You had me looking up obigatory. lol. I told myself, "ooooh, word of the day!" and then was disappointed to find that it was a word I already knew. There was a silver lining though because I created a new word based on your word called "obigotory". It means, one legally needs to be racist. Fun! ;)
+Groove Q and the flexibility is fun to work with because it's all accessible across a smaller control surface, never overbearing - kinda a constrained flexibility?!
+Lucas Massarini make sure you check out the next video in the series to see these ideas used to make the Monologue into a Drum machine. Thanks for watching!
+Casey Gorsuch ach, yes, I meant to do that, I noticed that playing it back a few days ago. Proves you're paying attention though, thank you! Make sure you check out the next video in the series where we build a drum machine using these techniques!
This man is very DOPE, he is just good, I love the sounds you've just created and i love cowbell sounds but i already have it on my DRUMBRUTE IMPACT, what I'm missing most are the RIM, SIDE STICK(using the sticks to hit the side of the drum), CRASH CYMBAL, RIDE CYMBAL. I don't know possible? please.
I'd maybe try a short, pitch envelope modulated square with a resonant filter tuned down a bit (but the resonance turned up pretty high, but not to self oscillation). Maybe mix some noise in for "snap". Anything short with a fast pitch envelope is a good start for a lot of percussive sounds basically!
Great tutorial! Totally forgot how to make metallic sounds. At the moment trying to figure out how to get it to sound more wooden, like a Marimba. And how to get lower notes to sound somewhat good. Have you had any luck with something like that? Maybe I'm asking a bit too much from this little guy.
Generally wooden sounds are started off using similar techniques to metallic sounds but with lower amounts of modulation and lower frequencies in the modulation. That's probably a good place to start. Play with some resonance on the filter set dark as well!
Interesting idea, but we're really just talking about synchronising them and probably having the Keystep sequence length different to the Monologue'really aren't we?
@@OscillatorSink I most certainly shall, sir! Thank you for all the videos. I’m new to synthesis and the monologue is my first bit of hardware. All this is invaluable and a massive help.
OMG it takes like ten seconds to make a really good kick drum using just the filter on this thing. I think I'm getting better. But damn, that kick sounds bombing (I'm now watching your videos as you introducing an idea of a sound to make, I pause the video and try to make the sound, then I resume. It's really awesome actually. The filter really is like having a third oscillator that can do a sine wave, not quite the very awesome triangle wave of the other two (cuz it's better).
So I got sidetracked, and started playing with the Monologue again and I just tweaked the "awesome" kick drum setting and fell ass backwards into an even more amazing sound. That Intensity knob ALWAYS surprises. My goodness!
And with that Adam dissappeared into the sunset, rattling the ground with his massive Monologue kicks. BTW. If you liked this, the next video in the series is going to blow your mind.
hey, really love your videos. just had a question about time signatures and the sequencer so thought this video would be the most relevant to comment on for advice. a lot of the stuff i make is in 3/4 time, so i was wondering what the best way to approach this would be? cheers!
3/4 is easy - just switch to 12 step sequences instead of 16. What's trickier is getting a triplet feel...and without syncing it to something that can do that trigger conversation it's pretty difficult but one idea is to use the tempo synced LFO in Sawtooth mode - you can sync it to 1/12 or 1/24 and get a triplet feel over the top of your sequence.
Thanks you mate, really good job. Here is my question, rather general nevertheless quite important and it affects the learning curve. How do you organise your programs? If someone wants to revise or alter the sounds in the future how can they store the programms in a methodical way so they can use them easily? e.g.A drum set of several tones might need more than ~5 programs for overdubbing your beats, it can easily become a messy situation... :)
+Juror 8 I wish I was a good person to ask, but in general my own patch management practices are pretty terrible! I do use a naming convention through - patches intended as basses all start "B.", sequencer elements "S.", leads "L.", and drum or percussion "D.". That makes it really to spot at a glance the right kind of patch for a particular job, but in terms of ordering patches... well don't look at my Monologue because they're a mess!
I got back to production after some years out and I find my self a bit numb, but thanks to some guys like you I can catch up and carry on. The general problem is that after changing equipment, laptop, DAWs etc many sounds, project bones, samples are just a mess. I wish I had foreseen this lol...
+TheSlaSh1411 so, polyrhythm you can't easily do because that would require the clock to run at a weird division but you can do polyMETER (take a look at my video discussing the difference). So if you're running the Monologue along with something else, just changing the sequence length to something different to the other sequence playing. But you can sort of fake it even if the Monologue is running alone by using a tempo sync'd square wave LFO which is running at one meter length and setting the sequencer length to something that doesn't consistently line up. That way you'll get multiple different sounding runs through the sequence with the emphasis shifting which will give the impression of polymeter. I hope that makes sense and is useful!
Oscillator Sink Thanks for the detailed response! That definitely makes a ton of sense. Just a shame that the rhythm variation on the monologue sequencer is really bland. Could at the very least added triplets but oh well. Thanks for the tip!
+TheSlaSh1411 no problem, happy to help! One thing to note if you're looking to spice things up a bit is that the swing control is really powerful AND runs both ways (lengthening and shortening the swung note) so you can get some interesting things happy there as well, especially when running odd numbered sequence lengths - just another thing to try out if rhythmic interest is your goal.
I may have a silly question but would I be able to replicate the steel drum-ish kinda sound heard in "A guy called Gerald - Voodoo Ray"? The original was made with the use of Roland SH-101. I'm looking for a cheaper substitute. Thanks in advance fam.
hi everyone and and @oscillatorSink how do you know what note percussion instruments should be when your playing through a keyboard such as in this example?
what does it mean if mine doesnt make the exact same sound as yours? I'm setting it the same, i know its not gonna make the exact sound but its sounds too far.
P L E A S E make more monologue patch videos you're godly with it
Yet another obigatory video for us Monologue owners. Thanks. :-)
+meneerjansen00 very kind to say so, thank you!
You had me looking up obigatory. lol. I told myself, "ooooh, word of the day!" and then was disappointed to find that it was a word I already knew. There was a silver lining though because I created a new word based on your word called "obigotory". It means, one legally needs to be racist. Fun! ;)
ABSOLUTELY FANTASTIC. Thanks very much. The monologue is a superb little analogue synth. Very, very underrated.
Thanks for checking it out. The Monologue definitely is something special!
We like this Cowbell! It is all that we need, more Cowbell! :
Great Patching!
I'm playing with my new KM now and must thank you for this. So much fun!
I'm really glad to hear that you're enjoying your new synth!
I wanna give you more thumbs up!!❤
Yes! i love this synth, it's beguilingly flexible, just like my SH-101
+Groove Q and the flexibility is fun to work with because it's all accessible across a smaller control surface, never overbearing - kinda a constrained flexibility?!
Amazing! Thanks a lot!
SO informative. Thanks!
Sounds so good; thanks
Thanks for another great tutorial!
+Mark McCubbin thanks for watching!
It really opened my mind in what kind of sounds I can get from it. I love percussion!! Thank you!!
+Lucas Massarini make sure you check out the next video in the series to see these ideas used to make the Monologue into a Drum machine. Thanks for watching!
Thank you! Love that blue monologue, same as mine:)
+Nicholas Phares choosing the colour is the hardest thing about this synth isn't it?
Nicholas Phares wish it came in green but The blues cold
Great video. Keep up the good work!
+Leonardo Oliveira glad you enjoyed it, thanks for watching!
brilliant!!! thankxxx!
Another great tutorial.
+bigdap100 thank you!
Great Tutorial! You might want a note onscreen at around 5:23 where you inadvertently say square wave while setting it to sawtooth for the click...
+Casey Gorsuch ach, yes, I meant to do that, I noticed that playing it back a few days ago. Proves you're paying attention though, thank you! Make sure you check out the next video in the series where we build a drum machine using these techniques!
very useful !
Cheers!
This man is very DOPE, he is just good, I love the sounds you've just created and i love cowbell sounds but i already have it on my DRUMBRUTE IMPACT, what I'm missing most are the RIM, SIDE STICK(using the sticks to hit the side of the drum), CRASH CYMBAL, RIDE CYMBAL. I don't know possible? please.
I'd maybe try a short, pitch envelope modulated square with a resonant filter tuned down a bit (but the resonance turned up pretty high, but not to self oscillation). Maybe mix some noise in for "snap".
Anything short with a fast pitch envelope is a good start for a lot of percussive sounds basically!
Thanks !
👍
Great tutorial! Totally forgot how to make metallic sounds. At the moment trying to figure out how to get it to sound more wooden, like a Marimba. And how to get lower notes to sound somewhat good. Have you had any luck with something like that? Maybe I'm asking a bit too much from this little guy.
Generally wooden sounds are started off using similar techniques to metallic sounds but with lower amounts of modulation and lower frequencies in the modulation. That's probably a good place to start. Play with some resonance on the filter set dark as well!
Could you do a tutorial about extending the monologue sequencer using the Keystep Midi keyboard?
Interesting idea, but we're really just talking about synchronising them and probably having the Keystep sequence length different to the Monologue'really aren't we?
great vid. Mine comes in next week.
You're going to love it! Have fun. Thanks for checking out the video!
Yeah, that is a great deal - they'll be awesome together! Enjoy it!
Thank you!!
Make sure you watch the follow up video where we take these ideas a step further and build a drum machine on the Monologue!
@@OscillatorSink I will! Your videos are very instructive and enjoyable.
Thank you for saying so! I'm glad to hear that you're enjoying them!
I already learned enough in the first 3 minutes to be like... LIKE!
Thank you! Make sure you follow up with the Let's Build... A drum machine video!
@@OscillatorSink I most certainly shall, sir! Thank you for all the videos. I’m new to synthesis and the monologue is my first bit of hardware. All this is invaluable and a massive help.
OMG it takes like ten seconds to make a really good kick drum using just the filter on this thing. I think I'm getting better. But damn, that kick sounds bombing (I'm now watching your videos as you introducing an idea of a sound to make, I pause the video and try to make the sound, then I resume. It's really awesome actually.
The filter really is like having a third oscillator that can do a sine wave, not quite the very awesome triangle wave of the other two (cuz it's better).
BTW I failed because I got carried away, I make a kick and not a tom.
So I got sidetracked, and started playing with the Monologue again and I just tweaked the "awesome" kick drum setting and fell ass backwards into an even more amazing sound. That Intensity knob ALWAYS surprises. My goodness!
OMG I'm an idiot, I forgot about drive. I'll brb.
And with that Adam dissappeared into the sunset, rattling the ground with his massive Monologue kicks.
BTW. If you liked this, the next video in the series is going to blow your mind.
Interesting
hey, really love your videos. just had a question about time signatures and the sequencer so thought this video would be the most relevant to comment on for advice. a lot of the stuff i make is in 3/4 time, so i was wondering what the best way to approach this would be? cheers!
3/4 is easy - just switch to 12 step sequences instead of 16. What's trickier is getting a triplet feel...and without syncing it to something that can do that trigger conversation it's pretty difficult but one idea is to use the tempo synced LFO in Sawtooth mode - you can sync it to 1/12 or 1/24 and get a triplet feel over the top of your sequence.
@@OscillatorSink thanks for the reply! my monologue's coming in the post tomorrow, so that's great to know
Enjoy your new synth!
Thanks you mate, really good job. Here is my question, rather general nevertheless quite important and it affects the learning curve. How do you organise your programs? If someone wants to revise or alter the sounds in the future how can they store the programms in a methodical way so they can use them easily? e.g.A drum set of several tones might need more than ~5 programs for overdubbing your beats, it can easily become a messy situation... :)
+Juror 8 I wish I was a good person to ask, but in general my own patch management practices are pretty terrible! I do use a naming convention through - patches intended as basses all start "B.", sequencer elements "S.", leads "L.", and drum or percussion "D.". That makes it really to spot at a glance the right kind of patch for a particular job, but in terms of ordering patches... well don't look at my Monologue because they're a mess!
That is a good starting point, thank you very much!
I got back to production after some years out and I find my self a bit numb, but thanks to some guys like you I can catch up and carry on. The general problem is that after changing equipment, laptop, DAWs etc many sounds, project bones, samples are just a mess. I wish I had foreseen this lol...
+Juror 8 yeah, it turns out that file management is important after all, right? I always have the best intentions but never follow through!
Any idea as to how to create polyrhythms with the monologue sequencer?
+TheSlaSh1411 so, polyrhythm you can't easily do because that would require the clock to run at a weird division but you can do polyMETER (take a look at my video discussing the difference).
So if you're running the Monologue along with something else, just changing the sequence length to something different to the other sequence playing. But you can sort of fake it even if the Monologue is running alone by using a tempo sync'd square wave LFO which is running at one meter length and setting the sequencer length to something that doesn't consistently line up. That way you'll get multiple different sounding runs through the sequence with the emphasis shifting which will give the impression of polymeter.
I hope that makes sense and is useful!
Oscillator Sink Thanks for the detailed response! That definitely makes a ton of sense. Just a shame that the rhythm variation on the monologue sequencer is really bland. Could at the very least added triplets but oh well. Thanks for the tip!
+TheSlaSh1411 no problem, happy to help! One thing to note if you're looking to spice things up a bit is that the swing control is really powerful AND runs both ways (lengthening and shortening the swung note) so you can get some interesting things happy there as well, especially when running odd numbered sequence lengths - just another thing to try out if rhythmic interest is your goal.
I may have a silly question but would I be able to replicate the steel drum-ish kinda sound heard in "A guy called Gerald - Voodoo Ray"? The original was made with the use of Roland SH-101. I'm looking for a cheaper substitute. Thanks in advance fam.
Probably - you'll be looking at audio rate modulation of pitch most likely to achieve the metallic sound.
07:00 I had to laugh for a moment. :D
Very good i just bought my Monologue for 200 bucks
hi everyone and and @oscillatorSink how do you know what note percussion instruments should be when your playing through a keyboard such as in this example?
Other than a kick probably sounding best on a low note, it's more just trying stuff out and listening to what sounds good.
5:23
what does it mean if mine doesnt make the exact same sound as yours? I'm setting it the same, i know its not gonna make the exact sound but its sounds too far.
Can you describe what's different? Did you start from an initialised patch?
Autechre
Is that a Microgranny I see?
+MadBashify it sure is! It's featured in a bunch of my recent videos!
I’m going to buy some crayons .. I’m p off with all the pitches in then forgetin the levels .. ( like old skool dn d dice ,,.
this guys videos never stop freezing on me so annoying
Sorry - you'll have to take that one up with UA-cam I'm afraid, but if you're having issues viewing videos, I usually find clearing my cache helps.
@@OscillatorSink tried watching on 2 different devices same problem good videos tho
@@nathan-ql5vh sounds like whichever server it's sat on isn't working at full capacity. Glad you're enjoying the videos in spite of the slowdown!
What's with the cheesy hand movements?
OK