Cooper FX Arcade Synth Card Demo & Review

Video Transcript

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Cooper FX Arcades Cards – Synth

Welcome to get offset. My name is Emily and I’m here once again with the arcades by Cooper FX. This time I have the synth chip, let me be hold that up. And then you can see it says synth on the chip. And now the, uh, the branding on the chips looks a lot nicer. Um, just to compare the branding use to look when you first got them, it looked like this, and now they look more like this.

So really neat. And also they come with that key chain. So you don’t lose them though. You have to try not to lose the key chain as well. So I’m going to go through all the sounds in the center setting. Uh, on the synth card, there’s eight different modes. And, uh, let’s first just do a quick reminder.

There are really eight knobs, eight things to change on each of the eight settings. You have A, B, C, D, and you click here to page. And these are your, um, These are, these are, your settings are the same with every single mode. And I am just for the sake of this going to turn the dry down because only because it’s the center setting.

I really prefer, um, to just have this, the synth B be all what? So I’m going to leave time and clock. Tone and clock at noon, not time. Go back over here. So, um, the first thing you really need to understand about the synth chip on the arcades is that on those one through six, this is a polyphonic modes.

According to the manual, it says the polyphonic modes. On this card uses your playing dynamics to sample audio for scent style manipulation. And re-interpretation because of this, you need to be aware of the sensitivity knob. This sets the sensitivity of the envelope detector you use to trigger sampling.

Uh, if you’re unhappy with the tracking, try the sensitivity. So, um, you see a, B, C, D each setting has. In a, B and a C and a D. So let’s, uh, listen to the dry sound.

Hi, little Charlie bluff. So the first one we have is the art for arpeggio. This is a random pattern of jumping off this. SPD sets the arpeggiations speed. And can we tap the via tap tempo? Uh, sensitivity controls. The sensitivity, uh, filter is the cutoff frequency and minimum of a filter that is swept with a ramp wave in speed with the arpeggiation.

Um, and then porch or porch portamento, uh, allows you to dial and slow. Ditch lies or quick pitch jumps. So remember, I don’t have any dry signal going. I have it at full width.

All right, I’m going to turn the, I am going to turn the wet up a little bit. Just to hear this one better.

That’s fun.

Alright, let me just turn the sensitivity down all the way, which is why it’s not detecting new notes to arpeggiate with

use your noggin. So then if I turn that up all the way.

You get new stuff. Let’s look at this filter.

That’s fun.

All right. And then program goes to the next, uh, the next setting. So now we are on the attack. The case setting, uh, attack indicate our terms and key terms. And since lingo referred, Oh, there’s little drawing. Um, let’s see. So let’s just play it.

So attack can be set, set, set very slowly, um, when turned fully clockwise. So if no sound is coming out, adjust that. So let’s play with the attack.

Very church vibes.

Very churchy. Sounds really beautiful. Um, the decay can go to basically an infinite to actually an infant decay of turned fully, fully clockwise.

And the D is, uh, the, the, the depth knob. It starts. The point is it says where the swell happens. Sure. I have the attack all the way down,

so it happens very quickly.

That’s cool.

I love the setting. It’s very churchy.

But we have to move on because we’re already 10 minutes in and we’re only a. There’s two of them. So let’s go to the low fi a dusty lo-fi synth voice to case that’s the decay time or the time it takes for the decade to turn out a swell out, I guess. Um, the de Wilde sets the, in the amount of the slow, horrible a flutter is the fast modulation.

Turn up the sensitivity.

Cut that out.

That’s a pretty immediate decay.

That’s pretty

I can make it.

alright next. Thank you. Next is the Pat. I really like, uh, in my sets with Sunday crush pad reverb is the one I’m most likely to use this cause it’s so nice. Um, so speed sets the speed of the filter modulation. And then there’s a low pass filter, and then there’s a low frequency oscillator.

So you can really shape the

Hmm.

I would say the LFO is, um, sets the shape. Shape of the oscillation is what that setting. Um, so that can go between ramping saw, saw twos and triangle. So ramping is over here and I’m sorry, ramping is right in the middle. Um, that’s a solid twos. That’s a triangle. So let’s do ramping.

Let’s just play around them

as you turn the volume back up.

All right, next next. Alright. Uh, this is the strings. It is. Let me look at what that says.

It’s I’m going to be editing this one, a bunch it’s based off of the legendary programs on the XP XP 300 space station. Uh, it creates a synthetic string voice using pitch shifting reverb and slow fade. And times you have attack controls. Um, as you turn it clockwise, it gets slower. Uh, space sets the amount of reverb and then pitch sets.

The pitching is quantized to the pitch note. So pitch is over here. If we turn it all the way down there, quad has the root plus four plus fifth octave. So let’s start with that at the roots. And.

Do it sounds it wrong. There we go.

That’s that very slow attack time

go now to the Oregon. I always forget. I had to play, take me out to the ball game.

All right. Uh, the Oregon re-imagined your audio is an Oregon by blending an octave up an octave down and in via Brado you have the amount of octave down. You can feed in a C octave minus sign, octave up as a plus sign. And then the vibrato is the I Bravo.

Alright next, we have the mano and that’s like the classic sense, like cutting sound. Um, it is like a lot of old, since you can adjust between the amount of drifts or do tuning between two oscillators to create a thicker Sy sound, kind of like what a chorus does. Um, you can just see the amount of the tuning or drift with the.

D E T knob, uh, the res snub, uh, just the amount of resonance in the filtering. Uh, turning it up can create a very aggressive sound in isolation. So be careful. And then there’s the, also the OCT. It says the oscillator. So let me make sure that, let me turn off later to like noon. Let me just get everything.

That’s not sensitivity at noon and turn tennis back on. Oh no, it’s on.

I love it.

Yeah. Oh, the root note of the oscillators. What I meant when I was talking about this thing. So that’s rare.

It gets that. Cool. Farty sound. That old sense. Good.

You definitely have to find that sweet spot for the oscillator. I wish they hadn’t saved the mana for the end. I think it’s like so far. It’s my favorite. And I really liked the attack decay one a lot too, so far.

So I’m going to turn the resonance in a minute, but

I’m going to first play with you tune a little bit. I mean, yeah.

So you do want somebody tuning in my opinion, so that you get just like a little bit of movement. So it actually sounds like a sense, cause that warble is such a key part of the center.

The thought I got rid of my rainbow machine. So let’s see what happens when there’s nothing on the residents there

feeds back.

Sorry.

Right.

I’m not going to turn that up all the way. Alright. Just one left. It’s called daft. It sounds like robots. K C, C H a R sets the character of the robot voice  makes the, is the key to making the robot talk, turn it up for more vocal machines. And then there’s the root note of the oscillator.

All right. Well, that was a quick look at the 30 minute. Look at the synth chip, uh, on the arcades front by Cooper FX. I think it’s. I would use this on my board gigging. I totally would. Just for that, that motto alone, I think is really cool. And the daft is wild. I think that we would have some fun with that in Sunday crush, the attack decay is just as beautiful, like churchy vibe that I really dig.

Yeah, I think those are my favorites of the settings. The Oregon is cool. The, the R arpeggiator is that’s neat. I’m not an arpeggiator person, but if you like arpeggiator is I bet you like that. Uh, please check this out on reverb.com via the link in the video description and check out the district could link in the video description.

Uh, when you use our link, you say 7% on your first year at distro kid. And it’s a forced to show as, as the reverb link, a big things to Cooper FX for in Mazda stro for sending me these new chips, uh, that this was, um, a demo in exchange for the product. They sent that to me, uh, because they wanted me to demo it.

Um, yeah. Well, thanks for watching, please. Like comment, subscribe below. Thanks for understanding. Once again, my name is Emily goodbye.