Yes, there is a custom algorithm.
Given that you don’t need all six operators for every patch, much of the time one of the standard DX-derived algorithms will do.
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I never really gelled with its sequencer, but the operator sliders/encoders are great, and the menu system is pretty nice – Opsix’s UI seems to be inspired by Elektron’s. The menu encoders don’t feel as nice as Elektron’s (Elektron has mastered whatever “twist velocity” function is applied to encoder turns, whereas Opsix’s just feels linear), but they’re perfectly functional.
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Things can be menu-divey—even though they give you the wonderful 6 slider/knob combos on the left for setting operator level/ratio/wave/mode.
Everything else (filter, fx etc.) is under the hood—you are punching buttons and turning knobs, jumping from screen to screen. Each of the 6 operator envelopes is on a separate screen; you can’t see or tweak them together.
It sounds like you had a good experience in the store. Obviously none of this is a dealbreaker.
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Mine’s been behaving, but I’ll run a test later!
That part took me a little while to get used to.
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Me too.
The most attractive interface I ever saw for Yamaha-style FM was the MegaFM desktop synth—one set of envelope sliders for each of the four operators. No interest in owning the synth, but that panel seems ideal. Everything is right there.
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I got the MEGAFM as well. It can work as a good controller front end for other 4 op FM synths.
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You kind of can edit them all, I believe. If you click on the home button there are two controls, attack and release, aren’t they a macro for all the envelopes?
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Just throwing this in, for quite some functions there is a quicker way to do it.
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Could you elaborate please?
Yes. If you want to set attack or decay/release in the same amount, for all 6 operator level envelopes, you can do it from the home screen.
(An important part of the expressiveness of traditional FM patching is setting attack, decay, sustain, or release differently for each of the 6 operator level envelopes; to do that you use the OP SELECT - and + buttons to move back and forth between the LEVEL/EG screens of the individual envelopes.)
The home screen also gives you also one knob for depth of each of the effects, although you will need to go into the EFFECT screen to adjust them in detail.
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I fell asleep too early last night and didn’t make time to practice or check. Sorry about any wait!
I’ve just had mine running for about a half hour while editing a pattern and it never lost track of time.
In my case Syntakt is master clock and sending note / cc, but not transport so I don’t accidentally trigger patterns on the Opsix sequencer.
I’ll try with transport on too.
Ok, round two was another half hour this time with transport send on from the Syntakt.
I made an incredibly complex 16-step pattern that triggers one midi note on step one from the Syntakt to the Opsix at 120 bpm.
All remaining 11 tracks of my Syntakt have one note on step one so I get a nice bright flash every time the sequencer comes around.
It’s running perfectly except sometimes one of the Opsix sequencer buttons flashes yellow. Neat!
Maybe something leftover in the motion recording? I don’t use its sequencer enough to know.
And now for something completely different.
Maybe not too different aside from speed.
Third test is also using my amazing original pattern of one note on all twelve tracks on the one.
This time though, it has been running for another half hour or so at a bpm of 182.7.
Timing is still apparently perfect.
And I get an odd red or blue sequence step on the Opsix seemingly at random.
Also neat!
Last trial is 149.3 bpm this time with zero notes being played on the Opsix. Just letting the clock run for about 40 minutes this time.
I got distracted playing video games.
Still coming around on time.
For kicks I put the Syntakt clock at 300 bpm with the current setting and I can confidently say Opsix just likes to surprise me sometimes with weird sequencer colors.
Still in sync.
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https://youtube.com/shorts/aotlLeIHyWc?feature=share
don’t think I’ve shared this here but wanted to add it to the discussion.
I tested sequencing OPSIX program change with my PT a while back. If I remember correctly, the patches get cut off with the quick switching but it can work for certain sound types, like percussion. it may keep the tail for the first change but cuts it when it receives another pc message.
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as an aside, your opsix videos/patches completely sold me on it awhile back and opened up a world of possibilities for me on this synth.
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that’s cool! it’s a special device for sure. can bend it to a variety of sounds. I’ve been taking a break from it until I can get the rack kit. then I’m going to dive back in. I got a Liven XFM Ive been exploring rn and the patch morphing is so sick. it’s basically in User Algo at all times.
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Every time I see you here I’m reminded of the user algorithm, how insane it can be, and how I’ve barely touched it.
Do you have a general workflow when it comes to building one up, or are you just winging it too and seeing what comes out?
I’m still clunky with that part.
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I actually haven’t used the User Algo very much. I usually just map a modulator to the regular Algo selectior to generate variations to the connections.
I think you can take a planned approach to User Algo with your signal routing but I usually just experiment. that’s why I like FM so much, it leads to undiscovered sonic territory.
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Hi, since I noticed that my Opsix is quite noisy over the headphones, I got a bit concerned.
What do Elektronauts think gives the best quality when recoding the Opsix into my DAW?
- a short unbalanced cable into a cheap S/PDIF converter (that has only cinch inputs)
or
- 5m balanced cable into my Audio Interface
Weird, mine has essentially zero detectable noise from the headphone jack (even with one of the distortion effects cranked up); what sort of noise is it?
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balanced cables from main out l/r into mixer/interface
headphone sockets are often bummer (at least on my sledge they are).
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Thanks, @gekkonier!
It’s a constant white noise not related to how the “master volume” knob is set.
For my headphones, that needs to be very low, at 7 or 8 o’clock.
(I tend to get headaches from white noise, even if it’s very quiet. None of my other synths produce this noise via their headphone jacks.)