Tips and tricks programming OB

MBlomS · « **on:** August 15, 2016, 06:34:16 AM »

I thought we could put our little tricks here to spread to other OB6 users. Here´s why:

I just got me an OB6. Very pleased. Though I have to admit my tweaking skills can be improved quite a bit. Would any of you care to give me some tips of how to make pads and stabs get that extra edge or creaminess (in lack of better words). I want to make those "basic" usable-in-a-band sounds as good as possible, not that interested in trippy strange effect sounds. Just get some ideas like "assign slow LFO to X and Y" or "set PWM on ... to ... and..." so I get some stuff to work with instead of just going at it without plan. Though I enjoy that part as well.
Would be greatly appreciated!

And there´s probably more out there interested in those little extras.

VonStauffer2112 · « **Reply #1 on:** August 17, 2016, 03:46:26 PM »

+1 for tips and tricks

I picked one up recently simply because I was playing around with one in the store and it sounded so awesome.

Problem is I now have to learn how to play the thing (aka never played keys in my life) but having fun thus far

Any tips on getting some Rush sounds would be greatly appreciated.

magikroom · « **Reply #2 on:** August 24, 2016, 02:29:55 AM »

I've found it a breeze to program, it really is about subtle movement over time. I've made a number of patches and did a video on 30 of them - https://www.youtube.com/watch?v=zNFEOgLWdoQ

MBlomS · « **Reply #3 on:** August 28, 2016, 07:41:41 AM »

Watched your video earlier and I really like those patches! Please give some examples of what "subtle movement over time" you program.

magikroom · « **Reply #4 on:** August 29, 2016, 12:42:15 AM »

Quote from: MBlomS on August 28, 2016, 07:41:41 AM

Watched your video earlier and I really like those patches! Please give some examples of what "subtle movement over time" you program.

For me, what makes a patch sound 'good' is that once it hits the sustain of the envelope, is that it's not static...our ears get bored quite easily and while its easy just to grab a knob and turn it in real time, I find it best to keep the movement going when it hits this stage, so program it in. The wheel is good, but it does mean you have to take a hand away, so I put a lot of the duties i'd normally do for the Mod wheel, assigned to After touch. Of course, this isn't always the best for the sound, so I may have a positive increase on the filter with the wheel, but a negative on the Aftertouch...so when playing, adjust both of them simultaneously...often competing with each other or complimenting.

The LFO is the best tool though, pretty obvious really but i'll dial in just a small amount of initial LFO to affect the Filter, but on a very slow setting. Unfortunately, I do find the wave shapes for the LFO (other than Sine) to be too clicky for Filter or Amp and would be great if they could implement a SLEW parameter to take the edges of the waves. That said, as you can use the 2nd Oscillator as a LFO and set it to Triangle, hit Sync and then you can use that to modulate Oscillator 1 and use the LFO at a different rate.

I've just made another 20+ patches for it, that experiments more with this...I'm still learning the capabilities of the Synth myself and using Bandpass more and other things. I'll be selling the patches, might wait until I do a full Bank...won't over charge for them, but I might do a video of things i've found good for programming the Synth.

magikroom · « **Reply #5 on:** September 03, 2016, 11:07:59 PM »

Just done 30 more patches, this time I wanted to spend more time on Modulation. https://youtu.be/-AdgiNJdYXg

magikroom · « **Reply #6 on:** September 14, 2016, 12:52:17 AM »

One thing I do a lot is when I initialise the sound and you have a Sawtooth on Osc 1, is to turn Osc 1 off and just start with the triangle wave of Osc 2. Is great for dark low frequencies or pitch it up an Octave or 2 and use the Ring Modulator on a 0 setting and tracking off…it affects the tone, meanwhile bring in the sub and have a fast attack and decay, then bring in Osc 1 to fill out the frequencies.

It's very easy to set both envelopes quite the same, but i've found making the filter envelope very different to the amp can make a big difference, then shape further with the Env knob in the poly mod section, assigned to Filter.

1p plus p and p · « **Reply #7 on:** December 17, 2016, 03:51:34 AM »

some nice tips here. one thing i note is that it's easy to get distracted in the multitude of options.

so i sometimes set myself a specific task and *get organised* on it.
eg. i love 007 boards of canada style patch. want to try something similar.
first, select a destination bank - you'll need this.
save 007 patch to 9 then init patch to 0
now go after the basic sound, oscillators, envelopes. as soon as you get close, save it to 1. this is your starting point. As you go exploring you will find new things. save them on 2 - 8 and keep moving.
This way you have the comparison point on 9 and the building blocks on 0 -1.

autoy · « **Reply #8 on:** December 20, 2016, 01:15:45 AM »

Here's a little trick I learned the other day, a way to get harder, punchier saw waves. You configure both VCO1 and VCO2 with sawtooth waveforms and set the square pulsewidth to 0 so you shut its volume off. Then in the waveform mixer of each VCO you will notice when sweeping from saw to square that the maximum saw volume is achieved exactly at halfway between the waveshapes, not at full saw. This is to compensate volumes in the waveform mixer when using both. As you've shut down your square's PW you will get only your saws, albeit with a louder, harder tone.

Chimponaut · « **Reply #9 on:** December 20, 2016, 12:27:19 PM »

Deconstructing some of the factory presets shows that the detune setting is often used on polyphonic sounds. Somewhere around 25%-50% seems to be where the factory guys liked to keep it.

When using OSC 2 as an LFO, don't forget about the keyboard tracking button for OSC 2. Toggling that button can really change the character of the modulation. This is especially useful when the range/octave you are playing in creates modulations that are too fast or too slow.

Unison with only 2 voices assigned, spread as wide as possible and detuned somewhat heavily. Nice...

Benzebub · « **Reply #10 on:** December 23, 2016, 12:06:38 AM »

Quote from: autoy on December 20, 2016, 01:15:45 AM

Here's a little trick I learned the other day, a way to get harder, punchier saw waves. You configure both VCO1 and VCO2 with sawtooth waveforms and set the square pulsewidth to 0 so you shut its volume off. Then in the waveform mixer of each VCO you will notice when sweeping from saw to square that the maximum saw volume is achieved exactly at halfway between the waveshapes, not at full saw. This is to compensate volumes in the waveform mixer when using both. As you've shut down your square's PW you will get only your saws, albeit with a louder, harder tone.

Great trick! Thanks for sharing it.

1p plus p and p · « **Reply #11 on:** December 26, 2016, 05:29:16 AM »

Not really a programming tip, but I was having some midi issues while setting up, and found myself playing the OB and Moog on the same midi channel off the keyboard by accident. It' s a great big sound, they really compliment each other :0)

Chimponaut · « **Reply #12 on:** December 27, 2016, 12:11:30 PM »

Quote from: 1p plus p and p on December 26, 2016, 05:29:16 AM

Not really a programming tip, but I was having some midi issues while setting up, and found myself playing the OB and Moog on the same midi channel off the keyboard by accident. It' s a great big sound, they really compliment each other :0)

I took my Sub 37 and the OB-6 Module home for Christmas. Was just planning on killing some time making new presets but when I heard the Sub 37 stacked with the OB I couldn't believe the way they sounded mixed together.

1p plus p and p · « **Reply #13 on:** December 27, 2016, 01:14:05 PM »

he he. 7 voices, 4 osc, 2 x filtr and mod matrix. wildly different sounds but they harmonise so well...

MBlomS · « **Reply #14 on:** December 28, 2016, 09:40:07 AM »

Don't tempt me, I'll probably never go back from that way of playing bass! And my band mates won't have much space free

Quote from: 1p plus p and p on December 26, 2016, 05:29:16 AM

Not really a programming tip, but I was having some midi issues while setting up, and found myself playing the OB and Moog on the same midi channel off the keyboard by accident. It' s a great big sound, they really compliment each other :0)

shmuelyosef · « **Reply #15 on:** May 10, 2019, 04:57:27 PM »

Quote from: magikroom on August 29, 2016, 12:42:15 AM

The LFO is the best tool though, pretty obvious really but i'll dial in just a small amount of initial LFO to affect the Filter, but on a very slow setting. Unfortunately, I do find the wave shapes for the LFO (other than Sine) to be too clicky for Filter or Amp and would be great if they could implement a SLEW parameter to take the edges of the waves.

I find this to be a real nuisance as well...I'm surprised that it still has not been dealt with. Is there anyone that 'likes' the clickiness OR has figured a way around it?

rianwithaneye · « **Reply #16 on:** May 16, 2019, 09:08:41 PM »

Old thread but I figured I'd add a tip to the list.

I find that sacrificing the sound of oscillator 2 in favor of its use as an LFO is a very worthwhile tradeoff. I've been programming some really swirly pads and deep basses by going down to OSC 1 only and then using OSC 2 to modulate PW, Osc shape, filter shape, Osc 1 pitch, etc. I tend to keep OSC 2 set to triangle, but I've also found that if I set it closer to square and then use LFO 1 to modulate OSC 2's pulse width then I can some really crazy timbres.

Maybe it's all in my head, but some of the sounds I've programmed with one oscillator really do remind me of a Juno. Lord knows those synths are able to do quite a lot with one oscillator!

shmuelyosef · « **Reply #17 on:** May 22, 2019, 03:03:48 PM »

Quote from: rianwithaneye on May 16, 2019, 09:08:41 PM

Maybe it's all in my head, but some of the sounds I've programmed with one oscillator really do remind me of a Juno. Lord knows those synths are able to do quite a lot with one oscillator!

I have had much the same experience. I actually use VCO1 a lot in SYNC mode with VCO2. Set both to Saw and you can 'tune in' a Super-SAW mimic. Try it with VCO2 off OR on...vary the frequency of VCO1 (the fundamental stays pinned to VCO2). Lots of options.

rianwithaneye · « **Reply #18 on:** June 02, 2019, 02:28:10 PM »

Quote from: shmuelyosef on May 22, 2019, 03:03:48 PM

I have had much the same experience. I actually use VCO1 a lot in SYNC mode with VCO2. Set both to Saw and you can 'tune in' a Super-SAW mimic. Try it with VCO2 off OR on...vary the frequency of VCO1 (the fundamental stays pinned to VCO2). Lots of options.

WOW. This is my favorite tidbit so far. Changing VCO 1's frequency while the oscillators are in sync opens up all sorts of cool hollowed-out textures and formant/vowel sounds. Pretty blown away over here, thanks for that one 🙏🏻

shmuelyosef · « **Reply #19 on:** June 06, 2019, 12:51:05 PM »

Quote from: 1p plus p and p on December 17, 2016, 03:51:34 AM

eg. i love 007 boards of canada style patch. want to try something similar.

Not familiar with this patch...anywhere I can hear an example?