With both high and low slopes applied, the operator will only be triggered on the note C4 itself. With the Center set to C4, say, a high slope of -100% means the operator is only heard on notes C4 and below, vice versa for a low slope. The pitch displayed is the central note at which the operator is targeted, and the controls to either side are used to apply velocity slopes above or below that pitch.Īt more extreme settings – -100% – this will fully mute an operator above/below that central pitch. Head to page 2 of an operator’s Level/EG menu. Opsix’s operators can target specific note ranges, permitting the creation of keyboard splits and a form of faux multitimbrality.
All the operators remain routed through the same global filters and effects, but in Filter mode each operator has its own resonant multimode filter, which can be used to differentiate the two timbres. One of the most obvious and useful applications of this is to use ops 1 and 2 in Filter mode to create a simple two-oscillator virtual analogue sound, then use ops 3 to 6 to layer a more complex FM tone over the top. Use an algorithm with two or more carriers (ie operators that output to the amp) and treat each carrier as the base for a different method of synthesis. You can now experiment with using the operator level sliders like a drawbar organ, fading partials in and out to create timbral changes.Īs Opsix allows users to mix and match operator modes, it’s very easy to layer different types of sound. Set all operators to sinewaves, give op 1 a ratio of 1:0 and have the ratios of each successive operator rise as they go. Basic additiveīy using an algorithm where all six operators are set as carriers, it’s possible to set Opsix up for basic additive synthesis. However, returning to our example above, if operator 2, the carrier, is set to Filter mode, changing operator 1 to FM mode won’t result in an FM synthesis sound, as nothing is routed to modulate that operator. We say ‘won’t necessarily’ as different operator modes do introduce parameters that can alter the sound of the operator even in isolation.įilter mode, for example, can cut frequency content from an operator’s output, and Wave Folder can add distortion just through the use of the Gain and Bias parameters. Changing operator 2’s mode, on the other hand, will radically alter the output, as this changes the relationship between oscillators 1 and 2. Korg's opsix is a modern take on a classic digital synthįor example, if you have a simple two-operator setup with operator 1 (modulator) modulating operator 2 (carrier), changing the mode of operator 1 won’t necessarily have any effect. Try using an LFO to create arpeggiation-style effects that can be targeted at just a single operator. These abrupt changes work brilliantly with modulation. Unlike the pitch controls found on analogue synths, which can usually be swept continuously through the frequency range, ratios ‘step’ between multiples, ie turning an operator tuning dial from 1.0 to 2.0 will result in an immediate jump up in pitch by an octave. Like most FM synths, by default Opsix sets operator pitches by ratio – a multiple of the root pitch coming from the keyboard, sequencer or MIDI input. It’s also a useful tool for dissecting existing sounds – find an Opsix preset you like, then try removing operators from the setup in turn to get a better understanding of what each is doing. This can be handy when trying to simplify things when creating patches from scratch. Mute or bypassĪlong with their five modulation modes, each operator can also be bypassed or muted entirely.
#Eno dx7 patches Patch#
Connect an aftertouch capable controller via MIDI or USB, then head to the Virtual Patch menu to route it to any modulation destination. While it’s not built-in, the synth will respond to polyphonic aftertouch from an external source. One of the few notable features missing from Opsix is keyboard aftertouch. Let’s explore some quick ways to unlock Opsix’s creative potential.
#Eno dx7 patches plus#
Beyond the core sound engine, the synth packs a multimode filter, switchable between models including emulations of the MS20 and Polysix, plus a three-slot effect engine.Ĭombined with the handy sequencer, arp and Motion Sequencing automation, you get a powerful instrument. There’s more to Opsix than just its operators though.
Because of this, it’s possible to create patches that combine several different approaches simultaneously. We explain the differences between these below, but the crucial thing to note is that Opsix doesn’t limit the user to choosing just one of these when designing a patch – modes can be set for each individual operator.
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