Korg Forums

Hi guys! I would like to have everyones creative ideas for V Patches.

Hmm... not exactly V patch - but I have a good mod-sequencer idea...

I guess you could use it as a slicer effect - since Radias doesn't have slicer insert and would be better than using arpegiator - because you have so much mod sequencers, and only 1 arpegiator. And does everyone use all of them? I think not!
This is also more natural way to create sliced sound, since slicers "slice" the sound (say that 5 times, I dare you ), and don't retrigger them.

You could also create this Oxygene type of effect, using LFOs > filter cutoff and high resonance - by increasing speed of LFO, you can make this ever famous sound...

I have lot's of ideas, I'll post them, when I get my Radias back, to avoid mistakes.

SynthAntonius wrote: I guess you could use it as a slicer effect - since Radias doesn't have slicer insert and would be better than using arpegiator - because you have so much mod sequencers, and only 1 arpegiator.

this is why I am a part of these forums--new ideas to inspire me to create new patches. Sometimes it's hard to dream up a new way of squeezing a sawtooth wave through the filter canal.

Thx bro

Maybe a basic trick:
Source: Filter attack - Dest Amp attack

This creates a very natural envelope and you can make a pad sound more aggressive by adjusting the filter knob. (from pad to aggressive attack super saw kind of sound)
You could also patch it to velocity - so if you press a key gently, it will sound like a pad and if you strike hard, it will be very aggressive.

It's also possible to create lot's of vintage arcade (commodore like sound) SFX - source LFO sin - dest osc pitch. Use decimator to lower the sampling freq of you patch...
> very basic trick also...

All and all, I really like the amount of dest, sources and V patches on Radias... does it out performs Virus on this aspect? I think it does (if the spec list is correct)

A few random ones off the top of the head ...

* Patch EG3 (quick attack, brief decay, no sustain or release) to Noise Level to add a burst of noise to the beginning of a sound to zest it up (or to 'pluck' the comb filter with high res and keytracking set on Filter2)

* Patch EG3 (slow attack, whatever decay, max sustain) to modulate the intensity of another patch that has an LFO modulating filter cutoff, pitch or whatever. Fades in the LFO effect.

* Patch an EG to modulate it's own Attack Time, to change the curve of the Attack portion of the envelope (as per the Access Virus technique).

* Patch an LFO to modulate the frequency of the same or the other LFO, to create less repetitive modulation.

* Patch Keytracking to LFO Frequency (with LFO in poly mode i.e. non Timbre key synced) to vary modulation rate per key (assuming LFO in question is modulating something)

* Patch Keytracking to Pan to spread notes across the keyboard across the stereo field

Daz.

This is great guys! I have been trying all these new ideas out and it's very helpful. Daz, you truly are remarkable. You're V Patch ideas are genius. I would never think to do some of those things. I am not very good at thinking up Mod Routes so I'm having people on the forum do it for me
Don't be shy guys. Please keep posting V Patch ideas. I am having run testing them all out!

Two keytracking things :

* Normally if you set OSC1 wave type to Drum PCM, the drum samples play at a fixed pitch. You can make them play chromatically by setting up a V-Patch with KeyTrack as the source and OSC1Ctrl1 as the destination. Vary the V-Patch Intensity to taste. Quite good for playing different pitched Congas with the keyboard etc.

* Conversely you can defeat the normal keytracking of the oscillators using a V-Patch. Set the source to KeyTrack and the destination to Pitch (or OSC2 Pitch if you only want him to play at a fixed pitch) and set the Intensity to -48 (IIRC). Useful for drum or effect sounds where you want all keys to play the same sound/pitch. This technique is also useful when using the oscillators to pluck the comb filter, because the pitch of the oscillators affects the timbre (the actual pitch is determined by the comb filter). In that case you can either totally defeat or just reduce the amount the oscillators track the keys using varying amount of negative modulation of pitch by keytracking.

I mentioned using a V-Patch to get LFO's to modulate their own or the other LFO's frequency to create less repetitive modulation effects. Similarly modulating a single parameter using both LFO's via a pair of V-Patches can create some interesting effects too. For example a fast LFO1 and a slow LFO2 both v-patched into Filter1 Cutoff is good for adding less repetitive motion to pads.

Other fun things to do :

* In the AMP section set the Drive/Waveshaper to Waveshape type Pickup. Instead of just setting the Drive/WS Depth to a particular value, leave it at 0 (or a low value) and use EG3 to apply the effect just at the start of a note. Setup a V-Patch with the source EG3 and destination Drive/WS Depth. Set EG3 with quick Attack, brief Decay and a little Sustain. Set the V-Patch Intensity to taste.

* Similarly, with OSC1 in Sine wave mode and with VPM enabled, you can get better results by not just setting the VPM Amount to a fixed value, but instead modulating it with EG3 to add FM bite just to the beginning of the sound. Hook up a V-Patch with EG3 as the source and Osc1Ctrl1 as the destination, and setup EG3 with a quick attack, brief decay and a little sustain. Vary the V-Patch intensity to taste. Oh, and if the VPM mode's Harmonics option isn't offering you sufficiently interesting FM ratios, switch OSC1 to Sine mode and use the Cross Mod option instead. You can achieve far more funky ratios then by varying the pitch of OSC2. Modulate OSC1Ctrl1 using EG3. For pads, instead of having a quick attack on EG3, you can instead use a slow attack and gradually introduce the FM effect.

* Some cool crossfading type effects can be created by setting up two V-Patches both of which have the same source (an LFO or EG) but different destinations. The first V-Patch has positive intensity and the second negative intensity. Choose two destinations like OSC1 Level and OSC2 Level to 'crossfade' between the two oscillators. The Filter Cutoff's of both Filters is a good option too, especially if set in parallel mode and both Filters are different types (LPF and HPF for example)

* The Ring Modulator on Oscillator 2 gives the most interesting results when the pitch of oscillator 2 is changing. So set OSC1 to use one of the funky PCM waves, and set OSC2 to use a Sine and enable Ring Mod. Then use a V-Patch with a slow LFO as a source and OSC2 Pitch as the destination. All kinds of interesting timbral variations occur when you sustain a note, good for interesting pads ... serve with plenty of delay

* If you modulate the Filter Cutoff of Filter 2 when it's in Comb mode with an LFO, you get some great flanger/phaser effects (

One final thought ... you only have 6 V-Patches, so don't waste 'em on things that can already be modulated without using a V-Patch. For example don't choose Velocity as the Source and Filter1 Cutoff as the Destination as you can already achieve that modulation routing using the Velo Sens option of Filter1 (or the Level Velocity option of EG1). Similarly don't route LFO1 to Osc1Ctrl1 to create PWM effects with OSC1 in Square mode, just use OSC1's Control 2 knob (it's hardwired to control PWM LFO1 Intensity).

Daz.

Daz wrote:
* Patch EG3 (slow attack, whatever decay, max sustain) to modulate the intensity of another patch that has an LFO modulating filter cutoff, pitch or whatever. Fades in the LFO effect.

again--thanks for the inspiration. I've been trying to figure out a great sounding patch with the late LFO entrance. This did the trick. this plus the commodore sfx will be showing up in a track soon enough.
I finally brought my RADIAS home from my band's jam spot and have been doing some intensive tweaking. I wrote an initialized saw, pulse, tri and saw to the 4 timbres of A01. I solo one of these and off I go until something cool happens. Sometimes it's good to keep things simple.--most of my patches up to this point have been 4 uber-timbres with two fx on each and drive turned up on ALL. That's a lot of noise. I just bought a Little Phatty and am reproducing the stock patches on my radias. The pulsewave sync--both oscillators pulse wave, sync on and osc 2 pitch routed to the mod wheel (and the default tremolo turned OFF)--is really quite sexy sounding in comparison to the moog with the exact same settings...

* By default the MIDI1 and MIDI2 modulation sources are configured to use CC#16 and CC#02, which were not just chosen at random Those are the CC's associated with the additional joystick axis and the ribbon controller on the Triton and other Korg products. So if you're using a Trinity, Triton, M3 or Oasys to control your RADIAS-R use those sources in V-Patches to modulate params with those controllers.

* In the Program Common section configure the Envelope Follower to use the dinky mic/headset that come with the Radias and assign the Envelope Follower in a V-Patch to something like Filter Cutoff. You can then modulate that parameter just using your mouth, useful if you're playing two handed Alternatively take a feed from your live mixer that has your drummer or guitarist's output and plug that into the audio input and use them as a signal to drive the envelope follower. I am sure they'll be elated to be informed that they've become a modulation source. Similarly the Internal Bus in the Radias to route maybe the drum timbre into the envelope follower for the timbre you're designing is another option for solo folks.

Daz.

Set patch 1 to modulate patch 2 to modulate patch 3 to modulate patch 4 to modulate patch 5 to modulate patch 6 to modulate patch 1.

And then watch your Radias crash.

haha, that would be great. or not. but this leads me on to something:

another thing thats fun to do is to have the following:

patch 1:
LFO1 > Patch 2 (vary to taste)
Patch 2
LFO 2 > Pitch/Osc2 Pitch (0)

i made a great patch with this as the basis, but proceeded by routing patch 2 to pitch, patch 1 to filter cutoff and osc 2 pitch, uses osc sync, and many other things... kind of whale song or screaming birds

furthermore, you could vary patch1 with the mod wheel, or an EG, or even one of the LFO's again

it is for this reason that i always wished the radias had an extra LFO instead of an extra EG (over the MS/MK)

X-Trade wrote:it is for this reason that i always wished the radias had an extra LFO instead of an extra EG (over the MS/MK)

Radias does have 3 mod sequencers, which are basically step LFO's.