Imagine all the ways you can produce a patch as akin to all the possible chess games. Often if you start from scratch every time, you'll be doing the same initial settings every time. Just like in chess, there are well-known lines (and essentially anything else is a losing position, kind of like random knob twiddling will produce a patch that doesn't sound nice), so with vsts, there are well-known procedures to get certain sounds. What you can do is to go part way to a sound, save it as a template preset, and then go on. Then, you can go back to the template preset and take a different path to a new patch. You have saved all the time getting you from scratch to the template. In this way, you build up a kind of 'patch tree', where patches descend from templates (e.g. you'll have a few pad templates, a few pluck templates, and so on).
A way to illustrate further: consider making two pluck patches. 1. vca and vcf envs: attack to 0, sustain to 0, decay = release; osc1 to saw, osc2 to saw, detuned by 10c. 2. vca and vcf envs: attack to 0, sustain to 0, decay = release; osc1 to square, osc2 to triangle, octave down. We have done the "vca and vcf envs: attack to 0, sustain to 0, decay = release;" bit twice. And as we make more patches like this, the duplication increases. So we do what software programmers call refactoring, and to do this with synth patches, we use presets and templates. So what we do is: 1. vca and vcf envs: attack to 0, sustain to 0, decay = release; save as PluckTemplate1. 2. load PluckTemplate1; osc1 to saw, osc2 to saw, detuned by 10c. 3. osc1 to square, osc2 to triangle, octave down. Software people call this principle DRY: Don't Repeat Yourself. Whenever you find yourself doing the same thing over and over, there are two distinct possibilities: 1. you want to burn some pattern into your brain, and for this intensive repetition is a good thing; 2. you just want the end results, in which case redundant repetition is inefficiency.
@@Chalisque Makes sense, whether your metaphor is a tree structure, or chess techniques. I like to think of sound design as taking forks in the road. Some of those forks, however, are hidden. For instance, when you mess around with resonant bass/leads and turn the resonance ALL the way up, then you get a fundamental tone, even if the oscillator source is noise. This revealed a non-obvious fork in the road that can be exploited with keyfollowing -- suddenly the filter is the oscillator generating the tone instead of the oscillator as the resonance is now filtering the noise like wind blowing over a glass bottle. Personally, I didn't discover this myself, but thanks to a whistle-like preset that I was compelled to examine. That was a really cool fork in the road (or chess tree-limb) for the author/sound designer had taken that yielded a unique result.
uhe has the skins on their website actually. google "u he device skins" and you can find themes for almost all of their synths, i think this is the one i use myself but with black wood on the sides instead, i just dont remember what it was called
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First! Another very helpful video. Thanks for that! Greetings, Erik
Ohhh, I never use the templates. Nice reminder! Lovely sounds, By the way!
Imagine all the ways you can produce a patch as akin to all the possible chess games. Often if you start from scratch every time, you'll be doing the same initial settings every time. Just like in chess, there are well-known lines (and essentially anything else is a losing position, kind of like random knob twiddling will produce a patch that doesn't sound nice), so with vsts, there are well-known procedures to get certain sounds. What you can do is to go part way to a sound, save it as a template preset, and then go on. Then, you can go back to the template preset and take a different path to a new patch. You have saved all the time getting you from scratch to the template. In this way, you build up a kind of 'patch tree', where patches descend from templates (e.g. you'll have a few pad templates, a few pluck templates, and so on).
Chess opening analog-y... I like it!
@@brianbergmusic5288 More generally, a tree structured thing. (Chess is often modelled as a game tree.)
A way to illustrate further: consider making two pluck patches.
1. vca and vcf envs: attack to 0, sustain to 0, decay = release; osc1 to saw, osc2 to saw, detuned by 10c.
2. vca and vcf envs: attack to 0, sustain to 0, decay = release; osc1 to square, osc2 to triangle, octave down.
We have done the "vca and vcf envs: attack to 0, sustain to 0, decay = release;" bit twice. And as we make more patches like this, the duplication increases. So we do what software programmers call refactoring, and to do this with synth patches, we use presets and templates. So what we do is:
1. vca and vcf envs: attack to 0, sustain to 0, decay = release; save as PluckTemplate1.
2. load PluckTemplate1; osc1 to saw, osc2 to saw, detuned by 10c.
3. osc1 to square, osc2 to triangle, octave down.
Software people call this principle DRY: Don't Repeat Yourself. Whenever you find yourself doing the same thing over and over, there are two distinct possibilities: 1. you want to burn some pattern into your brain, and for this intensive repetition is a good thing; 2. you just want the end results, in which case redundant repetition is inefficiency.
@@Chalisque Makes sense, whether your metaphor is a tree structure, or chess techniques. I like to think of sound design as taking forks in the road. Some of those forks, however, are hidden. For instance, when you mess around with resonant bass/leads and turn the resonance ALL the way up, then you get a fundamental tone, even if the oscillator source is noise. This revealed a non-obvious fork in the road that can be exploited with keyfollowing -- suddenly the filter is the oscillator generating the tone instead of the oscillator as the resonance is now filtering the noise like wind blowing over a glass bottle. Personally, I didn't discover this myself, but thanks to a whistle-like preset that I was compelled to examine. That was a really cool fork in the road (or chess tree-limb) for the author/sound designer had taken that yielded a unique result.
Thanks! Can I ask here you got this skin from? Don't really like the red, but finding an alternative that has the MPE update is difficult :)
uhe has the skins on their website actually. google "u he device skins" and you can find themes for almost all of their synths, i think this is the one i use myself but with black wood on the sides instead, i just dont remember what it was called
Yes, I was going to ask that too. I really like the skin in the video.
This skin is available on uhes website, it's called Blau. It's so much easier on the eyes 🤙
@@stevesm2010 Seems we're out of luck ;)
@@el-bov8034 Read above :D