I'm so sorry it took me this long to post
this.
So last year, I did a cover video
of the song Roygbiv by Boards of Canada.
If you have never heard Roygbiv, and you have
no idea who Boards of Canada is: do yourself
a favor, pause this video, and take the next
hour of your life out to hear the album, Music
Has The Right to Children.
And then go and watch my cover video, and
then come back here and you'll basically be
up to date.
I did this cover merely for fun, not thinking
it was going to go anywhere.
Instead, the exact opposite happened.
It not only blew up; it hit 10,000 views last
month.
And it's to a point where it scared me, because
I knew the one question people were going
to ask was, can you share the patches?
And that's exactly what people commented to
me.
This has been asked so much that I honestly
feel guilty that it took me this long to finally
get this out.
So for today, I'm going to share the lead
patch.
I know, everyone wants that bass patch, that's
coming.
But surprisingly, a lot of people wanted the
lead patches.
So, here we go.
So first thing we want to do, as always, is
hit shift-3 to initialize our patch.
We're going to hit voice, leave it on synth,
leave it on a single layer, and in our voice
assign, the only thing we're going to change
is to take it from poly and go monophonic.
In our pitch, we're going to mainly keep everything
the same, except in our portamento, we're
going to bring that up to 5.
What that's going to do is simply glide between
every note.
In our oscillator 1, we're going to set our
waveform to square.
And you can already hear that glide happening.
On these two controls, we're going to use
a little bit of pulse width and set this all
the way up to 94.
And this value is really more for taste.
And then, um, this actually gives us the pulse
width modulation.
In our second oscillator, we're going to set
the waveform to square, and we're not going
to use any oscillator mods on this.
The only thing we're going to do is shift
the pitch of the second oscillator up an octave.
And then in our mixer, we're going to turn
up the second oscillator to about 60.
Then in our filter, we're going to set it
to 24db lowpass.
Set our cutoff all the way down to 24.
Our resonance we can dial back to 18.
Our filter EG int here, we're going to set
that up only to about 17.
And then keytracking, you can play around
with this, but I set mine up the whole way
up to 63.
So you can hear the filter opening up as you
get towards higher notes, and closing as you
go lower.
Over in our filter EG, we've got an attack
of 7.
Our decay we'll set up to 104, which we're
not going to really hear the effect of that
unless we take our sustain down to 20.
So you can hear that already, the filter is
closing down slowly.
I did a little jazz thing there, I did not
mean to do that!
And then our release, we're going to set to
5.
The attack of the Amp EG, we're going to set
to 1, and I usually do that anyway, because
I notice just the tiniest click when it's
at 0.
1 just helps to diminish the click a little
bit.
It's just something I tend to notice.
Decay we can keep at 64, sustain is at 127,
and our release is going to be 7.
And then in our LFOs: the first LFO is going
to be set on triangle.
This is actually where our pulse width modulation
on that square wave in oscillator 1 is happening.
No tempo sync.
We're just going to get our triangle up to
around 37.
In LFO 2, a little trick that I enjoy doing
is using a sample-hold waveform, and having
this at around 55.
And all this is going to do is we're going
to apply this to the pitch, and that basically
gives it a little bit of pitch warble.
That's up to taste, really, but it's something
I enjoy doing.
On patch 1, this is where we're going to apply
LFO 2 to our pitch.
So set our source to LFO 2, our destination
to pitch, and we're only going to go up to
7.
If we did any further, like 35, you would
get these really random values going on.
It can be really really cool, I've done that
before, but at 7, it's just slightly doing
it.
If you want to dial that back at all, that's
up to you.
So really, this is the bulk of the patch.
So if I play that lead.
You know, that's basically what I was using
in my cover.
If you put some reverb onto that, a little
bit of delay post-processing - if you want
to use the MicroKorg's delay - that's up to
you, but this is really what the patch is.
This is future Ian here.
So in the midst of editing for the last seven
hours between last night and tonight, I realized
that I did not do the best job with this tutorial
as I would have hoped.
Essentially, I filmed nearly 10 minutes of
material.
Honestly, so much of it did not need to be
said, and I had to cut it down from 10 minutes
to 4 1/2 or so minutes.
If you had any trouble following along, I
apologize for that, and if you were able to
fully understand everything that I said, and
was able to follow it step by step, through
all my ramblings: congratulations.
Kudos to you!
If you did have trouble, there's a brilliant
website called SynthLib.
It's basically a free open-source library
of user-contributed synth sounds from all
around the world.
For me, it's basically the best resource I've
seen where, not only are the settings laid
out organizationally well, but you can also
freely download the patch, if you are tech-savvy
enough to know how to transfer it to your
MicroKorg over MIDI.
That link to this patch that you just saw
is in the description.
If you happened to find this video to be helpful
in any way, or happen to like the sound, feel
free to hit the like button.
If you want to see more videos of this, subscribe,
go and hit that button!
And comment below where you're using this
patch, if you're using it in any of your music.
I'd love to hear it!
Feel free to send it my way.
My name's Ian Felpel, and I'll see you in
the next video!
