YESSS PLEASE MAKE THIS A SERIES. How to make reese bass, how to make korg m1 organ, how to make gesaffelstein stabs etc. etc. Remaking classic and useful sounds.
Man I love this sound so much.... When I'm not up to anything in particular, I usually play with supersaws.... They are easy to produce and sound amazing. Your version is really inspiring!
That was gorgeous! Going to be an inspiration for my next Techno-pad for sure. Pretty sure this can be taken into more sonically colder, spacious territory without losing the beauty of that sound. Thanks Oscar, please keep them coming.
Honestly, besides being incredibly knowledgeable, and of course the fact that you work with electronic music which already locks in the audience, I think that of your videos, this one highlights your possibly best quality as a teacher: You seem so genuinely enthusiastic about your material. It is madly infectious, I find myself grinning when you ask to take a moment to appreciate the supersaw. No ego, no "I'm too cool to show that I love this", it speaks volumes to your persona. Thank you, Oscar.
you are amazing, thank you so much for sharing your many years of learning for free with others. You are a good man, thank you :) in times of internet the world is small, I live in Poland and I'm glad that I can see what you want to show me.
Good job! I watch your videos with pleasure and although I rarely learn something new now I wish I had material like this back in the day so I didn't have to learn this the hard way.
This is exactly the sound where you can build your track upon this sound + simple baseline + couple of fx sounds and you have a nice emotional deep house track. No more than 16 tracks.
I really don't know how to thank you enough right now! I've been looking for a kind of remake/tutorial of this song or this sound for almost a year but nothing. I wanted to recreate this kind of effect on my beats too, but I've always missed that wobble sound and now I can do that, so thank you!
They shouldn't be that much appreciated, let me give you a little secret... Any sounds you hear in your crappy pop tunes have been done here first in EDM. So screw your crappy pop music lmao
Excellent as usual - so clear, you are an excellent teacher! And I really loved that you took some time to simply appreciate the exquisite beauty of the supersaw 😊
Love this, great learning on how to really apply multiple LFOs on the same parameter and sync it with tempo. Another learning is 1/12 speed of first LFO, it makes the whole thing even more interesting. I've played with Massive to follow your steps, and I must say that Sylenth sounds a bit better, less aggressive on the top end. BTW, such recreations are the most interactive way to understand synthesizers, that's the only way to learn it in a fun way. Thanks!
Hey that was a great tutorial ... simple and very interesting to follow along using my synth ... well done ... and you seem to have a very nice and friendly character that comes across well ...
For some reason I'm paranoid about sylenth becoming deprecated maybe because it's quite old and looks it. But it's one of the absolutely essential synths in my opinion.
Very nice tutorial, it is really interesting to listen to music in terms of sound design :) I listened to the original afterwards. maybe some ideas (without trying it): * The second lfo sounds a little bit more like automation or maybe an envelope in the original, in your version it kicks in too slowly * in the original the second lfo seems to lower the gain of the first lfo and flattens the filter frequency modulation (like you did it with the automation in the last chords in the turn-around) * maybe the second lfo has a little effect on the filter resonance?
Great video. I've been enjoying how simply you break a lot of this stuff down. One question (my theory training isn't what it once was, so I'm not arguing, just wondering): why do you "move everything to the major and count from there?" These are minor chords, starting with A minor. Why call it C major? I get that it's the ame key signature, but isn't it less accurate describing a minor piece by its relative major? Either way, thanks for your videos. I went to school for music engineering and have made electronic music for a long time, and I still love easily digestible short videos like this that break down useful info in such a simple way. Well done!
Hey! Cool question! I guess it's a type of laziness - I just remember one set of numbers, so in my world I is always major, vi is always minor, etc. I don't have to think about i, III, etc. And I just get used to thinking about patterns starting from the 6, and sometimes making the 3 major as an exceptional kind of flavor, things like this. I don't pretend it's theoretically "more right" than the other way, it's more out of convenience :)
There’s a DOPEASS bass on the chorus of I DID SOMETHING BAD (it’s by Taylor, & on the same album as don’t blame me). Give it a listen & try recreating it if you found it interesting enough :)
...Ooohh !, Thanks so much for all your gifts, advises, tuto, etc Each time i watching ur video, it is a real GIFT to me/us, I should say... Oh, YES !, ..., I wish to add, that you forgot to tell to her, Miss Taylor Swift, that if she likes, she can give u à call, and she should, personally, in order to surely get some nice beautiful melodies or any great sound from U, to succeed in its own work, should'nt she !!?
Very cool Oscar. I might see if I can reproduce a similar sound using both Wavetable and Analog... just for my own understanding as I'm at the point where I can listen to this and kind of understand what is happening.
One thing we don't often realise is that these pop artists have been using these kind of "Electronic" sounds for quite a long time. Mainstream pop of 2010 to 2015 is full of supersaws (Katy perry - California Gurls is a great example, or even Taylor Swift - I knew you were trouble, Chris Brown also does it, and also R.I.O). I don't know why most people think synths are typical of electronic music but i want to point out that that is actually not true and that sometimes they-re even one step ahead in terms of sound processing
You’re right about this, the concept of ‘electronic’ music is pretty vague anyway and certainly not cleanly delineated from pop IMO. I dont see electronic as a genre really but rather setting out what tradition of tools you come from :) as seen maybe by an absence of guitars on my channel 😄
Lol, 2010 is not early for synth work. Pop absolutely does not ever come up with any pioneering synth processes; the last time that happened was in the 80s with Phil Collins. All synth work you hear nowadays in pop is all taken from drum and bass.
@@TheDarkInstall Well this depends on what do you refer as "Pop". It is a really vague concept and you might be referring to another kind of pop. Just listen to Lady Gaga's Bad Romance to realise the use of synths, and even earlier, the 80's synthpop. And even without directly using synths, in some records the use of sampling techniques can be appreciated. Listen to Jorge Drexler, for example. The concept of electronic is algo vague. I state that there is no such thing as "Electronic Music", as synths are not exclusive from electronic music, prog rock used it a lot.
@@tiosexyy2000 @TioSexyy2000 You are not making any point with your words. The issue I had with your initial statement (aside from the amusingly naïve nature of your timeline), is that you claim that pop is ahead of the underground with it's synth work. This is utterly wrong. You also create a nice array of strawmen with your "most people" comments. Kraftwerk are really the first move into the mainstream, of synthesized sound; prior to that, synth work was essentially a drawn out scientific experiment, with figures such as Stockhausen, Carlos, Russolo, Schaeffer, Moog, et al being notable contributors. None of these were making pop. Post-Kraftwerk, and throughout the 80s, synth work was present in pop, but the real development was being done by the techno boys (Kevin Sanderson's detuned saw technique is mentioned in this very video, for example). Once drum and bass came along in the early 90s, along with the leftfield Warp record artists, it was taken to a whole new level; again, none of this at the hands of any pop producers. It has continued in this way ever since, with pop stealing and diluting the cutting edge sounds of the underground. Pop has always done this and always will. And as for Bad Romance by Lady Gaga... Hahahaha, listen to Mentasm by Joey Beltram, from 1991.
@@TheDarkInstall @TheDarkInstall man, i said "sometimes" they're one step ahead, and with "sometimes" i refer to those times that electronic producers make pop using applying techniques they learnt throughout their learning process. I also haven't mentioned the underground movement in any of my words. I have a degree in musicology. I know all the composers that you've mentioned and my "array of strawmen" comes from my research at my university. To be honest, i must recognize your knowledge about the 'underground' movement, and i won't discuss it because i don't have tools/information to do it. I recognize it and i encourage you to show me examples of what you mean by pop producers stealing the sound of the underground DnB. Seems like a really interesting topic to know about! Pandemic hit when we were supposed to study 'underground' culture so we just weren't taught what we were supposed to.
Hey @oscarunderdog - curious. How do you make this more mono compatible while still detuning and making that big sound? Im finding my supersaws get buried when i check the mono signal on my masterchain. Ive been working on a supersaw pad leadnwith a good amount of decay and release running an arp pattern. Also have some delay and reverb (low dry/wet though). Tried a bunch of things including playing with stereo width of unison in serum, running one oscillator mono, and only applying effects to a top layer to no avail. Since this is a relatively lead element, the song loses a lot of character in mono. Knowing some clubs run mono, want this to sound good enough there and amazing in stereo. Curious how you’d work this!
TIL I've been using too many voices for reese basses... yours sounds great with 2. Pretty sure I was rocking 2 oscillators with multiple voices each on mine and wondering why it sounded a little squirrely.
Hi Oscar, your videos are the best and I really appreciate that you do it! I tried to rearange your Wavetable for bass (from what you showed and what I can see) and the sound is totally different compared to yours..., my sounds like from the plastic box :D And this is what I´m looking to find out "HOW". Getting ready for your courses
Hey Oskar! You should check out the artist Rebūke if you haven’t heard of him already! He has a very unique style that would make for an interesting artist breakdown vid :) Completely unrelated to this video, I just want to see the master dissect this sound
I don't have sylenth and find it hard to recreate this sound in other synths like serum or wavetable as they all sound too bright and using a filter cuts too many frequencies and sounds weird. How can you recreate this soft supersaw in serum?
how can you do this in ableton only eg with wavetable? edit just got it however you can just use two detuned saw oscillators afaik. nice vid thanks oscar!
Hey Oscar, are you planning to use Vital in your tutorials in the future? I am just asking because I know that basic concepts do not need exact synthetizers, but Vital is so widely used, I think a lot of people could learn a lot from you :)
And as the Lord commanded, we all celebrated our weekly Taylor Tuesday, the day to step back and appreciate everything good in the world (a.k.a. Taylor Swift
What ? Don't blame me is the first song appearing in Taylor's Spotify profile aha that shows recognition no? :) anyway huge tutorial as always Oscar !! thank you !
![[FULL EP.16] เซียนพาลุย "เผือก-ฟรอยด์" กรี๊ดลั่น จนปูหนี | เฮ็ดอย่างเซียนหรั่ง | One Playground](http://i.ytimg.com/vi/FsqUvwS3b-Y/mqdefault.jpg)
Oscar's video courses ► courses.underdog.brussels 🖤🖤🖤
Underdog Discord channel ► discord.gg/z5N9CTA 👾👾👾
Face the Sun ► soundcloud.com/face-the-sun-be 🍎🍎🍎
Patreon ► www.patreon.com/underdogmusicschool 🌱🌱🌱
Proud alumni of Underdog here. Thanks for everything, Oscar. You've been a solid foundation for me.
Thx for the tutorial!
The channel is the Beeeeeeesssssttttt ✌️
I love the concept of reproducing iconic sounds that make the signature of the electronic genre! Thanks a lot!
YESSS PLEASE MAKE THIS A SERIES. How to make reese bass, how to make korg m1 organ, how to make gesaffelstein stabs etc. etc. Remaking classic and useful sounds.
How to make a korg m1 organ: use a korg m1, right?
@@nine1kid genius!
Man I love this sound so much.... When I'm not up to anything in particular, I usually play with supersaws.... They are easy to produce and sound amazing. Your version is really inspiring!
I'd like to say I love your episodes when you're showing emotional yourself - not only sound design.
This is so hot episode. Thank you sir
That was gorgeous! Going to be an inspiration for my next Techno-pad for sure. Pretty sure this can be taken into more sonically colder, spacious territory without losing the beauty of that sound. Thanks Oscar, please keep them coming.
Love the way you explain everything man. Thumbs up 💯🦁
Honestly, besides being incredibly knowledgeable, and of course the fact that you work with electronic music which already locks in the audience, I think that of your videos, this one highlights your possibly best quality as a teacher:
You seem so genuinely enthusiastic about your material. It is madly infectious, I find myself grinning when you ask to take a moment to appreciate the supersaw.
No ego, no "I'm too cool to show that I love this", it speaks volumes to your persona.
Thank you, Oscar.
I appreciate this :D
No better synth for supersaws than good ol' Sylenth1! Thank you for taking that moment to appreciate the sound, no better in electronic music.
you are amazing, thank you so much for sharing your many years of learning for free with others. You are a good man, thank you :) in times of internet the world is small, I live in Poland and I'm glad that I can see what you want to show me.
taylor made actually great electro-ish pop with max martin, i really appreciate this video thanks a lot
Good job! I watch your videos with pleasure and although I rarely learn something new now I wish I had material like this back in the day so I didn't have to learn this the hard way.
This is exactly the sound where you can build your track upon this sound + simple baseline + couple of fx sounds and you have a nice emotional deep house track. No more than 16 tracks.
I really don't know how to thank you enough right now! I've been looking for a kind of remake/tutorial of this song or this sound for almost a year but nothing. I wanted to recreate this kind of effect on my beats too, but I've always missed that wobble sound and now I can do that, so thank you!
Dude, you are amazing and helped me to find a new cool hobby during the last months 🙏🏻
supersaws are the staple of eurodance sound of 90s, that's why I adore them. in eurodance they usually are bright and straightforward
Damn the result is amazingly soothing
Taylor has really cool sounds in her music that I never see appreciated, even by her strongest stans
Hey I know you!
@@jerdie hehe so many people I know watch underdog!!
Yes her producers who make her music for her are good.
S/O Max Martin and co fo shoo
They shouldn't be that much appreciated, let me give you a little secret... Any sounds you hear in your crappy pop tunes have been done here first in EDM. So screw your crappy pop music lmao
Very emotional and pleasing. Thanks!
Love your videos dude!
Excellent as usual - so clear, you are an excellent teacher! And I really loved that you took some time to simply appreciate the exquisite beauty of the supersaw 😊
Loving Oscar just properly feeling that wave of sound.
Worth noting this is incredibly easy to do in Serum, as well.
Love this, great learning on how to really apply multiple LFOs on the same parameter and sync it with tempo. Another learning is 1/12 speed of first LFO, it makes the whole thing even more interesting. I've played with Massive to follow your steps, and I must say that Sylenth sounds a bit better, less aggressive on the top end. BTW, such recreations are the most interactive way to understand synthesizers, that's the only way to learn it in a fun way. Thanks!
I'm so happy to see you cover Taylor's music! 🤩❤️
Lol Taylor swift is absolute s***
time to try this one on my hardware synth! I'll be following along on my next pass through this video, as always you are excellent! thank you
Which hardware synth you got there?
@@jonl.b7168 I have a prophet X.
The way you explain things Oscar, omg you should teach people how to teach as well as music production!! Thank you and regards!!
Great video. I have learned a ton from this channel.
Nice! Thanks!
Lovely. Sometimes (usually) simple gets the job done.
super nice !!
Love it!
Amazing one Oscar ! Thank you ! Love it 😁❤
Love your work, Oscar! I'll start practicing music production by following your videos.
Lol 3:43, that happy face 😂
Hey that was a great tutorial ... simple and very interesting to follow along using my synth ... well done ... and you seem to have a very nice and friendly character that comes across well ...
Thanks 😊😊
More like this please!
I'm just here for your dancing. I expect to see you dance/throw some shapes at the start and end of every future video please Oscar x
Nice . Thanks for sharing
Man, this video is like a therapy session.
😁❤️
Thanks Oscar, I enjoyed that a lot.
Rad one dude, thanks!
super saws, super smooth
Wow.... so beautiful...thx a lot!!
Nice one, Oscar!
Every EDM enthousiast know the Supersaw 🤗
Thank you for another great one!
What a dope sound ! Amazing, thank you Oscar !
ur a legend
the actual Taylor Swift song is really good! didn't know it
😌🙌
ty bro
Thx for your presentation. It's also possible to do that in spire with similar results, by the way.
Very interesting video! I love these synth sounds. Also the song is in A minor!
For some reason I'm paranoid about sylenth becoming deprecated maybe because it's quite old and looks it. But it's one of the absolutely essential synths in my opinion.
Hell YEAHHHHHHH !!!
To far is actually amazing for some dark psy atmos:D
Dope
TOP ! Thx U !!
Very nice tutorial, it is really interesting to listen to music in terms of sound design :) I listened to the original afterwards. maybe some ideas (without trying it):
* The second lfo sounds a little bit more like automation or maybe an envelope in the original, in your version it kicks in too slowly
* in the original the second lfo seems to lower the gain of the first lfo and flattens the filter frequency modulation (like you did it with the automation in the last chords in the turn-around)
* maybe the second lfo has a little effect on the filter resonance?
Well done Oscar, lovely sound
I’m super sawed ! Thx Oscar
Damn, i literally just saw you in the tomorrowland set by Jennifer Cardini at the 1:05:00 mark, what a coincidence haha
😎
Nice sound! And nice to see you with a tank top as well! ;)
Really cool tutorial 👌🏽 thanks for sharing I didn't know you can use 2 LFOs on the same source!
Love from turkey sensei🙌🏼
Very inspiring! Thank you Oscar!
Supersaw baby!
Listening to this begging you to put a breakbeat on it!
Tried this in ANA 2. Damn it! Their OSC1 MORPH knob (to connect with LFO) turns to PHASE when choosing a simple SAW.
Great video. I've been enjoying how simply you break a lot of this stuff down. One question (my theory training isn't what it once was, so I'm not arguing, just wondering): why do you "move everything to the major and count from there?" These are minor chords, starting with A minor. Why call it C major? I get that it's the ame key signature, but isn't it less accurate describing a minor piece by its relative major?
Either way, thanks for your videos. I went to school for music engineering and have made electronic music for a long time, and I still love easily digestible short videos like this that break down useful info in such a simple way. Well done!
Hey! Cool question! I guess it's a type of laziness - I just remember one set of numbers, so in my world I is always major, vi is always minor, etc. I don't have to think about i, III, etc. And I just get used to thinking about patterns starting from the 6, and sometimes making the 3 major as an exceptional kind of flavor, things like this. I don't pretend it's theoretically "more right" than the other way, it's more out of convenience :)
@@OscarUnderdog Cool, just making sure I wasn't losing even more of my edge than previously realized. Thanks for the response!
sooo.. GEORGOUS!
There’s a DOPEASS bass on the chorus of I DID SOMETHING BAD (it’s by Taylor, & on the same album as don’t blame me). Give it a listen & try recreating it if you found it interesting enough :)
Love the supersaws! Now do some cheesy uplifting trance also 🤩
Do a Flume track breakdown! 🤪
Nice one Oscar!!
Supersaws? Taylor Swift? Yup. Done this. But in drum and bass, baby!
...Ooohh !, Thanks so much for all your gifts, advises, tuto, etc
Each time i watching ur video, it is a real GIFT to me/us, I should say... Oh, YES !, ..., I wish to add, that you forgot to tell to her, Miss Taylor Swift, that if she likes, she can give u à call, and she should, personally, in order to surely get some nice beautiful melodies or any great sound from U, to succeed in its own work, should'nt she !!?
That sounds heavily inspired by the intro to Forever Young by Alphaville. Both great songs
Łapka w górę i subik teź :)) Good luck !!!
I have sent you an e-mail, please reply, thank you
Nice one, Oscar!
Very cool Oscar. I might see if I can reproduce a similar sound using both Wavetable and Analog... just for my own understanding as I'm at the point where I can listen to this and kind of understand what is happening.
This was not bad.
One thing we don't often realise is that these pop artists have been using these kind of "Electronic" sounds for quite a long time. Mainstream pop of 2010 to 2015 is full of supersaws (Katy perry - California Gurls is a great example, or even Taylor Swift - I knew you were trouble, Chris Brown also does it, and also R.I.O). I don't know why most people think synths are typical of electronic music but i want to point out that that is actually not true and that sometimes they-re even one step ahead in terms of sound processing
You’re right about this, the concept of ‘electronic’ music is pretty vague anyway and certainly not cleanly delineated from pop IMO. I dont see electronic as a genre really but rather setting out what tradition of tools you come from :) as seen maybe by an absence of guitars on my channel 😄
Lol, 2010 is not early for synth work. Pop absolutely does not ever come up with any pioneering synth processes; the last time that happened was in the 80s with Phil Collins. All synth work you hear nowadays in pop is all taken from drum and bass.
@@TheDarkInstall Well this depends on what do you refer as "Pop". It is a really vague concept and you might be referring to another kind of pop. Just listen to Lady Gaga's Bad Romance to realise the use of synths, and even earlier, the 80's synthpop. And even without directly using synths, in some records the use of sampling techniques can be appreciated. Listen to Jorge Drexler, for example.
The concept of electronic is algo vague. I state that there is no such thing as "Electronic Music", as synths are not exclusive from electronic music, prog rock used it a lot.
@@tiosexyy2000 @TioSexyy2000 You are not making any point with your words. The issue I had with your initial statement (aside from the amusingly naïve nature of your timeline), is that you claim that pop is ahead of the underground with it's synth work. This is utterly wrong. You also create a nice array of strawmen with your "most people" comments.
Kraftwerk are really the first move into the mainstream, of synthesized sound; prior to that, synth work was essentially a drawn out scientific experiment, with figures such as Stockhausen, Carlos, Russolo, Schaeffer, Moog, et al being notable contributors. None of these were making pop. Post-Kraftwerk, and throughout the 80s, synth work was present in pop, but the real development was being done by the techno boys (Kevin Sanderson's detuned saw technique is mentioned in this very video, for example). Once drum and bass came along in the early 90s, along with the leftfield Warp record artists, it was taken to a whole new level; again, none of this at the hands of any pop producers. It has continued in this way ever since, with pop stealing and diluting the cutting edge sounds of the underground. Pop has always done this and always will.
And as for Bad Romance by Lady Gaga... Hahahaha, listen to Mentasm by Joey Beltram, from 1991.
@@TheDarkInstall @TheDarkInstall man, i said "sometimes" they're one step ahead, and with "sometimes" i refer to those times that electronic producers make pop using applying techniques they learnt throughout their learning process. I also haven't mentioned the underground movement in any of my words. I have a degree in musicology. I know all the composers that you've mentioned and my "array of strawmen" comes from my research at my university.
To be honest, i must recognize your knowledge about the 'underground' movement, and i won't discuss it because i don't have tools/information to do it. I recognize it and i encourage you to show me examples of what you mean by pop producers stealing the sound of the underground DnB. Seems like a really interesting topic to know about! Pandemic hit when we were supposed to study 'underground' culture so we just weren't taught what we were supposed to.
Hey @oscarunderdog - curious. How do you make this more mono compatible while still detuning and making that big sound? Im finding my supersaws get buried when i check the mono signal on my masterchain.
Ive been working on a supersaw pad leadnwith a good amount of decay and release running an arp pattern. Also have some delay and reverb (low dry/wet though).
Tried a bunch of things including playing with stereo width of unison in serum, running one oscillator mono, and only applying effects to a top layer to no avail.
Since this is a relatively lead element, the song loses a lot of character in mono. Knowing some clubs run mono, want this to sound good enough there and amazing in stereo.
Curious how you’d work this!
TIL I've been using too many voices for reese basses... yours sounds great with 2. Pretty sure I was rocking 2 oscillators with multiple voices each on mine and wondering why it sounded a little squirrely.
Yeah I think 2 is usually enough to get that tasty beating of the frequencies!
Sylenth1…. an old friend
correct me if im wrong but original supersaw had sinewave as 7th osc (6 saws +1 sine). All other are just cheap copies ;D
It's funny to watch when Oscar gets happy :D
Hi Oscar, your videos are the best and I really appreciate that you do it! I tried to rearange your Wavetable for bass (from what you showed and what I can see) and the sound is totally different compared to yours..., my sounds like from the plastic box :D And this is what I´m looking to find out "HOW". Getting ready for your courses
Hi Beet, you can find tutorials on how to make a reese bass on youtube :)
good stuff
That ain't Taylor Swift, that is a James Blake style Dubstep dude, keep it up.
Find someone who loves you like Oscar love's supersaws.
Hey Oskar! You should check out the artist Rebūke if you haven’t heard of him already! He has a very unique style that would make for an interesting artist breakdown vid :)
Completely unrelated to this video, I just want to see the master dissect this sound
I don't have sylenth and find it hard to recreate this sound in other synths like serum or wavetable as they all sound too bright and using a filter cuts too many frequencies and sounds weird. How can you recreate this soft supersaw in serum?
how can you do this in ableton only eg with wavetable? edit just got it however you can just use two detuned saw oscillators afaik.
nice vid thanks oscar!
Cool ! Now, supersaws like “we are magonia” !!!
Hey Oscar, are you planning to use Vital in your tutorials in the future? I am just asking because I know that basic concepts do not need exact synthetizers, but Vital is so widely used, I think a lot of people could learn a lot from you :)
And as the Lord commanded, we all celebrated our weekly Taylor Tuesday, the day to step back and appreciate everything good in the world (a.k.a. Taylor Swift
BRO SOMEONE REALLY GIVING THE RECOGNITION THAT “Don’t blame me” never got 😭😭
What ? Don't blame me is the first song appearing in Taylor's Spotify profile aha that shows recognition no? :) anyway huge tutorial as always Oscar !! thank you !
@@lauriehervot241 i meant attention by producers
How many voices did you have on the second (octave lower) oscillator? 2?
One.
Buy a jp8000. Done 😉👍