how's it going, everybody? You know who it is, my name is Sun Wu. And in today's video, we are going to take a look at this little setup right here, how it's all wired up, how it's all configured, and why I am using it, how I'm using it. So let's dive right in. Since I posted the first beat-making video using this setup right here, a lot of you have been asking me about how I'm sending MIDI from the OPZ to the OP-1, how I am clocking the Pocket Operators and the TX6, for example, and basically how all of this works. So I decided to make a spontaneous video how it's all wired up, and hopefully we can get it to work in order to make this a complete and portable setup. So let's start by talking about the OPZ. Because the OPZ is such a powerful sequencer, I decided to make this the main brain of the setup. So it's sending the clock, it's sending MIDI out, as well as being the main drum computer using the first four

tracks and also being an effects processor by using the tape track. But let's go through the connections one by one. First up, we've got the USBC Port that is going from the opz into the op1 field, and this is sending and receiving MIDI Note data as well as sending clock information from the opz to the op1 field. The MIDI settings in the opz are as follows: I get incoming MIDI, I'm sending MIDI out, and I'm sending the clock out. On the op1 field, I am MIDI syncing to the opz, and this means that when I go to my tape and I press play. [Music] It goes to my in point each time I press play. If I don't do that and have it set to beat match, my start information will be sent, but it will always start from where it left off like this. Foreign [Music] And it'll always start from the in point. Furthermore, if we go to the MIDI settings on the op1 field, I've got the clock set to in because I want to

receive the clock. I got notes both ways because I want to send notes as well as receive them. And other I have off right now, although I could turn that on if I wanted to control MIDI CC data on the OP1 field, which I don't want right now. The MIDI channels on the OPC are set up as follows: channel one, two, three, four, five, six, seven, and eight. If you want to change the MIDI channel of any of the tracks, you can do it like this: you press this button and this button to get to the MIDI menu, then hold down, say, the bass track. And now you can turn the green dial and change the MIDI channel number this way. So right now, the bass channel would be sending on MIDI channel number one, MIDI channel number two, and so on. But I wanted to send on number five. And because each of the tracks has a separate MIDI channel, I can now address them all separately from the OP1 field. So I could, for example, go to MIDI Channel 8. And now I'm controlling the chords track.

I could go to 5, and now I'm controlling the Bass track. Usually, once I filled a few of the tracks with sequencer data, I turn the op1 field to be midi channel number eight in order for me to be able to control it from the chords track and therefore sequence it from the opz. So if I turn the op1 field's volume up but turn the opc's volume off completely, you'll hear me play the op1 field from the opc's keyboard. [Music] If I unmute the opz again, you will hear that I'm also playing the sounds from the opz right now, which I don't want. And I can mute just the sound coming from the quads track but still send the midi data by pressing the mixer button, pressing shift, and then the chords track, and you'll see it light up red. And that means that it's still sending midi data but it's not sending its main audio to the opc's audio output. But I also got to make sure that on the

chords track. I am not sending to the effects because I would still hear that. And now I could sequence something on the chords track. Play that. Another thing to pay attention to when hooking up these two devices via USBC is that the op1 field will be sending audio over USB into the opz. And if you want to turn that off you can go to the module track right here. Press shift and press three. And that means that the opz is not receiving audio from the USB port. All right, next let's talk about how the pocket operators as well as the tx6 are synced up to this in the opz. I've got the line module installed which to me is the most useful because I don't want to do any eurorack stuff. So I've got audio inputs as well as sync or midi in and outputs. In this case I have the midi and sync Port set to pocket operator sync. I've got a headphone splitter plugged in. One end goes into the tonic. The other usually goes into the pocket operator KO.

this way, I can have two Pocket Operators hooked up to the same sync port. You could, of course, use a headphone splitter with many more outputs and have more Pocket Operators hooked up, but this is how I do it. And then I just got to make sure that the Pocket Operator is set to the correct sync mode by pressing this one and this one a few times until it says sync 4. And now, if I get this ready to receive the clock, it's waiting for the clock to be sent. If I press play on the OP-Z, this will play as well. So if I mute the OP-Z, you can hear this one. And finally, the TX6 is synchronized in the simplest way possible by using the new auto BPM detection feature that they have recently put out with the update. So I go to the clock option in the menu, and I can select whichever track I want to receive a signal from and have it analyzed for a clock. In this case, I've got track 3 selected, and track 3 is

receiving the drums coming from the opz, which is giving me the most reliable clock source. So, if I play the drums and go to tempo right here, I can see it's on 82 BPM, which corresponds to what I've got going on on the opz. The reason that I want tx6 to be clocked to the opz is not because I'm sending out clock from tx6. It's just for the internal effects, some of which are Tempo dependent. For example, the delay, tape stop, foreign. I think that's all the midi and sync connections done. Now let's have a look at how the audio is hooked up in the setup. First up, we've got the op1 field that is sending its audio out here and is connected to track 1 of tx6 like this. Then we got the opz's main output going into track number two. And to this main output, I'm only routing my melodic tracks, meaning the bass, the lead, the ARP, and the chords track. The chords track in case I'm not playing the

op1 field. If I'm playing the op1 field with the quartz track, I would also mute this one and not have it send to the main output. My drums, however, you can see they are all red, meaning they are muted or their main audio is muted from going to the main output. They are, however, still sending and receiving midi, as well as being able to send their audio to the line output module. And in order to set that up, I go to the module track, press shift, and as you can see, the kick, the snare, the hi-hat, and the sample track are all highlighted, and that means they are sending their audio to the line module and going from its output into track number three of tx6, as you can see right here. And having these two stems separated from one another, of course, gives me greater flexibility when it comes to processing these tracks. Like this, for example, put a Reverb on the melodic tart and crush the drums with the compressor or add some bit reduction just to the

drums filter them separately, and so on and so forth. It's super fun to have these tracks just separately there and try to apply different tracks to either of them, or different effects rather. And before we get to the opc's audio input, the tonic pocket operator is going in track number four, and the KO usually in track number five, so I can play it like this. The clap is coming from the tonic, and I like to augment the drum sounds of the opz with the tonic, and then have longer reverb on the tonic. And such things. And now we get to the audio input on the opz, which is hooked up to the AUX output of tx6. And having it set up this way allows me to send whatever track I want from the tx6 into the line input of the opz, and not only process it through the module track through its filters and lfos, but also through the tape track, which I think is super cool. Let's try this out. Let's say I want to process the op1 fields audio.

signal through the OPC. If I press the op1 field, you'll see Channel 1 lights up because that's where my audio signal is going. So, in order to send track number one to the opz, I press the aux button, hold track number one, and then turn the signal up. And now if I play the keys, you'll see track 1 and 2 will light up because now I'm getting the signal doubled. I hear it on channel one as well as going through the aux and the opz, and then out of the main output into channel number two. So what I could do now is I could mute channel number one because I'm also getting the op one Fields noise coming through the opz right here. In order to do that in aux mode, I can select pre-fader mode. That means it will tap track one signal before the fader to send it to the opz. And that allows me to just mute track number one, and it will still send to the opz, and therefore I still hear it on track.

number two. And now I can, for example, go to the module track, go to my filter section, and filter the OP1 field, or send an LFO to the filter, even like this, or even better, process it through the tape track by going to the tape track. I already got a few triggers down here and pressing shift and making sure that I'm sending from the module track into the tape track right now. So I'm on the tape track, press shift, and make sure that the module track is highlighted. That means the tape track is receiving audio from the module track. And now if I press play and play something here, you'll hear it's going to be chopped up by the tape track. Thank you. And this way you can send any amount of any track from the TX6 into the OPZ and process it through the tape track, which I think is really cool and opens up a lot of possibilities. And with that being said, I think that's the main setup for now. Of course, things

are always going to change. If I didn't say it yet, this output here is going to my main speakers. This is my headphone output, and this goes to the Mac, and of course into the DAW where I'm recording right now. On this track right here, I have the microphone hooked up, so my mic is going into a preamp and then into this track right here. And of course, if you have any more questions about the setup, I'm sure the setup is going to change and evolve over time, but if you have any questions, drop them down in the comments. I'm going to do a proper review on TX6 sometime in the future. I can certainly say it's a great item. It helped me to get this whole setup together and create a more permanent setup that is fun to play, even though there are a few more devices involved now. Yeah, but that'll come in the future, so stay tuned for that. Uh, what's left to say? Thank you very much for watching the video. I hope you enjoyed it. If you did, I

would appreciate a like and a comment down below. Subscribe to the channel and ring the bell if you don't want to miss the next one. And if you want to learn more about the opz, op1, tx6, and so on. If you want me to help you out with your setup, feel free to contact me for private online lessons linked down in the description. Hope to see you next time. Peace.

How this DAWless Setup works // teenage engineering

How this DAWless Setup works // teenage engineering

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