Introduction
I am not a creative person when it comes to naming things… In fact, I’d haply publish all of my works as “No Title” plus a date, but as a listener of instrumental music I like to have some short of suggestion of what I might expect from a piece of music. Therefore, from time to time, I do have to spend some time, trying to name a piece of time I froze as a series of bits and bytes. So that when someone, at a later time spends time listening to whatever I do with my time, they have some suggestion of what I thought I was doing with my… well… time. That being said, I’ am not as indulgent when it comes to the things I work with. A name is just a label, an identifier I can use to retrieve some piece of information. Thus this patch – the one in Berlin School Experiment 8 – is just that, The One in Berlin School Experiment 8, or Tobse8, for short. :)
This is a dual timbre patch, with an arpeggiated bass line and a square pad. One interesting thing about the MicroKorg, is that we can use it in mono-timbral mode and have 4-voice polyphony, or we can use it in dual-trimbral mode and have 2-voice polyphony. In this patch I is dual timbre, but the bass timbre is configure as monophonic. This releases the 3 remaining voices to be used for the second timbre, thus the ability to play 3-note chords on the pad (the same chord is arpeggiated on the bass timbre).
Patch
| Patch Name: | Tobse8 | ||||
| PARAM 1 | PARAM 2 | PARAM 3 | PARAM 4 | PARAM 5 | |
| LAYER 1 | |||||
| VOICE | SYT | LAY | MON | SGL | — |
| PITCH | -24 | 0 | 80 | 0 | 0 |
| OSC1 | DIG | — | 47 | — | — |
| OSC2 | SAW | RNG | 12 | 0 | — |
| MIXER | 54 | 127 | 0 | — | — |
| FILTER | 24L | 40 | 23 | 47 | 20 |
| FILTER ENV | 0 | 27 | 0 | 16 | ON |
| AMP. | 127 | L10 | OFF | -12 | — |
| AMP. ENV | 0 | 55 | 0 | 37 | ON |
| LFO1 | S-H | TIM | ON | 1.1 | — |
| LFO2 | SIN | OFF | OFF | 42 | — |
| PATCH1 | LF.1 | LF.2 | 10 | — | — |
| PATCH2 | LF.2 | 1CT | 63 | — | — |
| PATCH3 | TRC | PAN | 9 | — | — |
| PATCH4 | LF.2 | CUT | 10 | — | — |
| LAYER 2 | |||||
| VOICE | SYT | LAY | PLY | — | — |
| PITCH | 0 | 0 | 0 | 0 | 0 |
| OSC1 | SQU | 0 | 0 | — | — |
| OSC2 | SQU | R-S | 12 | 20 | — |
| MIXER | 39 | 127 | 2 | — | — |
| FILTER | 12L | 62 | 36 | 0 | 0 |
| FILTER ENV | 0 | 64 | 127 | 0 | ON |
| AMP. | 44 | CNT | OFF | 0 | — |
| AMP. ENV | 20 | 101 | 90 | 127 | OFF |
| LFO1 | SQ1 | OFF | OFF | 10 | — |
| LFO2 | SIN | OFF | OFF | 70 | — |
| PATCH1 | LF.1 | PTC | 1 | — | — |
| PATCH2 | LF.2 | PTC | -1 | — | — |
| PATCH3 | MOD | PAN | 0 | — | — |
| PATCH4 | LF.2 | CUT | 3 | — | — |
| COMON PARAMETERS |
|||||
| MOD FX | ENS | 20 | 10 | — | — |
| DELAY | L-R | ON | 1.12 | 119 | — |
| EQ | 320 | 0 | 4.25 | 0 | — |
| ARPEG. A | 86 | 1.8 | 70 | RDN | 3 |
| ARPEG. B | ON | 0 | OFF | 8 | T-1 |
The arpeggiator pattern should be set to 1110 1101, where 1 means an active note, and 0 means a pause. As you may see at the end of my video, I run the MicroKorg trough two Behringer VP-1 pedals (one for each channel). This is the “secret sauce” for me. It widens the stereo field and provides that warm vintage phaser feel that inspires so many of us! :)
Examples
As the name implies, this patch was developed when I was composing Berlin School Experiment 8. You can watch it being used in this experiment in the following video.
License
This patch is released under the Creative Commons Attribution license. Please share this page’s (or the website’s) URL if you found this useful for your work.
Tobse8 MicroKorg Patch by Filipe Teixeira (Philip+) is licensed under a Creative Commons Attribution 4.0 International License.
Based on a work at http://filipe-teixeira.com/electronic-music/microkorgcookbook/delay-lama-microkorg/ .