Things everyone else already knows about

How about an open thread to post things that are new to you but everyone else probably already knows about - with one difference, no fear of judgement.

Post as little (just a link) or as much (wall of text) as you want. No judgments from others if you’re posting something everyone else already knows about. Spam as always will be deleted and maybe earn you a ban.

As an example I just now came across :

while reading the bitwig thread. Open-source cross platform synth from one of the bitwig devs. I’m guessing this is common knowledge to everyone else but somehow I missed it.


I had no idea until yesterday that you can use the insert jacks on a mixer as direct outs. :man_facepalming:


You can also use the returns as extra mixer inputs. for example if you have an 8 channel mixer with two sends you can really use it as a 10 channel mixer. plug your other two inputs to the returns and use the return knob as the volume for those inputs. you can’t use the sends of course but in a pinch… If really desperate you can also use the tape inputs as an additional stereo channel (usually no volume control though - use the one on the device).


I’ve been trying to setup a portable modular case but I had no headphone output. Learned that mono-to-stereo adapter + inline volume + headphones equals pretty good output for modular.


Been learning and seeing a lot of Youtube video on gear and sound synthesis for the last year, really been able to understand what LFO is/does when playing during one hour with the Polyend Tracker last evening. Before that, I was just faking it. Now, I feel that I can visualize the impact of the LFO and try to imagine what 3 LFO per track like in the OT can do instead of 1 LFO per instrument in the Tracker.


I know absolutely nothing about mixing. But sometimes, I sound like I do. But I really don’t.


20-ish years in, I still don’t completely get compression.


I recently read and felt like a bit of a dummy for not knowing or noticing that when mixing on headphones you tend to crank the reverb because you can hear as well. Which explains why all of my first pass mixes sound like mush and when I do my main mixes doing my monitor mixes I usually clear it up. Not that they’re great, just not as mushy.


Marc Rebillet
Man just discovered this guy on this here forum…


Have we got a thread for you! (Apologies if you’ve already seen it etc etc)


Three lfo’s on octa are nice for multiple modulations however another interesting approach to multiple lfo’s is assigning them all to the same destination. You can then mix lfo frequency and depth to create much more complex modulation on that single destination.


In the case where you point the 3 LFO to the same destination (= same track? same sample? Not sure how it works with an OT, never owned one), you have basic signal processing arithmetic that occurs between the 3 LFO to create a weird hybrid form (example: 1 triangle, 1 square et 1 saw with different amplitude and frequencies, mix and matching them?) that is applied to the destination through time ?


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Oh hell yes thank you

“Snap” voice setting on Hydrasynth.
Makes the envelopes snappy! Just discovered it. Now I want to leave it on all the time.


No one ever does mate… but shhhh, dont tell anyone :wink:


I was like you not so long ago, then it became a lot clearer with the help of the interweb.
…But i still use it badly.

I only learned in the last couple of days (on here actually) that Dave Smith of Sequential Circuits (and engineer Chet Wood) invented MIDI :scream:


Gotta respect a guy who wants to play chords on his minimoog, realizes he can either invent a protocol to wire multiple synths together or build his own analog poly, and does both.


Speaking of midi, did you know you that when you hook up a midi controller, you should probably check what all the midi change notes are, or you’ll mess up your saved patterns?

Not that I’ve ever made that mistake before…