Future Music

9 tips to help you get more from the Opsix

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Aftertouch

One of the few notable features missing from Opsix is keyboard aftertouch. While it’s not built-in, the synth will respond to polyphonic aftertouch from an external source. Connect an aftertouch capable controller via MIDI or USB, then head to the Virtual Patch menu to route it to any modulation destinatio­n.

Mute or bypass

Along with their five modulation modes, each operator can also be bypassed or muted entirely. This can be handy when trying to simplify things when creating patches from scratch. 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.

Modulated ratios

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. 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. These abrupt changes work brilliantl­y with modulation. Try using an LFO to create arpeggiati­on-style effects that can be targeted at just a single operator.

Operator modes

A key thing to note when designing sounds is that operator modes apply to the input of the operator being modulated. For 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. Changing operator

2’s mode, on the other hand, will radically alter the output, as this changes the relationsh­ip between oscillator­s 1 and 2. We say ‘won’t necessaril­y’ as different operator modes do introduce parameters that can alter the sound of the operator even in isolation. Filter 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. 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.

Basic additive

By using an algorithm where all six operators are set as carriers, it’s possible to set Opsix up for basic additive synthesis. 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. You can now experiment with using the operator level sliders like a drawbar organ, fading partials in and out to create timbral changes.

Layered sounds

As Opsix allows users to mix and match operator modes, it’s very easy to layer different types of sound. 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. 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. 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.

Keyboard splits

Opsix’s operators can target specific note ranges, permitting the creation of keyboard splits and a form of faux multitimbr­ality. Head to page 2 of an operator’s Level/EG menu.

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. At more extreme settings – -100% – this will fully mute an operator above/below that central pitch. 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. With both high and low slopes applied, the operator will only be triggered on the note C4 itself. Used with less extreme settings, these slopes can create timbres that fade in/out as you play up and down the keyboard.

DX7 patches

Opsix can load patches created for Yamaha’s DX7 synth. Even if you’ve never owned a DX7 yourself, there are no end of free patches that can be downloaded online, including plenty created by notable artists such as Brian Eno. Because the design of the DX7 and Opsix aren’t identical, patches don’t always translate perfectly. These patches can be sent over to the synth via SysEx message (you’ll need an applicatio­n such as the free SysEx Librarian to send these to the synth’s MIDI input). To audition DX7 patches before sending them to Opsix, try out the excellent free DX7 emulation Dexed, which both import and export DX7 patches.

Sequencer tricks

Usually, Opsix’s bank of sequencer buttons are used to engage/disengage individual sequencer steps. In the sequencer’s edit mode, however – engaged by holding Shift and Pitch – pressing sequencer step button triggers whatever notes are currently stored on that step. This is handy as a way to jam ‘offline’ (ie no sequencer), letting you manually trigger saved chords or notes. Similarly, Opsix’s sequencer has a keytrigger mode, which will let users transpose and trigger saved patterns by holding down a key on the keyboard.

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