut off [Music] we hear that emphasis sliding down to lower harmonics lower frequencies [Music] cool and if we go really high that feedback is oscillating on its own becoming its own distinct pitch even if i have nothing coming out of my mixer cool okay let's get our resonance back somewhere reasonable and turn our mixer back up okay and these three switches down here i will leave these low and we'll stay in four pole which is what we were in four pole versus two pole how steep the curve of your cutoff is and i'll put some visuals on screen and i'm saying that so i have to actually do it in editing but a 4-pole filter 24 decibels per octave of your cutoff of your frequency range you'll reduce that much ion content so as you go up an octave you'll be reduced by 24 decibels so for every octave you're losing 24 decibels right but on two pull for every octave you're losing 12 and so i'm going to leave it on four pole where we were put somewhere in the middle and just flick between them so we're in 4-pole now and 2-pole if you think of it being less steep and i hope i have visuals here so a little bit more high-end gets through right because we're closer to that than we are that i'm leaving my hands in frame but i know it's impossible to to see what i was trying to show you so i'll turn up some resonance so we can hear it again leave our cut off there we're on four pull and listen to how much high end we get back when we flick down into tuple cool i like having that option some synthesizers don't you don't even have that option on the minilog xd so we'll get back to where we were about in the middle key tracking what key tracking does is the higher on the keyboard you are the more open your filter is and so here we are [Music] with nothing here is fifty percent [Music] hear the difference here's one hundred percent and a low note so somewhere in the middle the note is where your actual cutoff is and you're reduced as you go lower and increased as you go higher and the reason for that is more of the note will be a high frequency when you play a higher note more of the note will be a low frequency when you play a lower note and so you don't have as much volume loss or changing character and in a lot of ways it makes the sounds more convincing or more natural everyone i think of it when you're keep tracking these up cool velocity is how hard you hit the key i'm going to turn key tracking off velocity is how hard you hit a key will open your filter some and so here is nothing and here's all the way up really quiet right really open low cut off i cut off i don't like the velocity curve [Music] of the mini keys i don't really like the velocity curve of the mini keys if i have it on at all i'll leave it on at 50 key tracking i will turn back on cool on to our amp and filter envelopes and i'm going to reset these to the point that we're hearing right now which is just sustained all the way up and what envelopes do is they control your sound over time when i hit a note now it's just full volume while the note is pressed and it's gone when it is gone and what an envelope generator lets you do and this top one controls our amplifier or amplitude the volume of our signal the first stage attack is how long after i press the key does it take for that note to get to full volume can we make it longer so it takes more time right and then our decay is how long it takes to go from that full volume down to a level which we set by sustain so while it's all the way up we won't hear a decay stage at all but if i put this about halfway so it's attack stage time to full decay stage once we're at full how long does it take us to get to this level which i've said at about half [Music] let's make those both a little longer now while it's here turn down our sustain so it's even lower [Music] okay and what it sounds like with no attack think of what's happening right we're starting it full because the time to get to full is nothing so we just drop from our full level down to our sustain level and it takes our decay amount of time and release is after you let go the key how long does it take it for it to get back to zero a little more okay and that's all controlling the volume of what we're hearing think of it like moving this mixer knob automatically that's all the volume of what we're hearing but the second one is our filter and so let's give it a roughly similar shape to that one and i'm going to move our cutoff halfway through so that's what it sounds like right now if i add some envelope intensity or envelope if i add some envelope contribution to the filter with this is eg int envelope generator intensity maybe uh and you'll feel notice if i go left that value is negative and if i go right the value's positive so let's listen to positive first and think of it the same way or automatically turning this knob okay according to the times we set here [Music] turn it all the way up so our sound is getting brighter as we move up so let's move it into the negatives and bring our cutoff a little higher [Music] even higher we're subtracting the shape of this envelope from our cutoff let's bring our cut off all the way to zero and give it some good give it a good amount of and increase its contribution let's bring our tax down there we go envelope is shape over time one cycle of it starting with your key press your lfo is your lfo is a cyclical change over time and there's three shapes we're going to start on the triangle we're going to point at something that's really obvious to here where i do pitch i'm going to turn off our envelope generator for the filter [Music] just so it's a little more stable while we're listening to other things and i'm going to point the lfo to the pitch so as i bring up the intensity okay sounds kind of silly [Music] make it a little faster and we can also point that to our cutoff our filter cut off [Music] or the shape parameter of our oscillators [Music] [Applause] very exciting and there's two more shapes and the triangle is the easiest to listen to because it's cyclical it's very smooth right this is a sawtooth or a ramping down wave so we're going to go from full slowly down to zero and then jump right back up to full and so we'll do pitch again so you can hear it you hear that it's descending until it jumps right back up a square wave which goes from zero to full suddenly it's not smooth at all triangle is what i use most of the time because i'm doing boring things like adding wobble to my oscillators [Music] lovely there's also an envelope generator mod to the lfo and so the envelope generator your second one this eg can affect the intensity or the rate of that lfo so let's listen to that envelope control the rate of this lfo and let's point the lfo to cutoff so let's leave it a zero so that's what it sounds like let's put the envelope and so the second envelope will control the rate of our lfo and we'll just put it at all decay so we'll just slowly hear it drop let's start off even higher here that slows down a lot and we can put on the intensity as well so a little less rate listen to that on pitch so it goes from dramatic since we're just decay stage here to almost go since we're just the decay state stage here right it's just from full slowly ramping down to zero there's a lot of modulation at first and then it fades into nothing same thing for shape pretty powerful sound design tools cool okay now that we know all that i'm going to come back here to the so i skipped these earlier but these are the complicated parts of the oscillator we're going to come back there now i'm going to turn this down and that off that's our sound right now cross mod first cross mod will change the pitch of oscillator 2 as if oscillator 1 is an lfo pointed to it so we're just going to listen to oscillator 2. okay and let's turn up cross mod when they're in when they're in tune you don't get that much difference and they do um change a little bit because they are they do change a little bit because they're vcos they're imperfect but i'm going to change pitch of vco1 [Music] bring it into a lower octave and if we do the inverse let's get this back to zero if we listen to oscillator one while i change the pitch of oscillator two nothing happens just the same as it was so cross mod only affects oscillator 2. okay and because it's pitch modulating pitch at audio rates it gets pretty complicated and it's mostly related to it gets pretty complicated and it has some interesting relationships when you're barely out of tune [Music] okay so i'm going to bring in oscillator 1 and turn off our cross mod right now so we're pretty close to intune i'm going to turn up cross mod and we get more of that beating but we're controlling speed of it okay and then after this and then after we get that set up i can change a pitch of oscillator two and you get a moving and you get this sophisticated moving waveform all the way at the beginning of our sound set of our sound design here [Music] wonderful let's turn that back down to zero and get our pitches back in line let's listen to just oscillator 2 again we can point our envelope generator to the pitch of our oscillators and in the middle again see that it's bipolar in the middle is zero and that c is sense and positive is up to the left negative is down to the right so if i turn it up a little actually here here is at zero here it is up a little bit because it's using this second envelope remember we're just on a decay stage let's give it some rise as well you hear that [Music] make them both slower make it more dramatic and that sustained since we're adding positive modulation with this sustain level at zero is our starting pitch of our oscillator okay [Music] and that is just oscillator 2 if i turn up oscillator 1 you don't hear it it only affects oscillator 2. okay that isn't per that is on purpose [Applause] so and then let's listen to it negative exactly what you would expect so let's get that back to zero we're going to bring back okay and now we're still just on oscillator 2 i'm going to turn on sync what sync does is every time oscillator 1 finishes a cycle it'll reset the wave of oscillator 2. okay and so just like a cross mod we're going to listen to that by just having oscillator 2 come through our mixer i'm going to change the pitch of oscillator 1 to see how it affects oscillator 2. so here we are without it now it's on they're on the same octave on the same waveform and sync is in you don't hear much of a difference right but as i change the pitch of oscillator 2 here [Music] or even bring it up in an octave [Music] you keep the same you get the impression of hearing the same pitch with some other added harmonics and that combined with our pitch envelope and just decay right now [Music] can be really really complicated really sophisticated okay so it's out again ring modulation ring modulation is very complicated as well ring modulation changes the volume of oscillator 2 as if vco1 oscillator 1 was an lfo and so let's turn it on with oscillator 1 in the mixer no difference again okay so it's down oscillator 2 is up and again because it's related to the pitch of both those the way those pitches interact will really change a lot of what you're hearing because your site because you're modulating at audio rates eat some really complicated interactions you can get some frankly very complicated interactions cool okay we could do change the pitch from oscillator to as well with our envelope maybe put them in sync as well this is a sink and ring mod you're almost getting performance and that'll change depending on how we have how we have the waveform set [Music] it's almost like speech anyway this is in depth and i'm showing it to you for two reasons one i want to highlight these oscillators are really really really good especially for something that's cheap they have a lot of dope options uh even just the wave shaping even just the wave shaping which seems totally like oh i'm going to change the shape that's not normal and those are options that are really really really cool to have on something like this sync is is fairly common but ring mod is not and that combined with the cross mod depth and being able to modulate the pitch of oscillator 2 with the envelope those are all really sophisticated options and the way you synthesize things on the mini log a lot of your action happens right here a lot of your action happens with something that seems so fundamental to a synthesizer this is where a lot of the character in the mini log comes through is the way the oscillators interact and the really really and the cool complex options they afford you okay that was a bit of an aside we're coming all the way back and i'm checking visually to make sure i didn't forget anything we're all the way down to the delay so i'm going to get set up a more exciting sound and we're going to leave it back on vco1 my pitch was way low the delay is in effect i'm sure you've heard it before and so we're putting it on off of bypass and onto pre-filter we're going to time all the way up and just a little bit of feedback hear that it is a little noisy and people complain about that but let's turn the time down to the feedback up feedback will feed the signal back into the beginning of it so more feedback is more repeats [Music] okay and it can also sound sort of reverby which i'm sure you're familiar with wonderful wonderful sound it's a little gritty little lo-fi if i have any complaints it's that the delay doesn't have an independent level and that it is only good [Music] being gritty and low-fi i just demonstrated because i came across it if you change time while you're feeding your signal back it'll change in pitch because we all know that pitch is frequency right and over let's say over a half second your frequency was a certain number of peaks a certain number of valleys if you change the time if you make the time slower that same number of peaks and valleys is now taking up more time so effectively you're hearing a lower frequency fun to play with and because it's here it's easy too okay the high pass filter does the opposite of a low pass filter so we'll go back here and our output is happening before the filter if you look at this diagram this output routing is not really related to the delay it's really related to what you're hearing at the end of the synthesizer right and so if you look at the diagram when i put it on pre-filter that line right before hpf so we're getting the output of the synthesizer before we go through this high-pass filter okay if i put it post it's happening after it so we can hear its effect on our sound as we roll up we get only high end [Music] okay just another synthesis option the fact that it's paired with the delay [Music] the idea with that is if you have a pre-filter that high pass only affects the delayed signal okay and it's a little resonant it almost sounds like [Music] so let it keep it a little less muddy but in my experience it only makes it more shrill so if i'm using the high pass filter it's on my entire synthesized sound and if i'm using it for the delay i keep it wide open cool that was in depth okay on to the voice modes this whole time we've been in poly which means we can play four notes at the same time and these diagrams are helpful once you think of it like that okay but [Music] four notes as soon as i play a fifth i'll lose one so i'll just play [Music] you can play up two four at one time if you play a fifth you'll lose one okay duo means you're using two voices per and this voice mode depth detunes them from each other so remember when we had our two oscillators on and when their pitches were close they started beating against each other that's the same thing happening here just with two of our voices so think of my finger pressing that key twice two separate synthesizers like that one key when we do that on one synthesizer it cuts our voices in half and so here we only have two now so if i play two notes and then two more i can cut them off okay but if i keep myself to two notes i get a much bigger sound so we go back to paulie and then duo let alone with some detune if i have both oscillators in bigger again we're now hearing four oscillators per voice [Music] okay back down to just oscillator 2 and unison is all four of those voices at once okay you know what that means we can only play one note at a time [Music] it's retrigging our envelope every time if you don't want it to retrigger your envelope every time you can go to program edit and then change the portamento time to zero [Music] and it won't re-trigger your envelopes like it does when it's off hear that attack stage every time that's not behavior i'm used to or is really normal this is i'm taking this bit exactly from nick batt in his review of this i remember that from years ago when i originally had one because it bothered me okay so we'll put that off again actually you know what so we'll leave that we will leave that on one [Music] but here our voice mod depth is unison is detuned of those four voices [Music] now our other oscillator as well [Music] almost too big huh so go back to one oscillator turn this all the way down mono is one voice at a time and why might i want to do one voice at a time it changes the way you play and it changes the result so if you want uh so if you're composing a part that's just a single you're playing a part that's uh single note lines if you're composing a part that's single note lines or you're writing a bass line it can really help to put it in mono and it'll force you to play in a way that'll fit your composition okay voice mod depth brings in another voice at a lower octave [Music] voicemail depth here brings in another voice at a lower octave [Music] i think multiple makes a huge chord mode play one note it's like you're playing a chord and as you change the voice mode [Music] changes the chord you're playing i don't find myself using that much uh delay delay is different from our delay effect it will repeat what you play at a lower volume a few times right but it still takes up one of your voices [Music] so it can work but it normally just feels kind of muddy because you don't have great control don't find myself using delay very often the arpeggiator a synthesizer classic and if you hold it it'll latch so i don't have to hold the keys anymore it'll just keep going lovely in our voice mod depth we'll change the order of that arpeggiation from rising falling rising and falling to playing every note together and that's synced to our tempo over here cool side chain i think is very useless so let me get side chain i think is kind of useless this last voicemail i'm going to turn the depth way up can you see that turn the depth way up it brings the volume down when you play another note isn't that weird and so the depth is how quiet it gets when you do that so you put it somewhere in the middle it could be a little more tasteful than what i just showed you but i don't again find much use for it i live in poly enduo and mono more than anything else of course the arpeggiators fun to play with but i think this is really where the mini log shines is doing for anaplyph cool i spent a lot of time talking about that and i hope that was helpful to you i feel like that's covered ground i feel like that's treaded ground but sometimes having somebody new describe it to you is all that you needed to make it make sense so if even one person got that if even one concept was clearer to one person i feel like that was worth it but if you skip to that i don't feel bad [Laughter] great i'm tired after doing all that let's talk about what it's like to buy one used i've got reaver pulled up on my phone right now and i see 350 390 400 local pickup and some other things those are all a little high and i'm going to guess it's because the ones that were any lower have sold already so these are the most recently sold ones on reverb i use reverb first i use reverb the most because i know it's going to have the things i'm looking for but if you can find a better deal on ebay or craigslist facebook marketplace you should go with that i got this it was a little bit dirty so i cleaned it up uh it showed up well packed in a totally good shape but just a little dirty and if we're talking about buying used that's something that can happen so you're seeing footage right now of me taking all the knobs off and giving this a bit of a windexing and this is far from the grimiest piece of gear i've ever received but after that little rub down of grime and oiliness it feels fresh and clean and like it's something that is mine and i spent some time on it now and i feel better about that etc etc so you know what they say leave it better than you found it right so now mine has all these uh pointers filled in and uh it's a little cleaner than i got it anyway that's another tangent uh you've seen i think you've seen that footage already uh which is not uncommon but sometimes things can be broken or have some issues so it's important to be ready to ask questions before you commit to a purchase one of the first things i ask and can normally lead into a lot of other things ask somebody why they're selling it they bought something else and they moved on totally fine they had a problem with this you can even learn a little bit about the issues you might eventually run into but if it has any problems or inconsistencies you want to try and get that out of a person before you commit especially if it isn't written out in the listing another few small things chances are the presets will be from somebody else so one of the first things i do whenever i get anything new i save those presets off just to have them just to preserve them and then i reload the factory presets just to have it in the state that it would have been from the factory and normally factory presets do a pretty good job of showing you what a synth is capable of or they can be really cheesy in the case of something like the mofo [Applause] [Music] but a couple other things you should be ready to check so when you get something used give it a once-over just look at every corner of it make sure it's clean and nothing's broken and then as far as things to do right when you get it out of the box and it's all plugged in and you make sure it sounds right a lot of the settings might be on the default things like your midi channel on the mini log a lot of the global settings can be changed the global settings won't change anything dramatically but if you run into an issue later it might stem from a setting that you didn't change it was just there when you got it just another thing to look for that's more or less everything i wanted to say there are some sneakier tricks i think i'm going to save those for another video okay so i'm gonna go back to where i some of my preset patches here some of my patches i just worked up in the past couple days when i was enjoying this if there seems to be an audience for it i might do some more uh specific programming things with this but in general i wanted to do a few things i wanted to do a beginner tutorial on the mini logs i kind of think of it as closing the loop for myself uh it's one of the first synthesizers i had that things really started to click for me and that's and that's really really important to me and who i am now so in a lot of ways this is for myself but i also think truly sincerely in 2021 this is the best synthesizer you can get if you're trying to learn they're everywhere there's amazing amazing resources all over the place giving patches and sounds and advice and tips everything is available from you can find coverage from bo beats ranging back years and a number of other creators uh beyond being good at what it is and being very hands-on it's an interesting sound and uniqueness of itself and these oscillators is great cool okay so a lot of what i said positively is true about the monologue as well and it is available for even less money so if that's where we're at to start that's where we have to start and you should and it'll be great uh but as far as other polyphonic synths let alone ones that are analog i really don't think you can beat this [Music] i could play with an arpeggio forever to quickly summarize i think it's a good first synth for a lot of reasons okay it no small part is the oscilloscope and no small part is not for function control of your parameters uh but in a more uh what's the right way to say this sort of lofty way it opens the door to a lot of other things because it is straightforward and simple it makes you get to a point and say why can't i do this for me one of the quickest for me one of the earliest things i got frustrated by was why can the lfo only go to these three places it's so easy for me to reach out and touch any of these knobs why can't i point the lfo to more things and that led me to something with modulation matrix but for many synth sounds you don't need that functionality for a lot of things this is much more than enough i don't think the mini logs limitations who said it did mark dodie say it mark doty said don't ask a synth why it can't do something come to it and say what can you bring me and the mini log can bring you a lot and a lot of limitations aren't a problem until you learn enough about synthesis to know i would like to do this i wish this worked differently and that's part of why i think this is a great beginner synthesizer because it lays these things out in a way that will lead you to a place of growth and it'll lead you to a place of learning a little bit more okay maybe that's too lofty maybe i'm idolizing this but it is very important to me i hope this was helpful to somebody i hope this was helpful to anybody i uh really do love this i'm gonna keep it around for a while i might chop it and make it a module i'm talking too much mine has been jorb i love gear then lose the mini log you should buy one if you don't have one thanks for watching please subscribe so long [Music] i'll see you in the next one okay have a good night [Music] you

Channel: Jorb

Views: 22,409

Keywords: jorb, loves, gear, jorb loves gear, korg, minilogue, monologue, microkorg, moog, behringer, beginner, first synth, best first synth, best synth for beginners, starter synth, korg minilogue bass, korg minilogue review, synthesizer review, synth, best synth, top 3 synths, top 3 synthesizers, korg minilogue, analog synthesizer, best budget synth, music production, yamaha reface cs, minilogue xd, original minilogue, best beginner synthesizer, best synth for a beginner, microfreak, minifreak

Id: EE7EvKYTs4I

Length: 50min 35sec (3035 seconds)

Published: Thu Nov 11 2021