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Deepmind 12 - Examples and observations


burningbusch
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I've been working with the DM12 for the better part of the week and am starting to get a handle on it. Well, at least a start. I hope to post more examples and observations, kind of keeping a running tab of what I encounter. Hope others join in.

 

This uses a huge amount of reverb but I'm also doing tricks to the sound as it enters the reverb. Using the third EG I'm significantly increasing the detuning of the oscillators on release. This creates an "excitement" to what would normally be a standard reverb effect.

 

DeepMind 12 Strings in Space

 

IMO, this is an exceptional synth. I love it when people dismiss it out of hand based on a few demos.

 

Busch.

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Nice job Busch!

 

I just got my DM12 a few days ago, and I'm really enjoying it. I'm learning how to program around it's limitations (which are few) and concentrate on it's strengths (which are many). It really helps when I approach it as a 6 voice poly.

 

I think the people who dismiss it out of hand usually do so simply because it's a Behringer and costs less than $1000 (now much less). If it were a Roland and cost $500 more, it would get a lot more respect.

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Nice job Busch!

 

I just got my DM12 a few days ago, and I'm really enjoying it. I'm learning how to program around it's limitations (which are few) and concentrate on it's strengths (which are many). It really helps when I approach it as a 6 voice poly.

 

Yes, I very often use it as a six-voice.

 

Busch.

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The effects section and the routing took me a little while to understand. Should have read the manual, yes?

 

At the top-right of the FX screen, you can switch between INSERT, SEND and BYPASS. At first, this didn't make a lot of sense as the FX algorithms clearly show serial and parallel configurations, and how were you suppose to use these given the insert and send options? Maybe this is obvious to others but not to me. Anyhow, BYPASS completely bypasses the digital FX and ADCs/DACs (no effects possible). With INSERT, it completely bypasses the analog path and sends 100% of the signal through the digital FX section. SEND divides the signal between the analog and digital FX paths. You use the last LVL control at the bottom of the FX page to control balance. BTW, this level can be set to 150.

 

So, you would use INSERT when you want to process the sound through EQ, compressor, enhancer, etc. It can be used for everything of course. You just use the mix/levels to balance everything out. SEND makes sense for traditional send effects (reverbs/delays). You would want to keep the MIX levels at 100 and use the final LVL to balance between the dry sound. If you set the MIX levels to less than 100, you will be introducing the dry sound which is going to create phasing with the analog dry signal. You might actually like this phasing (there are no wrong answers when creating sounds).

 

Do note, you would not want to run M-9 or M-10 FX algorithm when using INSERT (painful feedback will likely result).

 

Busch.

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Anyhow, BYPASS completely bypasses the digital FX and ADCs/DACs (no effects possible).

 

Thanks Busch for the explanation - and you just gave me an idea :idea: Unlike my Rolands, whenever I turn an effect off it forgets any custom settings I made - which naturally makes me a bit grumpy. Maybe if I use Bypass instead... :)

 

Anyway I'll give it a try.

 

The DM12 sounds very Roland-esque. As a big fan of Roland analogs I'm grinning from ear to ear :)

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Thanks guys!

 

You can't make dynamic and expressive sounds if you can't control the detail of the sound with your fingers.

 

Here I used NOTE VELOCITY to decrease the attack and decay envelopes on the filter, while also increasing the sustain section of the filter. Add to this NOTE VELOCITY affecting the amplitude and overall filter frequency, plus aftertouch. To be able to individually control each element of the envelopes is REALLY nice.

 

I'm playing this in real-time, but if you sequenced it and got those accents very precise I think it would sound quite nice.

 

http://www.purgatorycreek.com/PCS-xtras/downloads/DM12/DM12-sc.jpg

 

DM12 Brass Section

 

Busch.

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These are breathtaking. While I like them all, the second example really spoke to me as having a unique musical voice and dramatic quality. :thu:

 

Uli should pay you, because I think DM sales are going to shoot up if you make more sounds ....

 

 

 

more sounds...

 

 

 

 

 

more sounds... please?

 

 

 

;)

 

 

 

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One of the first synths I was ever exposed to was the Juno 60, and I used it to get some great textures that I used in the electro-acoustic stuff I was composing at university. So for nostalgia's sake, I have already looked quite closely at the Deepmind. You're only strengthening my GAS for this!

Yamaha P515 | Yamaha CP4 | Yamaha MODX 8 | Casio PX S1000 | Nord Electro 5D | Moog Sub 37 | Korg Monologue | Native Instruments Maschine MK3 | Novation Circuit Tracks | Plug-ins Agogo

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Yes, very nice work. Not wanting to get far off-topic here, but thank you Busch for sharing some of your programming insights, particularily regarding modulation routings. These are ideas that can be applied in other instruments. As TimWat suggested, there is often so much more that we could do to personalize sounds with the gear that we already own.
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Here's a short Jazz Guitar example. The thing can sound pretty organic, natural maybe. Let me add. People complain about DCOs and software-based LFOs and envelopes, but there are some real, significant advantages to going this route vs. pure analog. When I was working with this guitar, the filter EG creates the pick or attack but I was finding it too percussive at 0. The fader wouldn't let me dial it into where I wanted it but using the screen I could dial in the attack with extreme precision so that it sounds more like a strum. A setting of 5 (29ms) out of a scale of 255 gave me the sound I was looking for. Four was too percussive and 7 too soft, but six (35 ms) also works.

 

DM12 - Jazz Guitar

 

Busch.

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The problem with threads like this is that they're expensive...for me. I've already got enough problems without suffering yet another bout of GAS so stop it, already!

 

(Love what you're doing.)

 

Grey

I'm not interested in someone's ability to program. I'm interested in their ability to compose and play.

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The problem with threads like this is that they're expensive...for me.

 

Me too. Sounds great though. :thu:

 

I almost bought a DeepMind 12 and the Roland D-05 last year... and now looking at other toys from NAMM. I really don't need anything though.

 

 

When an eel hits your eye like a big pizza pie, that's a Moray.
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On most synths, using LFOs for vibrato effects is pretty basic. With the DM12 you have access to a few helpful options. On something like a Minimoog, when LFO is applied to pitch it oscillates equally +/-. This gives an organ-like sound. With acoustic instruments, "vibrato" can mean +/- pitch, + pitch (guitar) and more subtle combinations of subtle pitch, amplitude and timbre variations. On the DM12, you can get pitch oscillation in a single direction by using LFO (uni). This is available in the MOD MATRIX. You would assign LFO (uni) to the pitch of Osc 1/2 (for subtle vibrato, use Osc fine) with zero depth in slot #1, for example. To have the mod wheel control this, assign MOD WHEEL to slot #2 in the matrix with a destination of MOD 1 DEPTH. Enter a value in the DEPTH, plus or minus. This is a nice option if organ-style vibrato is striking you as a bit much in your sound.

 

BTW, if you're creating a sound using UNISON-2 or any other polyphony assignment that's staking voices, switch your LFO to MONO. In POLY mode, the LFOs are going to be all over the place rather than a single, unified LFO. POLY is a cool effect in the right place.

 

Busch.

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My takeaway (since I don't own a DeepMind and have no plans to acquire one...) is I need to spend some quality time with the synths I already own.

 

So much power in the Kronos, Wave and OB6 that I haven't even begun to tap into...

 

Kronos, Virus and Prophet12 here, and I agree we maybe all need to spend more time making beautiful sounds like the OP has with our existing gear.

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BTW, if you're creating a sound using UNISON-2 or any other polyphony assignment that's staking voices, switch your LFO to MONO. In POLY mode, the LFOs are going to be all over the place rather than a single, unified LFO. POLY is a cool effect in the right place.Busch.

 

I prefer polyphonic LFOs for PWM strings. To me it sounds richer and more natural than when duty cycle is the same for all notes sounded. It's a pulse width trick I've used for years on VAs where LFOs are offered per voice, and I was glad to see it included on the DM12.

 

I was also happy to see sample and glide - kind of the equivalent of Roland's random LFO setting. When modulating pulse width it can yield interesting textures on pads.

 

Lovin' this synth :love:

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Beautiful work, Busch. Way to synthesize! You took me back to the first time I ran my first Prophet-600 through a reverb. Instant Space Cadet Glow. Its a very good example of why slagging Behringer should become passe in short order. With sound like that, they deserve a fresh start, especially if the builds are observed to hold up over time. BTW, your Jazz Guitar shows off the power of analog as well as any massive modular patch. Nailed it.

:like:

"Every young person needs
  a bad older person to look up to
   and I hope I can be that person for you tonight."
         ~ John Waters, "This Filthy World"

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