Prophet 6 Hardware Synth Rig with Marcus Wiles

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This episode focuses on synthesizers with a deep dive on Marcus Wiles’ Sequential Prophet-6, while also thanking sponsor Aerospace Audio and highlighting their Arrow Pads app and Atmosphere Pads pedal features, sound packs, pricing, and routing ideas with Ableton. Marcus explains why he chose the Prophet-6, how its simplicity and poly mod section shaped his synth programming, and why hardware can feel more like an instrument. He demonstrates practical sound-design concepts that translate to any synth or Omni sphere, including using unison and stereo spread versus chorus, preparing patches for mono or stereo systems, shaping sounds with envelopes to turn a basic patch into bass, plucks, brass, and an 808-style sound, adding texture with audio-rate modulation and effects (including distortion after reverb), and using the Prophet-6 sequencer for writing inspiration. The episode ends with a call for viewers to submit their own key rigs and a teaser for the next episode on the Nord Stage 4.

Marcus Wiles

Transcript

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Guys we're excited for today, all about synthesizers, all about the Prophet Six, and you're gonna hear Marcus play on this in just a second. And along with the conversation of synthesizers, we do want to thank Aerospace Audio for partnering with us for being a proud sponsor on the Worship Keys podcast. I actually, I got the, their app pulled up, arrow pads. If you use this app, let us know in the comments. They got this awesome atmosphere, pads pedal that I've used for probably a year now, use it at some D nows and definitely plenty of churches that use this pedal. It's great. So it's basically a pads pedal and if you use this atmosphere pedal. Let us know in the comments. Version three is out right now, so, you know, that's really awesome. There's so many different features here. There's the live setting, the set list sound packs, uh, the new one, the rocket science. Sound pack. If you guys have tried the Rocket Science Sound Pack, let us know your favorite one. My favorite one is ignition. I like that. Patch. If you had that, let us know in the comments. But it's cool to have some droning pads underneath what you're playing, whether it is like a synth line that you're playing or just your regular keys. Like it's really cool to have these droning pads there. And so aerospace audio. Is really great. Isaac and the team, we've had them featured on the podcast here before. Had a great conversation with Isaac and he's the main sound designer for, aerospace audio. But what I love about it too, there's lots of different ways to use it. Caleb King, who he plays that encounter church and plays for Garrett and Kate, and he uses atmosphere pedal, but what he does is he mids it into Ableton and Ableton will trigger the next song, which will trigger the next patch, which is really cool and techie. A lot of you guys like to rig that up, which is pretty cool. If you're tired of just the same boring pads that you typically use for your Sunday morning and you want a better experience, aerospace audio is gonna give you that so definitely check them out. We'll link that in the show notes here and the description. Definitely let that, by the way, the app is only seven bucks, so. And it's very, it's very biblical number, you know. This pedal I think is 300 bucks, three 50, something like that. Definitely affordable. Some people prefer the analog. By the way, you can load in new pads into this pedal as well. If you don't want just to rely on this forever, you can download, upload the new sounds, which is really cool. But I think the app is really intuitive. You just have the different keys listed out and then you just press it and it. Fades in, there's a setting tabs that you can, um, you know, set to the cross, the cross fade time and all that jazz. Then there's like a, a major key, neutral key and a minor key. So say you're playing a minor key, you can definitely hear the minor stuff coming out here. But yeah, check that out. It's for iOS devices for your iPhone, for iPad. So anyway, if you use aerospace audio, whether that be the arrow pads or atmosphere pedal, let us know. So we're getting down into this episode today. Thank you to Spencer and Isaac for sharing their full worship keys rig with us remotely. So if you have a worship keys rig, by the way, definitely email meCarson@theworshipkeys.com or DM us, uh, at worship keys Instagram account. You can tell me, Hey, I've got a great worship keys rig. Here it is. Let me know a little bit about it, and we'd love to feature it here on the channel, and I know Easter's coming up, so it's a great time to update your keys rig, get some inspiration from other people all around, uh, the country, really all around the world too. I hope you guys have been enjoying 20, 26 episodes so far. I would love to know also in the comments, what, what songs are you guys doing this Easter? What songs are you guys planning to do? Alright, so we're in front of the prophet six now. Marcus, this thing has been on the road with you for a long time. Yep. Tell us a little bit more about when you first bought this and why you bought this? Why this hardware synth, man. Okay, well first of all, look at it. It's beautiful. It's beautiful. These walnut wood cheeks have like inspired, like how we furnished our home. Yeah. Right, right, right, right. Uh, no. Um, I got it for my birthday a few years ago. I think it was 2021 and I don't even remember how old I was in 2021. Yeah. Yeah. COVID i's dog years, you know? I just saw it on Facebook marketplace and it's always been kind of a bucket list synths for me. Right, right. I love it because, the prophet five, like, which is the classic one that Dave Smith came out with in the seventies, has always been like my favorite of all time synths. Okay. And, uh, this pretty much does everything that does, but with some modern touches. Nice. Um, it's this really great combination of being like. Very simple, stripped down. Like the only menu are these three numbers here. That's cool. And you don't really need to mess with those. Like everything you can do pretty much is here. And so it's very simple, but at the same time capable of like some real depth, right? It just has some nice quality of life features. And it's only four octaves. Yeah, you have 49 keys. Obviously you can octave shift it, but, right. Uh, I just love it because it just has a great, like foundational sound and it's a great way of showing how like simple sounds can be really meaningful. Absolutely. Or it's also a great way of showing, in my opinion, about how you can extract a lot of like depth and character out of a simple patch. I love it, man. I mean, you've got one LFO. And like this, this may be a little techy, but like this is for it a polyphonic synth. Like typically if you just see one LFO on a polys synth, like in this case with six voices, this is actually six LFOs. Okay. This, this is only one LFO for all six voices. Wow. So it's dead simple, man. That's amazing. But then it has this poly mod section that Dave Smith invented. It was the same with the proper five, and he kind of invented this to get around that, to give you some more options. Yeah. And honestly, like over the years, just exploring what this can do has taught me so much about. Like how to program synths and how to approach other synths. And just in general, even like when I'm using Omnisphere and stuff, like, I'm pulling from experience that I have mainly with this synth. Yeah. Um, it's just a really, it's really critical to like my journey and. Sure. And also it just looks sick. It's incredible. Yeah. I mean, and it's, it's biblical. I mean, it's a prophet, I know Prophet six, I know. They should have called it like the, like the Elijah six or something like that. Right, right. Or, or maybe, uh, maybe seven, you know? 'cause six is, um, yeah, not quite well, as long as you don't have three of these back to back. Right, right. Yeah. Right, right. Yeah, man, that's so cool. But you, we do see the prophet six on many stages across. Yep. Really the world. But America specifically, there are a lot of modern churches that will have a prophet six up there. You'll see tons of them. Of course there's a lot of big labels that mm-hmm. The keys guys, you'll have the Nord stage up there. You'll have the prophet six, you'll have the Hammond B three up there, or C3 A 100. And I mean, this is like a staple. If, if someone's going to use a hardware synth in a worship set, I feel like grabbing the prophet six is going to be the one. Yeah. Like the thing is. Like plugins are so accessible these days, right? Right. I'm not gonna be the analog purist, like I use plugins every single day. I am simply making the case that if you're gonna have a hardware synth, this something like this is the one to have. Because there's really no point in owning hardware unless it's something that you can really like fall in love with and know all the nooks and crannies and treat it like an instrument. Sure. Like it has to feel like a real instrument. Right. To be worth it. 'cause these are not cheap, obviously. Come on. Right, right. And yeah, you are right. It is a staple. Like I feel like if you have like a prophet six or even the ref two mm-hmm. And like a Juno 1 0 6 and maybe a mini moog Right. Or a sub 37 or something, you've kind of got the full gambit of like, what is the analog synth sound. Sure. Obviously there's. Digital synths and all this, but in terms of like that classic retro vibe Sure. Like that's like the Trinity. Yes. You know? Yes, yes. Absolutely. Um, I, and I wish Ryan Pruitt was over here hanging out with us because he is the retro synth guy. Let's go over there in, in Smyrna. He loves the prophet as well, and they've reissued the prophet five now. Okay. Which is hilarious. 'cause it has almost as many knobs as this, but it's literally like twice as big. Wow, man. And so all the knobs are like, like that big around. Gosh, it's hilarious. But that's better to see it was there. It's a very cool synth. But yeah, this is nice and compact. It kind of gets that sort of prophet. Five weight. Yeah, to an extent. But it's way more. Um, compact, then a full size prophet, five. Um, and you can fit in a road case. It goes up above, you know, as your ox keys. It's just a good size for me. I love it, dude. Well, I, I wanna hear you play it, man. Talk us, take us through, man. Take us through your journey. Yeah. So, um, I. Don't necessarily want this to be a prophet six tutorial. Right. 'cause I feel like that'd be a little niche. Yes. You know, there's, there's already a few of those out. Maybe link a few. Yeah, exactly. Exactly. And prophet, you know, sequential is not paying me anything. Right. Right. Not spon, not hashtag not sponsored. Yeah, not sponsored. Um, but that being said, what I would love to do is I would kind of love to like. Share a few thoughts and things that I think about that, um, no matter what synth you're using, might help you to just improve your own patches a little bit. Yeah, give them a little more depth or achieve a little bit more of what you're needing 'em to do. Or even if you're going through like all the thousands of presets in Omnisphere, like if you find something that's like, oh, well that's 60% of the way there. But it doesn't quite fit what I need it to be. Like, how can I change it? You know, yeah. Just some things to reach for. That's good. That being said, like I'm gonna be, you know, all over these knobs today and, I really just wanna reiterate something I believe I said last time I was here, which is like, whatever gear you have, like just know it. That's good. You know, like I'm gonna talk about unison and envelopes and modulation and, uh, it's gonna look different for you if you don't have a prophet. Six totally. But, uh, I just kind of wanna show you like what's possible. Come on, man. You know, so the first thing it's a simple thing if you make a lot of patches, but the first thing I wanna talk about is like unison, okay? And stereo spread positioning, right? Because I feel like a lot of times when I'm like watching concerts or when I'm in sessions or whatever, like I hear the keyboardists and even bass players that are doing key bass play these patches that they clearly know what they're talking about. Like they know what the oscillators do. They know how to dial in a filter envelope, like they're not. Nubs, you know? Right. But at the same time, the patch just lacks a certain something. Mm-hmm. I feel like a lot of times, especially in a live situation, a lot more depth can be achieved by utilizing Unison. Okay. Which, if you don't know what unison is, it's essentially taking a sound and copying it and stacking it, and then just changing it a little bit to where like the way they rub together creates the depth. Yeah. That's good. And that's, and that's really cool because you can have a really simple patch that accomplishes a lot. Right. Which is good 'cause it's easy to make and, uh, not every patch needs to have all this movement in it. Yes. You know, that's gonna get lost. So, I'd like to demonstrate that with this patch. This is like my go-to live lead patch. I actually get asked about this all the time and I'm happy to share the recipe because it's such a simple patch and I think like I make this on every board that I use, even if I'm, if I'm back lining something on a fly date or whatever, I always make this 'cause it's so simple. Any two oscillator, synth can do it. Come on man. And it's really more contingent on the sound of the specific synth. Okay. So, but anyways, this is the sound. Um, okay. Yes, it's fun. It cuts. Yes, sir. It cuts through a mix. It's got, it's got some booty. Oh yeah, dude. Um, but really all it is, I'm gonna turn off the effects. It's a saw wave and a square wave split by an octave. So love it. I'm gonna turn off the units and everything. It's just this and some noise. Some noise to give it some grit. Sizzle, some fiz, some fizz, some fizzle. Fizzle. Yeah. Come on now. Um, but yeah, at its cores, it's. A saw wave and a square wave, an octa down. I love that. A little bit of detune, but there's no pulse width modulation or anything. It's just a, just static uhhuh. But because it's an analog synth, there's a little bit of like pulsing in there, you know? Yes. Um, and if I play this, since we're talking about unison, I'm gonna play the same thing, but without. Any unison. So this is just one layer of the sound. It still has a thing, but it's nothing compared to this. Especially with the spread. And you can see like so good, man. It's such a simple patch. Yeah. But all the character is coming from like those stacked voices interacting with each other. Absolutely. And so basically whenever you have unison, like pretty much in any soft synth or anything that has unison, you're gonna have two controls, more or less, that it's like, how much detune is it and how spread is it? Right? Right. So on the prophet, it's this slop knob that's the detune. Okay. Got you. And then this other knob here, the pan spread, that's like, that's kind of like spreading them out in the stereo space. So if I turn this down, I have to keep turning the effects off every time I reload the patch. Okay. But, I've got the patch reloaded. I'm gonna turn the pan down. You hear it's fat, but it's mono. And then, which. By the way, you're gonna want to have headphones to hear this, but um, absolutely. Yes sir. It's got big. It's big. It's big, but it's still a simple patch. Absolutely. And honestly, like the fact, the fact that it's simple, the fact that there's not a ton of modulation is what makes it cut through a mix. I love it. Um, and a and a good rule of thumb, I feel like is if you want something to kind of sit in the background make it move, give it a lot of character. If you want it to cut through, make it a simple patch. That's why like in r and b, you've got those like the polys sign stuff. Yeah, yeah. It's the, a sine wave. It's like the purest, you know? Yes. Purest, uh, waveform. But you'll notice, you can always hear that when it's happening. Right. You know, and it's because like the really pure stuff cuts through more. Oh, absolutely. So this lets you have a more pure sound, but still give it. Beef. I love that. You know, talk about this for a very quick second, not to be on a huge discussion, but the mono versus stereo, you're obviously on, you're playing with a-list artists right now, and you have been for a few years, but maybe there's people that are playing for. You know, lesser known bands or worship artists are just at their church and their whole system is not stereo. Mm-hmm. Sometimes, you know, your ears are stereo, the house is mono. Yeah. In a lot of, in a lot of, uh, instances. What's your opinion on mono versus stereo? Obviously you need to hear stereo to hear what we're doing, but do you ever, do you have any feelings about how the front of house might have to translate that to some demo? I. If you're in a general rule of thumb, I always like to prepare for whatever the front of house is. So if it's a mono system, and I do this on the road too with, um, like if we're doing a show like with Jordan for instance, where maybe for this particular show we're flying out to, like maybe it's a church show and we're using their PA and they have a mono system. I'm like resetting everything to where I'm not squashing left and right together.'cause that creates phase issues. Yes. Yeah. There's nothing wrong with mono, you know, like, um. Good. I want people to hear that. Yeah. E exactly. I mean, honestly, like if I turn this down, um, this is just the pan spray, this is the same patch. Uh, turn the effects off. That's still dope. It's still great. Yeah. You know? Yeah, totally. And there's nothing wrong with mono. Absolutely. In fact, like a lot of times, like on big, even like arena tours, with guitarists, for instance, like a lot of guitarist rigs are like mono, which, you know, being in the worship church world, that might sound crazy, right? Yep. But the reality is that if you have something that's mono, it allows whoever's mixing it to focus where it is in the mix. And if you have a, especially if you have a say you only have so many lines and you, you're forced to run a ano, and it's going into a stereo system, for instance. That's okay. Because it just means that, it's gonna occupy a very specific place in the mix. I don't get discouraged by that. That's good. Okay, good. Obviously though, like if given the option, like stereo is more fun, right? Right. And it's more satisfying. 'cause we have, most of us have two ears. Right. Right. You know, not, I'm sure some people have one ear. Right. Right. But I don't know any of them. Um, but yeah, so. Unison, uh, is a great way to just add width and depth. Absolutely. And it's similar to just slapping a chorus on something. Right. You know, uh, the, we talked about the Juno a second ago. Juno is like pretty ubiquitous, you know? Mm-hmm. And the thing about the Juno is that if you turn that chorus off, it kind of sounds like wimpy, right? Yeah. Yeah. That's an effect in my opinion. Just my humble opinion. Using unison is a way to add width and depth as more part of the chorus sound. It doesn't sound as much like an effect. Okay. Yeah. You know, and I, I, I can actually show you, so this is the same patch. I've got Ableton pulled up here, , and I've just got a couple plugins. I've got the, uh, arturia Juno Chorus. I think, I think I got this for free. I think this is a free plugin. Okay. Sweet. But if, if, if you look, if you don't have this and you want it, and you look up and it's not free. The Tau Chorus one is also free. Okay, awesome. TAL take that tip. Yeah. But anyways, this is just, and we're not showing your screen because it's not really, there's nothing to really show in Ableton besides just a little bit of session and his, you know, he's telling you all the plugins so we're not gonna be showing Ableton on the screen today. You're not missing out on much. You mainly wanna see his, the prophet here. That's what you wanna see. But what I wanna show here is the difference between unison and chorus. Okay. Okay. So this is, um. The unison patch. I gotta keep turning these effects off. But, uh, dry, no effects. Just the unison. Okay. Now what I'm gonna do is I'm gonna turn the unison off and turn the Juno chorus on. You hear that it adds some width. It adds some fuzziness. It's nice. Totally. But you hear how this is just a different effect. Totally. See what I'm saying? Cuts, man. It just cuts. Yeah. It gives you some control about like how phasey do you want the signal to be? Right. You know? And also the other thing to note is depending on the synth, there's different kinds of unison. The traditional kind is just like detuning voices and a lot of times that sound is gonna get you closer to like, what you might consider like a super saw you know? Yeah, yeah. If you're a keys player, you've probably heard or used that term before. Um, what's really cool about this prophet is you'll notice this isn't called, uh, detune is called slop. Which is a great word. Um, but what it does is it, in addition to detuning the voices, it's also adjusting, it's adding some randomness in the filter settings and the envelope settings for each voice that I'm stacking. Oh, wow. Because, and essentially what that does is it creates the sound of a, like a lot of like old synths that are like, sort of need to be calibrated, right? They need to go to the shop. Yeah. It kind of stacks in together and you, so you have not just irregularities and the tuning, but like the filter knob, if you can imagine like this panel, but like stacks six times. Right. Because that's essentially what we're doing with unison. Imagine like the filter is in a slightly different position. These knobs are in just a very slightly different position. The residence is in a slightly different position. Yeah. The, maybe the mix, the volumes and the tuning is all in a slightly different position. Mm-hmm. And all that creates not just, like different tuning, but it really lets you hear each individual voice in the stereo spectrum. Mm-hmm. Because they kind of have more of their own imprint. Yeah. It's kind of like whenever, guitarists, like worship guitarists have two different amps. Stereo. Right, right. Because it's like it's, they're sending the same signal out and the amps are probably both set clean ish, but because they're different amps, like there's just a little something different and that's what creates that character. Yeah. We can kind of do that here with unison. Is the worship guitarist, are they the mainly the ones that do that or, uh, in terms of like stereo amps? Yeah. Or, um, I feel like any genre that's like more ambient is probably, you know, like, okay, maybe like shoegaze or like. You know. Okay. Um, I don't know. Okay. Cool, man, I'm just curious about that. I'm only barely a guitarist on the worship guitar podcast. Yeah. The worship guitar podcast. That's right. That's right. It's just in general, like, to kind of sum that up, it lets you take a simple patch and. Uh, add more character to it, more weight to it, or, you know, vice versa. Sometimes you might be pulling a patch like on Omnisphere and it's just way too big. Well pull, go into that unison section and tweak it. Okay. Sometimes, uh. It's not even just more is more. Sometimes you need less, but still a little bit, right? And I'll demonstrate that. Like, so here's, here's a bass patch and I'm gonna use this bass patch later on. Um, right now I could just go all six voices of. Unison. That's massively fat, right? Yes. But if you're just holding a part down, sometimes you just need, you don't need all that. You know? Maybe you just need two notes. And all this is doing this. You see this as two. This is like basically a one extra voice of unison. So I've got, and I'm panning it here. So stereo bass. I've got one version of this on the left, one version of this on the right with those little discrepancies that we talked about. Okay. Right. Yes. It's still, that adds a lot of weight. It adds some width, but you're not taking up so much space in the mix. Absolutely. So it just, there's levels to this is what I'm trying to say. Absolutely. Little bit can go a long way to, depending on the patch. Yes, sir. And it's just a good alterna to just throwing a chorus on there or bathing it and reverb to get with, because sometimes like, yes, you don't need that. Like, that's not gonna help you cut through a mix. Right. And if you're playing a part or a solo or something, I know we don't do a lot of synth solos and worship music, but it, right. We do, you know, on some of the places that I play, or if you're just playing a part, like sometimes it doesn't need to be. Yeah. Like super washed out. Sure. But you still want it to be wide. This is something that you can try. That's amazing. So yeah. Unison. That's incredible. Are you playing, so you do a, you do a few things with Travis Dykes, don't you? A you Gocho or? We, we crossed paths every now and then. He's, he's a good friend. We've actually only ever gotten play together one time. Okay. Because he's been on the podcast and we talked about bass. I just saw him at the, uh, KLE cruise. Okay. Very nice. So we got to hang out. What's up Travis? What's up Travis? That's great, man. Can you play us your favorite since solo that you've played on the road before? No. Okay. Okay. Yeah, I mean, I, I truly improvise. You just improvise everything. That's good. Well, I mean, all me, not everything, but when it comes to solo and like, uh, I think I mentioned this last time, but like, I have a background in jazz, right? And so like, I kind of came up like improvising solos. Yes. I don't really rehearse solos. I'm not saying that's what you should do. But typically, like I don't, yeah, I just kind of play, I, I, I like fill it. Yeah. Like with arranging, like it's this combination of having something that's reproducible, but still leaving room for musicians to like do their thing. Totally. But, like a lot of times, like, I'll, I'll play a part. Like for instance, uh, for Jordan, he has a song called Glorify. Okay. Um, and in the second verse, we kind of do this big breakdown. Where I'm going. Like it is something like that. Um, good man. And it's just great, um, because again, like it's a simple patch cuts through, but it's got weight and I'm kind of like doubling the bass guitar as well, so I love it. It's just kind of a cool layering thing that's incredible. Are you sending four? Channels out as like two from your main keyboard and two from this guy or, uh, so I've even more, I've been doing that because I've started playing guitar with Jordan some. Right. Um, but before I was playing guitar, I was actually sending him six lines. Oh, okay. So I, I would do like, uh, pianos, pads, and then like pads slash organ and then like ox. Okay. Which the ox would be this, which is mostly just like effects, supplies, or bells. Whatever. Very cool, man. Yeah. Well, show us, show us some more. Okay. Uh, yeah. Trying to not get too bogged down on like one thing. Right, right, right. Uh, I, the next thing I wanna talk about is, envelopes. Envelopes, which, that's what these things are, the things that say envelopes. A DSR, you might've heard them called. I'm sure if you're a keys player listening to this, you've probably run into this at some point and you may be like, duh. But, still, I wanna show how important envelopes are because I really do feel like they're the one control that really defines what type of sound something is. Mm-hmm. You know, in my opinion, the envelope settings are what, separate, like a pluck from a pad or whatever. Right. You know? Right. They're also one of the best ways to, if you're like, again, scrolling through presets, trying to find something that you like. If you find something that like sonically is cool, but maybe it just. Takes too long to arrive, you can tweak it, like Omnisphere has all these, it's funny, I have a pro here. We keep talking about Omnisphere. Right, right. But I, but in this, for the sake of, like making something, saying something that like, we can all kind of relate to. Omnisphere has thousands of presets that have all these, I call them like showroom presets. Like they're to sell copies of Omnisphere, but they're way too big to actually use in a in a track, you know? Yeah. And a lot of times that's because the effects are way too much or like they just have too much movement or whatever. And like, I've had several instances where like, I'll pull up a sound, I'm like, oh, this is cool. But it takes like five years to arrive. And so I'll just can open up the envelopes and just turn the attack down and make it quicker. Okay. Or you can turn a pad into like just a poly sound. Right. Right, right. Understanding how envelopes work and all the different ways you can use them is really valuable. So in terms of like an analog synths, I'm just gonna, I just wanna demonstrate a couple things. Come on man. So I'm gonna go back to this bass sound. I have a few presets in here that are like my starting points. Yeah. You know? Yeah. So this is my bass starting point, like if I'm playing key bass on a gig or something, or tracking it. So that's a very like unoffensive bass, you know? It's right. It, it's got the low end, it's very playable. I've got a little bit of glide, you know, but, it's not blowing anyone away. And usually what happens is when I'm. If I pull this patch up, especially in a live setting, I'm like, this needs more, like, it needs to jump outta the mix. And generally, there's two ways to do that. You can turn the cutoff up or the filter up, or you can turn the envelope up, you know? So I'll show you, like if I just turn the filter up, well, let me see where this was set originally. Right. They're more or less I could just turn the filter up. Right? And now it's brighter, but it doesn't really have any contour to it. Right, right. So what I might actually do is I'm gonna initialize this and put the filter back to where it was. I might actually adjust this envelope amount. Essentially what that's doing is it's telling the synth how much these controls this attacked case sustaining release, is gonna affect the filter. Okay, and I can go in either direction, but I might just turn this knob up a little bit. Now you've got this kind of like thing, this attack going right, and it kind of might feel more like a, like a bass player. Picking, you know? Yeah. And that's great for like playing more percussive stuff, you know, if I just do that, you're not hearing any of that detail right. I might even, now that I'm actually kind of playing with the filter, I might turn this resonance up so you hear the filter a little bit more, right? Oh, come on now I'm gonna just because this is just 'cause I want to, I'm gonna add some unison 'cause I go for it. Um, let's do three. Three is a good number. Add some pan. What if, yeah, that's, that's kind of fun, right? Yeah, man. Uh, what if like, you want it to be more like. Kind of like web ish, you know? Exactly. Like skrillex up in here. Well, yeah, I was thinking, I was still kind of thinking more in like the funk kind of space. Okay, okay. Okay, good. Let's stay there. But like, you know, we've been messing with this decay knob. That's how I got that. But I can also mess with this attack. Check this out. Whoa. Whoa. Right? Yeah. Yeah. And I actually love doing that on bass because if I'm playing something like what I was playing a second ago, that has a lot of ghost notes, right? The short notes. Are noticeably darker than the longer notes. Oh, that's good. That's good. So where before I had this. I am kind of jumping ahead of the gun, but I wanna add some distortion. So man, that's creating. A character, you know, you could, yeah. It kind of, it's the sound that kind of goes like, you know, yeah, yeah, yeah. You really couldn't do that before. Right. You know, it was just this kind of dull, just sort of basic sound. Yeah. And I love having these recipes because, you know, depending on like if I'm playing, especially if I'm playing like a more of a jam setting, like I can tweak it in real time and I know exactly where I'm going. Absolutely. You know, but also it's just like that's all the same patch and I've got like three wildly different type of bass sounds. Sure. You know? Sure. So, yeah, that's envelopes. Um, you know, it's so good. If I go just to show you, I wanna show you a couple other things really quick just to show you like how important they are for defining the sound. I've got an in it patch here. This is a single saw wave, right? Literally if I just turn these two knobs, turn the tack up and turn release up. It's a pad, you know, filter it down, add the second oscillator and detune it a little bit. That's a pad, right? And that's, that's a pretty solid pad, honestly. But check it out. I'm gonna keep that the same. And I'm just going to add a little envelope filter, and I'm gonna tweak this, and I'm gonna make this a pluck. Okay. Just like that. Okay. Check this out. So we've kind of initialized that, right? That's a plug. Yeah. What if I wanna make it like a brass sound, you know? A little less, a little more attack. You can really ex uh, acsynthsuate that. Now it's brass. Right, right. You know, and all I've really tweaked are the envelope settings and the how the filter is like interacting with the. Man. Um, with the envelopes so much you could do here, man. I know. Manipulate, um, I wanna show one more thing, just 'cause it's like a party trick. Yeah. Let's see it, uh, this is slightly more advanced. Okay. But I wanna show the people how to make an 8 0 8. Oh, come on. Is that okay? It's for like the New Year's Eve services, you know, basically, yeah. That one time a year that you need the 8 0 8. Um, if you wanna do it via analog, this is how you do it. Okay. All right, man. So this is my in it patch again, which by the way, if you have a prophet six, just hit preset and write at the same time that that just zeroes everything out. Got you, got you. Okay. So the first thing you need is a saw wave. I, so I'll just take this, turn it into a saw. Okay. Now it's gotta kind of feel like a kick, right? Yeah, exactly. We all know, like, think like DAF punk. Yep. Or whatever. So what we've been doing is we've been using this filter envelope to adjust the filter, but what I'm gonna do now is I'm actually gonna reroute this and adjust pitch with it, okay? Okay. Okay. And this is something that you can do on most synths, in some way or another, but what I'm gonna do is I'm gonna go over here to the poly mod section and, if your synths doesn't have this, don't worry. It's kind of a prophet specific thing, but usually you can access this elsewhere, but if you're an omnisphere, it's just drag and drop. Drag one of the envelopes to the oscillator pitch. There you go. But anyways, so I'm gonna select frequency one, 'cause that's all we're hearing is drag and drop isn't as fun as all this. No, it's really not. And then I'm gonna dial in filter envelope here, check this out. You don't hear anything yet. But if I dial in some decay. Kind of sounds like Pacman, doesn't it? Yeah. Yeah. Yeah. I, it needs to go a lot faster. Okay. We, that's already kind of sounding 8 0 8 ish, right? Right. Then I'm gonna add the sub tive, and I'm gonna turn the filter down pretty close, and then we're just gonna use the same. Filter envelope that I modulated the pitch with and which, if I can show this visually, essentially all I did was make this filter, turn this knob for me. Got you. It's like every time I hit a notice going like essentially. Yes. Yes. Um, I'm just gonna add some of that filter envelope back in to where, in addition to it tweaking the pitch, it's also gonna tweak the filter. Do you hear that? Oh, yeah. And then maybe. Add some noise in just to where when the filter's open, some of that noise pops through, kind of sound more like a beater. Hitting a, a drum head. Yeah. Yeah. And then, you know, the pa still our resistance would be distortion. There you go. Yeah, man. Again, that is essentially. We're using one oscillator and that's just using this envelope. Cool to tweaks, pitch and filter. That's awesome. So it's not just a filter and amplifier, uh, thing, it can literally do anything. Right. Right. Um, some synths can tweak like effects. You can make it to where like if you're playing a pad, you hold a cord down and maybe that's bringing a reaver up or something. Like if you have a synths that can do that, which a lot of synths these days can especially plugins. Um, the sky's really the limit. Totally. Man, that's a good tip right there. Yeah. So, yeah, envelopes. I kinda wanna talk about Pads. Pads. Let's do it. This is, this is the Worship Keys podcast. That's right. Can't talk. Yeah. We gotta talk about pads. Pads, yeah. If you are a keys player, you probably know how to make a basic pad. But in case you don't, uh, pretty much any synth that you go up to. If it's a two oscillator synth, then it's very easy. I'm just gonna show you. Here's my in it patch again. Oh, oh yeah. It's just, I was like, why does it sound weird? It's 'cause it's an Octa down. I, okay. This is a single saw wave. All you gotta do. Bring in the second oscillator, and if you want that, that beating that detuning by the way, is just 'cause this is analog. Okay. Okay. Okay. That I didn't dial that in. If you do this on a digital synths, it'll probably sound like. Very perfect, you know? Right. But you might even bring in a little bit extra, a little bit of detune Right. And filter it down. I think I did this earlier, but literally like if I just put that Juno Chorus on. That's a perfectly glorious, yeah, perfectly suitable reverb that will probably get someone saved. Um, yeah. But, um, the thing is like, there's, there's, depending on what you need your pad to do, there's so much you can go so much deeper. Absolutely. Okay. And I don't want to get into everything you can do, but the main thing I want to talk about is just adding texture. Adding texture. Okay. Um, if, if this is just a background pad, if you're laying it with piano, you probably don't wanna do this. But like, I mainly do this a lot when I'm producing. Um. Just to have something in the background, like the ear candy or just the interest, you know? Totally, totally. And, uh, one way that I like to do that a lot on the prophet is with this poly mod section. Poly Short for polyphonic. Essentially, it lets you modulate things. I thought it was short for Polynesian. Oh, sauce. Well, I, I, I don't think this is built in Hawaii. Oh, okay. But, uh. If you don't have a poly mod section, first of all, if you, if you want a poly mod section, you gotta have a prophet or a prophet plugin or something. Uh, but you know, like most two oscillators synths, like, so think like Jupiter's Moogs. Um, oberheims and like plugins or other hardware syns that are like related to those mm-hmm. Will have some manner of like cross modulation is what it's called. It's a type of frequency modulation and a lot of times when people turn that cross mod knob or FM knob, it just gets way crazy. Right, right. Um, I don't know. You might be familiar with that sound, but if you use it judiciously, it can just be very subtle and you can just have some lovely textures in there. That's good. Okay. So, and since you said, you said Moog. Yeah, we can tell you're a professional. Oh yeah. Instead of saying Moog Moog. So thank you. That's just how it's spelled. No, it's actually spelled, it's spelled like Moog, isn't it? But, uh, yeah. Bob Moog. Yeah. Anyway, keep going. It, it is Moog. It is Moog, definitely. Uh, definitely there, there's really no argument about it. There's no, it's, it's Moog. So I'm, I've just turned off the effects. We've got this pad that we made. What I'm gonna do, I'm gonna demonstrate it first, then I'll kind of like break it down. But I'm gonna use this polyon. I'm gonna use oscillator two to modulate. The filter frequency. So check this out. Yeah. You hear that kind of dustiness. Yeah. You go the other way too. I typically don't do that. I, I like this. Especially if you filter it down and if I've spread this out. Do you hear how like, yeah, it's diff like everything's kind of happening in its own space. Yes. So essentially what what's happening here is, it's called frequency modulation or audio rate modulation kind of hard to explain if you don't know this already, but like an LFO, which is what you use to like do vibrato or whatever, it's just another oscillator just like these, but it's moving a lot slower. Got you. Right, right. I can actually demonstrate that with, I'm gonna go back to this in IT Patch, teach us your ways. So we're just hearing oscillator two right now, but I can, if I hit low frequency, I. Do you hear how it's that that ticking? Yeah. I thought that's, I thought we were buffering in logic for a second. That's the, that's the oscillators moving so slow that it's cycling. Oh, wow. And so that's actually moving more in the rate that a typical LFO would. Gotcha. So like I can actually demonstrate that if I mute that you're not hearing anymore. But I can use that for just like vibrato on oscillator one, so I've got frequency one. Yeah, it's just, it's just a vibrato oscillator now. There you go. Uh, but what's really cool about that is like, okay, well that's way more complicated than just using like the vibrato LFO. Yeah. But what's cool about that is you can play this oscillator Totally. You can actually play it like at really fast, like where it's so fast you actually hear a pitch. Oh wow. Yeah. You know? So what I'm doing here is for this patch you're hearing both oscillators and this oscillator too is pinning really, really fast. Okay. And I'm using that. To make this cutoff knob move really, really fast, like extremely fast, you know, and that kind of creates extra harmonics. Like, uh, I can go, kind of go crazy, like to, sorry if I, now you're not hearing this. Awesome. Later, you're just hearing its effect on the filter. Like that's not really a usable sound. Houston, we have a problem. Exactly. But if you just kind if you just dial in a little bit of it. Yeah. And the reason that sounds cool is it's being played polyphonically, right? So the way I just demonstrated that, like when it's very low, it's moving slower. When it's very high, it's moving faster, right? If I actually play this, check this out, I'm gonna exaggerate this a little bit, right? Then if I do this. I'm just gonna do one oscillator so you don't hear the beating. You can kind of hear that pulse. Yeah. Now if I go up an octave, it's gonna be faster. Go up another octave. Right? Totally right. Okay, so I'm gonna turn that back down and, and if I play a chord. Then you're hearing all those notes beating at different rates, and you can do it with, it's interesting, you can do it with the filter. You can also do it with pitch check the sound. So, yeah, that's crazy. So that's audio rate modulation. Um, a lot of synths. Can do it some synths, can do it better than others. The prophet can do it polyphonically, which is one of like that for me. That is the prophet sound. That is it. Okay. That's one way to add texture is just cross mod. And if you don't have cross mod, like really any kind of like weird glitchy thing, will is great. Just try stuff. I think if I can, if I can leave you guys with anything, it's just don't be afraid to try stuff. It's good, you know, if you're a guitar player getting into keys and you have a pedal board, run it through your pedal board. Come on. Especially if you have like some weird, like chase bliss something, something or another. Like those weird esoteric effects. Yeah. Or if you have like a granular whatever, or you know, just some kind of lo-fi plugin, just everything should have some kind of texture. Love it. Even if it's something as simple as just like running it through like a sort of tape emulation to give it some compression. Okay. Like it just needs everything needs to feel like it's alive. That's good. Even if it's just very subtle, because a lot of time, a lot of times it's more felt than heard. Right. If you were, if you were to get one pedal as a keys player, just one pedal. Yeah. What one pedal would you get? Well, I would probably go for like a multi effects pedal okay. Yeah. So you get the best of both us. Okay. I mean, I have a, I have a big sky that I've had for a long time. That's pretty popular. Yeah. Um, I also have a deco, Sri and deco, um, and I use 'em for different things, but the big sky is obviously Rever pedal, but it lets you use Rever very creatively. It doesn't just make it, you don't just have to have everything washed out. You can just, it's got this corral setting, which is really cool. The magneto setting is cool on it. The deco is cool because it's got that saturation side so you can really just like fry stuff. It's just, that's the best way I can describe it. It just sound, it just sounds like you fried it with no oil. It's just burnt, you know? Okay, cool. And then it's got the double tracking side, which lets you do chorus, phasing, slap back delay. All kinds of stuff. That's awesome. Um, and, and you could play with the phase, so Very cool. I like either of those pedals. I use 'em for guitar as well. I have 'em on my pedal board. Very nice. Um, and speaking of effects, I kind of wanna take this one step further. Okay. I have a patch here I wanna show, kind of demonstrating this whole filter FM thing that I just did. Oh, right. One thing I want you to notice about this patch is that to my ears at least it is, has so much. Depth and like just space. Yeah, but it's dry as a bone. There's no effects. Okay. It is just pure prophet. Okay. So check this out. Like obviously you wouldn't even wanna layer that with the piano, right? You know? Right, right in a track. You know, that's neat. And the thing is like if you add effects to it, it just gets kind of better. So I'm gonna put that chorus and reverb back on it. Check this out. I'm gonna turn out the reverb a little bit. I'm, you're using Valhalla vintage verb. Yeah. Which, by the way, FHA vintage, the default preset is the best. Preset is the best. Okay. That's good. They knew what they were doing, so just pull it up and adjust the mix knob. Right. Isn't that cool? Dude, that is cool. And this is just a two oscillator synth. I love that. You know? You can take this one step further. This is something again, just I'm thinking about how do you add texture? Right, right, right. Okay. Something I've started doing since I kind of got into guitar Yeah. That a lot of guitarists do is they will, you know, uh, run their time-bassd effects, delay and reverb and stuff into either the front of an amp that's pushed or into, in some cases, like a dirt box, like a distortion or overdrive or something. Okay. And, um, I've started doing that with my synths. Okay. Okay. So. If you guys have Ableton, uh, I, I don't know if this is on suite or not, but it's a stock device in Ableton called Pedal. Okay. I have it on the fuzz setting. Very nice, and I just kind of got it on a low game setting, but literally I've got this after the reverb. Like you wouldn't think, oh, let's run a fuzz pedal after reverb. Right, right. But it literally takes it from like a nice sound to literally just like, in my opinion, something that sounds like Blade Runner or like Oh, nice. Very soundtrack. So yeah, I'll play it. The reverb and then I'll turn on the fuzz for you. Okay, now check this out. The movie score. Yeah. And it con simmer. Exactly. And, and, and you're, you're feeding that distortion. Yeah. With the reverb, but also with like all the interesting things that are happening in the stereo field, which kind of goes back to the unison thing, like to get the sound, I've got this poly mod thing so that each voice sounds different, and then I'm spreading it around. Oh wow. Feeding a stereo reverb. So it's kind of acsynthsuating that. That's incredible and incredible. That's being compressed and crushed and like fried by this fuzz pedal. Wow. You know? And so it's just, it's just, it's treating effects like part of the sound. That's good. Instead of just like a tact on thing. Right. That's good. Yeah. That's really, really good. And you'll find the things that you like to do again, just get weird. Just get weird. Just try stuff. Let's get weird. You know what I'm saying? Totally. And, and along those lines too, Marcus, , I love how that sounds. It's really cool to experiment. Maybe you're listening on Apple Podcasts or Spotify, but if you're watching on YouTube right now and you do a lot of synth stuff, especially producing and do a lot of in the box things in, in your dos, in the comment section, just let us know, are you using Ableton? Do you use the fuzz? Do you use logic? There's like a pedalboard that you. Build in logic, it literally looks like a pedalboard and you drag in different pedals. Yeah, that's, that's, that's really cool. It's pretty cool If you use that, let us know. Do you use Logic? You use Ableton? Is there anything stock that in Pro Tools that's like this? I'm sure there is. Uh, I think they have like the air plugins. Okay. Oh, yeah, yeah, yeah. The air plug. But there. They're probably not to the level that Ableton and stock or logic stocks are. It's all, it's all subjective. Subjective. It's all subjective. But I mean, I know a lot of people that use those air plugins and I think they sound pretty good. Okay. Okay. Okay. I, I'm, I, I'm an Ableton guy, right? To my core. So to the core. I want to show you before we move on from this topic, I wanna show one more patch, and this is kind of like combining everything we've talked to, talked about up to this point. Okay. Come on now. Okay. Show us. So this is a patch. Um. Uh, I actually made for an artist named Sarah Reeves. Okay. Yeah. Yeah. Uh, that I, I was, I was playing some shows with her a few years ago and, uh, this is like something that I wanted to throw in on one of her songs, but it kind of, for me, it sounds like a, like a arcade machine from hell. You know, so there's a lot going on here. Right. It's kind of got an 8 0 8 quality, but you can play it up high. See how we do. Yeah, exactly. Play it a low, it kind of sounds like a nasty 8 0 8 up high. It's like. It's a very playable sound. Absolutely. But if I turn off the effects, which these are just the built-in prophet effects here. So what I've done here is I've turned off the unison, I've turned off the effects, and I've turned off the extra little texture stuff. And this is what we're left with. Kind of lame. Yeah, very lame. Um, but if I bring this back, what was it on? That's just the extra dirt. And you're so quick with these features. Yeah. I mean, you, again, you gotta learn your gear. Gotta know your gear. Yeah. Um, but I'm gonna add these back in. So this is the frequency modulation. That's that 8 0 8 thing. The P Yeah. Yeah. And then we're gonna add that dusty quality of the Filter fm. Yeah. Right, right. And now we're gonna add the unison. This is all six voices. Everything that she can give. I'm gonna paint 'em, dude. And then finally, I just got some hall verb. Sounds so good. Which, if you guys have a prophet six, I wanna show you something. This is like a Easter egg, but if you go to the Spring, spring, reverb in here is pretty good. Happy Easter y'all. What? I said Happy Easter. Y'all Easter's coming up? Okay? Oh yeah, it is, it is. So, uh, and the distortion as well. But I've got a spring here. I don't know if, I don't know, this is kind of a weird thing that they did, but obviously this is a digital effect, Uhhuh, but for some reason they put it an accelerometer in here, so you can do that. What? I don't know, man. Dude, do that again. It's not ours. Yeah, you gotta smack it. Don't be afraid. There you go. Oh my goodness it's, it's for what? And it's, it's not like there's a real spring in there. It's just like a fun thing they did. That is fun. But spring reverb is great on synths. By the way. Imagine like doing that at church. You're just playing and you're just like, yeah, like it just this juicy pad. Wow. Anyways, so yeah. Um, that sound, it's, it's one of the favorites that I've made resynthsly and I ran outta that grave. Pow. Anyway. Yeah. And it's just kind of combining everything and you just saw like, um, I'll let you, you, if you want to hear, you can rewind it, just how simple that patch is. Rewind it. What does that even mean, bro? Like, bring it like, you know, be kind. Rewind. Be kind. Rewind. I'm old. Um, but yeah, I'm just kidding. It just shows like this sound, all the character is in the space and the extra texture and the effects. Yeah. Yeah. Right. Not, yeah. That's, that's it. So it's just, these are the tools at my disposal to add texture. I love it. I really encourage you guys to, explore the tools at your disposal. That is great, man. Yeah. Love this. Yeah. And by the way, a lot of you guys have the Arturia stuff, right? The arteria prophet plugin has this, oh, that's sick. So if you want to explore Poly mod, I highly recommend it. That's super cool. Yeah. Okay, so. This is, I got one more. I got one more synth tip. Come on. All right. This is kind of a bonus thing, bonus, but, uh, bonus round. I. In addition to playing worship music in church and touring, I do session, I did a lot of session work too. Yeah. And I'm, I do a lot of writing and producing very nice, of all different genres. And I don't remember the last time I went to like a, a recording session even for like country or anything where I didn't have this with me. Mm-hmm. Because it's such a great writing tool, even for like. Any kind of contemporary genre that you might want a synth. And the reason why is because it has a sequencer. I feel like a lot of people sleep on the sequencer, especially live players. A lot of people might think that a sequencer is just for people that don't really play, but, uh, there it's a great idea for inspiration, honestly. Like I play all kinds of genres of music. I'll just demonstrate. So I've got my in it patch here, just that saw wave again. Right. And I can literally, this is a polyphonic sequencer, so I can play chords. I can literally just hit this record button and it's gonna record each thing I play as a step and I can go up to, I don't remember if it's 32 or 64 steps, but I'm just gonna play something. I'll, I'll just play this, see here, and then I can, that's a cool, kind of a, kind of a Radiohead progression, right? And then I can literally, you still, I played that at a. But if I hit play, oh, that's cool. Which, that's a little aggressive, you know? But I'm gonna slow this down to eighth notes. Maybe I'll sell the tempo down as at one 20 right now, and now it's playing itself and I can tweak the patch. That's cool. So. Throw in some of this, uh, poly mod, you know? And then, yeah, like if I'm in the studio, I can reach over and. You know what I'm saying? Right. Right. And I can just, I can just jam. Absolutely. And I, I've started so many tracks that way. That's fun. Um, and you can just kind of like, meaning, you can just kind of get like a DJ over here, bro. Go crazy. Exactly. You know, which like, you know, I've, I'm, I'm watching, uh. I'm finally finishing Stranger Things. Oh dude. Yes, bro. But you know, you can, you know, we've mentioned Stranger Things a few times here on the pod and um, some people are just not fans. Well, you could throw some unison, stop this for a second. You know? Yeah, bro. It is just like, that's it in, in endless inspiration. I've got, I've got some patches here like that I have specifically for that purpose. Right, right, right. Like this patch here. I'll use that a lot of times for a sequence. That's cool. I've got, I've probably got one programmed actually, like that's a, I think I'm an E-flat. That's nice. Yeah, but you can just reach around and you know, you can just kind of go all day. You can track that. Yes. A lot of times what I'll do is I'll have that going, then I'll just, you know. Yeah, bro. Ooh. So yeah, sequences. That's great. A lot of plugins have 'em. I know Omnisphere has it. And so yeah, if you're just jamming, you're looking for an idea or. If you wanna get really fancy with it and you've got all your stuff synced up with midi. Yeah. And it's like all tempo, synced, whatever, maybe you can find a live application for that. That's incredible. Um, same thing with Arps, you know, very similar. Yes. Our, our page editor are a little more manual. Absolutely. But um, yeah, that's just another way that I like to use this as a writing tool, as a production tool. That's incredible. And uh, don't sleep on it. Don't sleep on it, man. I love it. Well, thank you for sharing all this stuff, Marcus. Yeah. Like, I just love sharing the stuff. I love being the, synth apostle. Yeah. The synth apostle. Yeah. It's like the funk apostle with, uh, like Cory Henry, bro. Well, I, I, I just feel like, you know. Like guitarists shouldn't have all the fun, you know? Right, right, right, right. So much of so many keys players, like their whole world is just this, they, you, you're on stage looking like you're working at h and r Block or something, and, and I, I just want, I, I just want. I want us as keys players to feel like musicians. That's good. And this is an instrument. Come on. You know, and, and you can, you can interact with plugins the same way. I'm not trying to say that you have to go spend however much it costs to get one of these. Right. I always wanna encourage people to just always be digging for more musicality and what they're doing. That's good. Regardless of whatever tools they have. Come on, just be a musician first. That's great, man. So your IG Marcus Wiles. Is that, is that your handle as well? Yep, that's it. Just my first and last name and, and Wildes is W-I-L-E-S. You got it. Okay. Yeah. Okay, cool. That is awesome, man. Uh, definitely connect with him on Instagram. A few more things guys here too. Maybe in February you guys saw some episodes where others shared their own keys rig. So Marcus sound enough. If you know this, but resynthsly we've been opening up to anyone that has a keys rig that wants to share their own keys rig from wherever you are. Is it like a roast my rig thing? Roast my rig. Oh my gosh. We should do a roast my rig series. I I want someone to roast my rig. I really do. That is crazy. You know, we did not promote it as a roast my rig, but maybe we should. No, but for real, if y'all have a rig that, you want us to roast. No, I'm just kidding. No, but if you have a really cool rig, maybe you also have a prophet six or prophet five, um, or whatever it may be. And you wanna do a whole synth rundown of your setup. Uh, obviously we do require, you know, good, a good audio and video setup if you're gonna send us a video. But email Carson@theworshipkeys.com or send a DM on Instagram if you have your own rig and maybe you're not, you know, around here in person where we can film together. If there's any way we can share it. On the channel and let others comment. If it's different enough from things we've, we've already done, um, and it's beneficial to the, the whole community, we wanna share it. We've just been opening up that lately. So if you do have a keys rig, uh, you wanna share, and again, it, it can be on one specific thing, like a prophet six, or maybe you share your whole rig along with all the software you're using, whatever it may be. Um, let us know. 'cause we wanna see it. We wanna roast your rig. Uh, but anyway, yeah, dude, I would, I would love to be with you to roast people's rigs. Okay. Just like reacting to it. Yeah, a hundred persynths. I would love that. Everyone's like, I'm not sending my rig in at all. No. With the love of Christ. With the love of Christ. Yes. Yeah. Yes. Christlike Roast Christlike roasting my, my Keys rig. No, I love it. Well, guys, we're concluding this episode. I know it's been a lengthy one, but I hope you enjoyed it. Marcus Wiles. Um, thanks for being on the, the Worship Keys Podcast. And we're doing another episode next week, and maybe by the time you're watching this, it's already out, but it's all about the Nord stage four. Mm-hmm. And I'm excited about this. Yeah. 'cause you said that you've been using this a lot. I have. And you know, it's, it's, uh, it's, it is. Stage four specific, but there's a lot of threes out in the world too. Yeah. Yeah. And obviously like in the church world, there's a lot of red. That's right. That's right. So it it, there's some stuff for y'all too. Yes. So, yeah. Yes. Because it's just, it's just about the Nord love. That's right. Jesus. Jesus blood. Yeah. Ran red. So I know. And. So, so, so, so does your keyboard. I don't think that's what they were going for, but probably not. Okay guys, we're wrapping up this episode, but thanks again, Marcus. I really enjoyed the synthesizer stuff. We have not been able to really dive deep until today, so thank you for taking us through that. Um, there's a, I love what you said is you gotta know your gear guys. If I love what David over Ramirez said, we had an episode with, we had three episodes with David, which. What a freaking legend. First of all, shout out. I know. I love David. He's so good. I, I can't believe he shared, you know, what he did on the podcast, but he shared his story. His, uh, dad resynthsly passed away. And so much love to you and your family. David, as I know, your dad passed away. He's a big part of your life. So much love to you, man. But what he shared on the episode was his template, uh, in Logic Pro. Which is really awesome. And he has tons of synth plug. I mean, he might have all the synth plugins that every says He probably does. Yeah. The work he does. But he also loves the prophet. He loves the meron, he loves just so many things. And he said in his, in our podcast with him, he said, my suggestion to you is just, uh, get, find a way to get that piece of gear. Mm-hmm. So whether that's a prophet six, whether you borrow it for a month or whatever, learn everything. In it. Yeah. Just in and out, the whole thing. And then he said once every, whenever he learned something about an uh, synth, he would sell it and buy another one. That's cool. And sell it and buy another one. That's interesting. You know? Yeah. Which, you know, like again. That's not saying that you need to just go get, get one of these unless you want to. I fully support it. Right, right, right, right. Okay. But I will say like the big difference for me with hardware versus like plugins is that like, I mean, I probably don't have as much as David, but I know I have hundreds of plugins in here. Right, right, right. You know, and when I'm working especially to a deadline, like if I'm producing or whatever, I'm gonna just get the same stuff I always do. And you know, it's just like I might have 10 different reaver plugins, but like, I don't have time to learn 10 different re reaver plugins. Totally, totally. Um, you just kind of end up in your same ruts, pulling up the same presets and whatever. Totally. And like this gets me outta that space. Mm. You know, I've got Omnisphere, I got all the things right that everyone else has, and those sound incredible. I'm not necessarily using this for