 and you're watching the first live stream of 2019. I see there is quite a few people. That's fantastic. 29 persons, people. Hello everyone, how are you in the new year? I hope you're doing great. I hope you had a great time during the holidays and Mr. T asks, hello, I'm from my favorite open source guy, how are you? Well, I'm great. I'm really excited for this live stream. I like it feels like it was a long time since I made a live stream that it was because it was a month. I'm happy because I managed to get my phone to work as a secondary video camera, which allowed me to do this weird thing with this intro. Yeah, I'm super excited for this year because I'm changing the formula of my videos. I think I'm fixing some problems with my videos that were present there in the past two years, named with the Anfavlog series. The videos could be nice, but they were very long, very random, really not searchable, and yeah, hard. Wait a minute, something's not right. Oh, this is not right, yeah. Excuse me. So yeah, I'm trying to fix that. Starting with the new year. Also, there are some exciting projects on the go, but I can't say anything else. I shouldn't. All righty, so people say I'm quiet. Am I quiet? Should I be louder? Should I be louder? Who? Better? Someone asked, way, way during the warm up, I don't remember who it is, who was that? Someone asked, Anfav, do you have any musical education, musical training? I actually, I don't have any formal musical training. I've been singing a choir under a very good conductor for like three years, and that taught me a lot about singing. I actually, I would say I couldn't sing before then. When I went to a rehearsal with a rock band, I was just, after the rehearsal, I was speaking like this. I really didn't know how to use my voice and it was just destructive. And in the choir, I learned how to sing way better. So yeah. But yeah, I had some piano lessons a few years back, but I had to drop it, so I don't have any formal musical training. I just like randomly exploring, doing random things. Okay, what I wanna do during this live stream is, first, make some music! Live, using Ardor and Zinfusion. Oh, Berg send Berg. Yeah, Rob van den Berg said that his wife is watching. Hello, ma'am. My wife probably isn't watching, but you might have saw her walking around before. And after we make some music, I have like one and a half hour to make some music because then we'll jump into playing your submissions. There were, I don't know, 12 submissions for this video. I had to reject two of them because they were like, I wouldn't say sufficient quality. So I'm sorry, I'm probably gonna write an email to everyone who sent that to just apologize and say why I didn't play their music. I had to cut short quite a few tracks, I think. Some of them were really long. Oh yeah, so let's get it. Shall we? And so here is an empty Ardor session. Mrs. Anfa wasn't the warm-up for a few seconds. Yeah, she was there. Where's Mrs. Anfa? Well, she went to her parents because we're celebrating her birthday tomorrow and she's gonna bake some cakes or things. I don't know, she's good at this stuff. Alrighty, let's make some XenotsubFX tracks because that's what we like. Let's make eight of them. Do you have any suggestions? What genre should I aim for? Someone mentioned that they listen to hard bass. I think I heard one hard bass track, Russian hard bass. Is it Russian hard bass? And I don't really know how to do this thing so that would be really random. Polka. I don't know much about Polka either, sorry. IDM. Is it like intelligent dance music? Let's go with 150 BPM. That's a modern dubstep-y tempo, actually, I think. Sightrends. Oh yeah, we could go Sightrends. I actually have some experience with Sightrends. So what BPM should I do? Let's go with Sightrends, okay? I like Sightrends a bit. We need some industrial ambience, please with cool soundscapes. We could do Sightrends shifting to industrial ambience. Try like, let's try this. I'm gonna write it down, okay? Sightrends shifting to industrial ambience. I think we'll need to record some metal, okay? 150 BPM, 135, maybe let's go 135. I think 135 is better for Sightrends. I'm really no expert. So I'm leaning on you guys. Okay, so the first thing we need is a kick drum, of course. I'm gonna show the measure lines. Okay, let's draw a region. I won't snap to beats by four. Let's say that's gonna be good. Now this should be... Oh yeah, that's gonna be good. So this is gonna be our kick. I'm gonna just loop it. Can you hear the kick? Can you hear the kick? Can you hear the kick? Can you hear the kick? Can you hear the kick? Now, the envelopes are very important for drum sounds. So I'm gonna add some points to tweak this envelope. Yes, that sounds nice. Let me grab my headphones because I, like, this room is not acoustically treated, so I might really misjudge the low end. Is this quiet? No, it's not too quiet. It's, whoa, wait a second. Oh, something's weird. Mmm, bub-bub-bub-bub-bub-bub-bub-bub-bub-bub-bub. Oh, yeah, I flipped one. The levels are... Yeah, the levels seem okay. That is almost perfectly loud. Ew. What was that? That, that... I accidentally clicked on this little button here, which inverts polarity of one of the channels, right channel, I think. And that basically makes the kick push in one headphone and pull in the other, which makes it do this, instead of this, which is super annoying. So, yeah, that was a mistake, sorry. I think we have a solid page envelope for this kick. Let's tweak the amplitude envelope. Oh, that's too sharp. Sharp, short, sharp. Oh, no, I think sharp is a... Yeah, it's a phenomenon of not holding your poo. Hey, that sounds pretty sweet. See, I want to make here this nice click. I think I like this. No sharding in here, please, lol. Yes, I agree. Alrighty, so we have the bass. Wait a sec, no, no, no, we need a second layer. We need a noise layer. So I'm going to create a new voice, enable it. By default, it's a sine wave, going to modulation, change it to white noise. And now I'm gonna add the second amplitude envelope to make the noise really short. Now, we have the Lopez filter on. Now it's gonna be bright. Actually, it's too bright. It's a bit painful. Alrighty, I think that's a good bass for the kick. Let's distort it. Usually I go with wolf shaper. Let's just go with wolf shaper again. Oh yeah, we have pretty nice level. Yeah, I know it's a bit too piercing. A bit piercing. I want just a bit situation. Yeah, it's a bit louder. Okay, people are liking wolf shaper. Yes, I do like it too. It's really good. Okay, let's now add an EQ. You see, I have too many favorite plugins. I should really just clear that up. I really like EQ, tank, EQ and the way to visualize. Wow, it's amazing. We're actually right on 100 Hertz for the kick buddy. I wanna go lower. Oh yeah, that's gonna be good. Let's see some boxiness. Let's see if removing this will help. Now let's go. Oh, this is painful. Maybe I'm gonna dim that a bit. Let's just wait this. Mr. T says I should distort the shit out of it. We could do that. We could do that. Do, dab, do. Let's insert the second wolf shaper and let's maybe try to add a little of that grit. Just a tiny bit. However, I'm gonna move this before the EQ. Yeah, we have a little something there. Also what I would want to do is add a little bit of reverb. But I need a reverb unit that will allow me to remove the bass from the reverb because that will really make the kick not work. So I'm gonna use Calf Reverb because Calf Reverb has these bass cut and treble cut which is actually a high pass filter and the low pass filter. That's only applied to the wet signal which is really perfect for this kind of thing. I'm gonna insert it before the wolf shapers because then dragonfly reverb. Oh yeah, that one also has dust. Does it have it? Let's listen to just the wet. It's too big. Oh yeah, I like this. I like this. Yes. Or even this. Just a little bit of space in there. I'm a little bit afraid. It might have lost a little bit of its punch because of this distortion. So I'm gonna use a transient designer by Calf to add a bit of a click. Ah, sweet, all better already. Neat. Fantastic, fantastic, fabulous. Oh, we have a kick. Now we do the bass. Bass, bass, bass. It's tank, tank. I'm gonna just control, middle click, drag this to copy and move it down one track. Let's do this. Control C. Oh, oh, that's useful. Oh, I pressed alt C, sorry. Control C, control. Oh, you could sample this. This is fantastic. Control V, control V. Yeah, you see I'm pointing my mouse at a certain line. So this magnetic beats by force mapping gets it. Now I'm making it shorter with alt so they don't overlap because Ardor 5 has some. Oh yeah, that's better. We could actually remove the first ones. But nah, nah. All right, let's make a side trans bass. So let's start with maybe a saw wave. Make it lower. Oh, there it is, the global filter. We could actually make an envelope on it. How about actually tweaking the envelope? Interesting. Okay, let's automate this to include some variation. Let's do it. I'm gonna learn this. Filter, drop the bass lower. Okay, isn't that too low, foe? Maybe I need to move it, whoa. Oh yeah, that's good. That's good. Okay, let's also open the automation lane for automation slot one. Yeah, so here we have our filter. We can do things. Gable ton. You shouldn't speak about gable ton. It's really funny because the program is named, it's called Live. The company is named Ableton, Ableton. But everybody says Ableton, meaning the program while there it's a, it's a name of the company, not the software, which is funny. Okay, let's for now go with manual. This is gonna be fine. Yes, I think we have too much reverb, too much highs in the reverb. Yeah, I think we need some saturation. I'm gonna search for tap tube warmth. I like it too. Yes, it's now maybe whip up a compressor, whip out, let's make it hard and fast. It's almost like distortion. And now of course, filter the high on the bass, do you think? Fighting games forever says filter the high. Well, I could do a low pass on this bass or maybe you mean filter the highs on the kick. I think the kick has a bit too much highs. I think I don't really like this grit right now. Yeah. Also, I would maybe compress this. What happened? Why did this bass drop so low? That's ridiculous. I didn't do that. Oh no, it's just the cutoff. Why did the cutoff drops so low? Oh, I think something with the automation just glitched out, up for for side chain. Yes, we need side chain compression absolutely. Without it, we don't have anything. Calf side chain compressor. Yay. Now, I usually, I used to do only using the actual drum sounds for the side chain input, but I recently started using a separate side chain trigger synth, which allows me to have more control. So I'm gonna make a side chain trigger track. I'm gonna move it right up, right over my kick. So it's gonna use the same. And now, I'm gonna make this a high pitched square wave. So it's easy to follow all the heights in the world. And maybe we can give it a click. Okay, so this is our side chain trigger. Now the bass, let's open pin connections for the side chain compressor. I'm gonna route in the side chain trigger. There it is. Now let's open the interface. And I'm going to mute this one. Well, something's not working. Weird. I need to activate. Now tweaking the side chain compressor is an art form on its own. I think this is relatively good for now. I think it's working. It's doing its thing. Okay, well, we need more. We now, this is the bass. And the bass of our side, side trends. Maybe we need some hi-hat. A hi-hat would be good. And then we can do some industrial ambient things. Oh, I have distortion on my mic. Yeah, that's to be expected because I turned the gain all the way up. You know what? I'm gonna turn it a bit low and up the volume on my mixer. Should that be better? Should that be better? I'm clipping it a little bit, but maybe it's good. Whoa. Okay, that's good. Let's make some hi-hats. I'm gonna just copy this four times. You can also maybe use this automation. Play. Move it lower. Yay, sweet. Now this sounds like some progression. Let's copy this. Let's paste it here. So we have. And now we will introduce the hi-hat. I'm gonna just copy the kick pattern. I think it's easier on myself, on me, and I'm gonna just move it here. So it's gonna be. This already sounds nice, even though we didn't do anything. Okay, so hi-hat. I'm gonna use something. Add frequency modulation. Tune it weirdly, weirdly. Yep, like this. Turn it up a bit. Make it unison. Detune a lot. Disable vibrato. Okay. Now I'm gonna add a hypers filter on this shit. And disable the hypers filter on the global thingy. And it sounds like a hi-hat. It's a perfect hi-hat. It's a perfect hi-hat. Could you ask for a better hi-hat? No. Hey, this is perfect. And we made it really fast. But it has some character. It sounds metallic. It's not just noise, but it has some noise like things in it. If you do a hi-hat filter on the bass, for the intro, you can bring the bass under automation. Oh, yes. Oh, that's an interesting concept, yeah. All right, so let's maybe, let's just copy these. Now I'm gonna select the range and copy all of that. Control C. Control V. I'm gonna, all the D, all the D, copy this hi-hat too. And we're gonna bring in the low bass here. So I'm gonna add a high pass filter called filter. Let's make it a sharp one. 36 decibels per octave, yay. Okay, now I'm gonna add an automation line so we can drive this filter frequency. Let's make it play. Start with something and listen. Oh, that's really thin. I think that's a good idea. Make hi-hat close and open, please. Oh yeah, we can do that. Hi-hat sweep. I don't know what's a hi-hat sweep. What is a hi-hat sweep? Like, maybe a roll. We could make a, actually I should be, this is not enough, let's make beats by eight. Control C, Control V. Whoa, wrong track, I think. Something didn't paste where I want it. Oh, that's good. Oh, that's good B, that could be nice. Do you mean fighting games forever, left to right on the panning? You mean automate the panning of the hi-hat? Smudge on the screen. Oh yeah, it's because I have all these lights. Give me a sec. All these lights, the fucking image, real bad. Better now? Oh, it's better now? Maybe it's better now? Is it better now? There is no green screen, you know? It's a black screen. That's why it's not evenly lit. However, I could tweak this a little bit. Give me a second, let's, yeah. This is the first live stream after a long, long, long time of, I've changed a lot of things so it's natural that some things are not working. Okay, better? Black is the new green. I still don't like the kick, something's not bad about it. We have some side trends going on, I think. Let's make the hi-hat closed in the open one because this is impressing, I saved my session by the way. You know what, I used to do it like, yeah, just, now I need to make the, so the thing is, I'm gonna make the oscillators tune fixed, so the pitch of the note doesn't affect the pitch of the timber of our hi-hat. And now I can make the, does it work? Does it work? It's doesn't, it's not working. I think it is, but not as well as I would want. Not perfect. You could also just make this way longer by default. Crap, we have a, yeah. Here we have an amplitude. That's the problem. There's your problem. Whipp-a-doop-a-doop-a-doop-a-doop-a-doop-a-doop-a-doop-a-doop. Whoa, the thing is now it's a bit low, louder. And now when I change the velocity, it also affects the power of the modulation. So I have to disable this, which means putting it to 127. Okay, am I disappearing? Oh no, Anfa's disappearing. Oh, I have a transparent head. Yeah, well, maybe I could blitz some light, actually. That's better. Hope it's better. Yeah. Oh, the kick I can hear. The kick is a painful one. Really painful. I think the highs are really kicking our ass. Yes. Oh, this is way better. And now we can combine this hi-hat roll with a long one. Okay, I think we have some citrine, citrons, things going on. Let's maybe do the industrial ambient. I'm not sure how industrial ambient sounds, though. So it's gonna be my own interpretation. Do you have any ideas? What should I add? I think I could record some screams, pitch shift them or time stretch them and add a lot of reverb as snare. Yeah, snare will be a good wing. Let's make a snare. Okay, the snare will be here. I think I'm clicking too fast and I'm making too many mistakes because of that. Okay. So, first the tone. I think industrial snares are very distorted and metallic. No idea how, maybe they are not. And I'm just imagining it. Let's go with voice amplitude envelope instead of the global one. So we have more flexibility. I think this will be a trans snare rather than an industrial one. Okay, let's make this voice quieter. Let's make the global filter not dim the thing. Let's give it some, oh yeah, that's good. And now maybe add a filter. Okay, that's a very simple snare. Let's add some distortion. Maybe we should do this if we are going for industrial. Okay, let's see. I'm gonna add some reverb after this. Wow, it sounds really weird. Nice. Let's listen. I think we could get this reverb. So we're giving it some ambient vibe without it. How about this? I like this. Pitch down the snare some semitones. Okay, we could do this in a few ways. Just here. This is weird. Or here we have a key shift. I like this new snare. I think we should give it some more pronounced transient. But now the gate is triggered way more. Oh, this is good. Yeah. Oh, this is nice. Sweet. This is getting more hard. Yes, it is. Okay, I think, what do you think? I don't know. Let's put a few, maybe just two audio tracks. And I have a microphone here. Another microphone, basically. Basically not a microphone. Maybe let's disable this. So we have regular audio now. Ah, it's distorted, but that's no biggie. Gonna turn this down. Pretty sweet. Foe, I'm gonna cut this. Mute this. And now I will go press T for time stretch and time stretch it really hard. And now what should I pick? Because it's not clipping at all. Crisp, monophonic, instrumental. Let's do it. Well, that's a hard task. It's doing its fang. It's doing its fang. Doing its fang, fang. Can I play something? I can't. Okay, also I'm gonna record my laugh when I react to this. Okay, having fun. That's why we are here. To have some fun. And you know what? I could, wow, I could time stretch all of them. Yeah, I could time stretch all of them and then make multiple tracks and put different effects on each of them. And just go totally crazy. Ah, we already have this. I think we have it. Oh, because the time stretch the whole thing. Wow, that's why it took so long. That explains everything. By the way, why am I doing this manually? There is a thing for this. Region, trim, no. Edit, strip, silence. Yes, yes, apply. Thank you. All right, it's, well, not perfect, but it's still better than doing this manually. Or is it? Well, that's a truncated start on that. Sweet, but if we add a lot of rebond to this, nobody will notice. Rhythm ferret. What is rhythm ferret? I don't actually know. I mean, it's time stretch this too. Maybe use a different, like, I'll make it very long. And use a different, hey, let's use smooth, different algorithm. Can you stretch and gradually pitch it? You mean, I could, for example, add a granulator, argot learner too. It's a great plugin. Let's solo this track. Maybe let's loop this region and play. Duration of each grain. Let's make a randomized panning. And we can also make randomized pitch shifting. But that's really spooky. Can also add a filter. Randomize the frequency of the filter. And also randomized delay. Randomize duration too. So, yeah, that's pretty insane, isn't it? If we add some reverb after that, I think we're golden. And then just side chin it to the kick. And we're, yeah. Riff and ferret. What is riff and ferret? And where I should use it? Oh, that's long. Like this. That is really long. Okay. I think this just needs some reverb. But we could also add a band pass filter and just automate that. And it could be interesting. Let's see. Let's make it really big. You could also pitch shift it, you know? Let's see. I think I don't have any pitch shifters. Rubber band. Oh, yes. Could be mono. This is a mono track, after all. Before the reverb, yes. And let's just move it one octave down. Or two. We could also automate that pitch. So let's processor automation, rubber band, octaves. And we can do things like that. Negative one, negative two. And it's gonna be ramping from negative one to negative two. Oh, if I enable this. Yeah, so it's crazy. So it snaps to full octave values, but it's making a ramp between. Okay, I think we need to somehow fit this into our musical piece, which might be hard. Let's maybe do this. I'm gonna cut it here. Also, I'm gonna add a lot of compression. So we can even out the, whoa. Oh, no. All right. Bend, a bit, a bit, a bit too. Let's up the gain. Make it long and just, yeah. Now, let's add an EQ just to remove the bass. Could actually do this with a hypers filter, but if we have any cue, we can also do some other things if we want. Yeah, we don't want this to mess our bass. Now, do we even need to sidechain this thing? So cool. Are you following this guys? Are you there? Oh yeah, my chat's scrolling just. Where is the, I think I'm gonna put some markers, so I just know what, where am I in the track? Just really quick. The enter on the numkey, numpad keyboard. Num, yeah. It inserts, what's the band pass this thing? Coming just louder. You know what? We should start sidechaining this thing right here when the snare goes in and the bass drops. No earlier. So I think I'm gonna add a sidechain compressor here and then automate its bypass or something. Maybe I should have just copied the one from the kick from the bass. All right, let's assign our sidechain come trigger. Enable it for use. Is it working? Yeah. Alrighty, now we need to automate its, just use a second sidechain trigger maybe. I think I could do that, but I just don't wanna complicate things too much. I'm gonna just add a bypass automation for the sidechain compressor and make it, okay, make the bypass on. Okay, so here I want it off and first I want it on and play it. Oh yeah, that works. That's what I wanted it to do. Okay, now we need to just go further with this, probably, probably, let's copy that. Control C, I'm gonna paste it here. I'm gonna insert something else on this track, maybe. What is this? Oh, we could use this for a proper transition. I'm not sure if it works, maybe it's shorter. Not really. Can I just shift a pitch shift it? Oh, that's better, absolutely. I don't like that this sound just dies off right before the hit. Also we need some crash. I'm gonna add a gain automation. I just press D, D to draw. Still really not super, oh, that's better. I'm also gonna make it louder. Yes, this is better. I'd like to have something stereophonic in here. Maybe a flanger, why not? Oh, okay, it just got to the left input. No worries. Is it stereo? It doesn't sound like stereo. Oh yeah, it is. Sounds like crap. I don't like this too much. I'm gonna save. I think the synth of Lope is really not super good. Oh, that's better. We need a crash. Nils Hilbrich says there's a cough stereo maker. I think you mean the has effect. Let's see. Has, yes, yes, cough has stereo enhancer. That's really simple actually. I think it just delays one of the channels or does it? Bum, bum, bum, not sure. Okay, I think, let's maybe introduce some arpeggios. Someone wrote about arps, yeah, Rob Van Den Berg. Yeah, let's have some synthesizers doing music-y things because this is really, there is not much melody in here right now. Maybe some chords. Maybe I should lay down some chords. And then, and then in true Saitam Savasin gate the hell out of him with another gate trigger then. Okay, so let's make this a pad or just call it chords. And what is our root note? We're playing a E all the time. Let's start with E. Then I'm gonna also change the snapping to something more suited for chord editing. Let's go minor. Oh, I immediately have an idea. That's rare. Pa, pa, pa, ta, ta, ta, ta. Of course I need to change the bass now. Is there an A? Is there an A here? A sharp. Is this an A sharp? No, it's not. Oh, that's good. It's hard to hear the correct bass note. E minor seven or 11, seven and 11 you want. We could introduce that maybe after this first introduction, what do you think? Let's copy this stuff. Oh, I need a range selection tool for that. We got some spooky citrons thingy. Okay, let's copy and paste. And let's augment our chords, make them interesting. That's seven and 11, what would be 11? D over E. You think D minor over E minor? Like two chords at once? Or I like the sound of this. And now we could use, make an inversion. Just drop this an octave and drop this an octave. That's not a richer chord. Not sure this works. Yeah, now it's boring again. I like this. How about moving this one? I think we need some change here. Ta-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da. I'm not sure if this musically works. It doesn't, okay. You see, I don't have formal musical training. I don't think with names of chords and Roman numbers of progressions. I just mostly listen. I try to extend my understanding of music to do it more uh... ...knowledgeably. It's not always the case. On side-chain. Oh! It's because I forgot to copy this. Let's all D. I like this. I want to make this a chord patch. Something interesting. I'm not super interesting, just a simple saw wave. Or maybe we could use... You know what? Let's use OBXD for this. Because OBXD is really nice for saw waves. I think it has a little bit cleaner oscillators than it's a BFX. Ooh, hey. That's loud. Okay, what do we have here? We could automate this cutoff and just make some interesting things with that. If we can find it. Here. Filter cutoff. There it is. There's XD in OBXD. Yes, there is. We can reveal this with a low pass. Sweet. That's gonna be epic. Let's maybe add a Q to control the tone, the timbre. So it doesn't fight with our bass or something else. We have some stuck notes with this OBXD thingy. And I think I know why it's that. I think it's because some notes like here... Oh! ...are starting and ending on the same note and just arduous sometimes. Yeah, it has problems. Let's try to sidechain this, okay? Maybe let's copy the sidechain from this. Paste it here. And of course we need to fix the routing because it disappears. Sidechain trigger. Oh, it's also pasted with automation. OBXD legato. I think it can, but not with corks. Like that would break, I think. Yeah, it has portamento. Make a little melody here with the bass. And just do this. Hee-hee. Mm-hmm. All right. We have about 20 minutes left to work on this track. Let's read for ideas. Well, I'm most of a career at some point. Yeah, I got an idea for the chords. And then just says, could you loop your scream at some point? Which one? Maybe this. It's a nice one. And now I could just make it rise. Or inversely, just make it fall again. From even higher pitches. Oh, that's really nice. Ha-ha-ha. I think we need more of that. Maybe that's an idea for an arrangement. Remove the kick for a small while. But maybe keep the sidechain. I'm going to insert a where does it end? Here. OK, let's insert. Where does the kick? Where does the kick come in again here? It's not too loud? Maybe. I tend to make snares too loud. That's what I do. I want to hand back to this. Me too. Ha-ha-ha. We could record some guitars for this. But I don't think we will manage to do this during this live stream. I have to reverse this. Oh, yeah. Oh, and I want to, yes, yes. I want to do this like that. And just loop it over. Going to be cool. Going to be cool, cool. Yes, I should move this earlier. Let's look at this and this. Control-X, Control-V. I have too much resolution about this. Is this not really loud? Maybe I can. How about inserting some ghost notes? Yes. Oh, that's a bit too quiet. I have an idea. Let's make this a little break down. Who will I manage to do this? Nope. I also missed the base automation because I copied and pasted regions and the knot ranges. And that's what you get. That could be our crash. Because why not? I could even pitch shift longer or just the reverb. Yay. No need for a synthesized crash when you can just do. And then just use that sound, pitch shift it. Definitely need a crash symbol. Crash. See, I rarely work with samples, but OIC. We need reverb, lots of reverb. And with all the way, decay all the way, we also need a compressor. Because the tail is going to decay and ratio. Yeah, this makes our crash longer. Also, what type is it? Because I think we have some low frequencies there. And we don't want that. Well, it was recording with that microphone. And no problem. Not perfect, far, far, perfect. Really far, far, perfect. But we have means of fixing this. Lots of reverb, please. Lots of reverb, please. Oh, nice. Now we can loop this. Whoa, what was that? I want to loop this, so I need to. OK, let's say it's Justin. Well, I think it loops like this. But who I should be earlier. You think I should introduce this somewhere here, maybe? I know. Or even here. I could low pass this and just introduce it. Oh, yeah, that's a great thing. High pass is low pass. Excuse me, low pass automation is always a fantastic tool to just fix your arrangements. That sounds silly, but it actually works really well. Really well. It's insane. And everybody does it. That actually sounds like a nice ending, so the track is only 1 minute 20 something seconds. Hmm, I think we've got some ourselves a pretty decent track done in one and a half hour. Actually, not even that. We're only one hour 20 minutes in. They overlap here. Maybe I should cut this or just do this. Oh, what was that? I like this. This. Was this? No, it was something else. Oh, this. Yeah, I need to do this before it crashes. Absolutely. It's great. That's why I did it. Mr. T asks, how did you make the warm up screen text at Cycles to Ender Text? I need that for my live stream. I actually imported a bash script. Your cider is for me. My beer is for you. We didn't use any of these. We could. Let's reverse this. Pretty sweet. Pretty sweet. Oh, what is this? That's my laugh. Well, that's really. I'm not sure if that fits. No, no, let's just keep it out. I think it's money squeak. Oh, monkey squeak. I found money squeak. People who squeak when they see money. It's amazing how I want to make another just another and now just time stretch this. Smooth. Yes, make it smooth. How about reverse? Maybe maybe. How about this? Maybe make it quieter. I don't want it to be overwhelming. Can you do this? I know what we need to do. We need to decouple the filter and snare from the velocity because that breaks our ghost notes. Where is the snare ghost? Oh, there it is. Oh, it actually doesn't make any difference. Too bad. Well, well, well. The compressor here. Yeah, now basically I'm going to save it and I'm just going to return here because I think it's a perfect loop. Not here, here. And then we might just modify the second version and just work our way from there. Let's just select all the tracks, all the automation lanes. Actually, this one, no, because there's nothing changing. So why should we do that? Every single one. Let's copy put a cursor here. And paste. It's going to take a while. A short while. Oh, that's done. And now let's listen to our transition. Is it seamless? How about moving this an octave up? Let's just try. Why not? Midi transpose one octave up. Let's see. But you know what? If we just resample it without unpreserving pitch, it's going to be low. Oh, that is gross. Let's pitch it some more. Let's reverse it. Maybe I'm going to use it here before the grand transition instead of this. Ah, why does it have a tail now? Oh, OK. And I can reverse this and make it just help a pronounced crash symbol on the other track. Do something else with it. Oh, what can I do here? Is that a bypass? Holy shit, that sounds cool. You know what? Someone already mentioned this, so I should loop my scream and make a percussive thing out of it. I want to do this now. It's going to be perfect. Da, da, da. Yes, yes, yes, bars by beats, beats, beats enough. No, beats by two, please. Yes, yes. And this fourth one, I'm going to pitch shift it a bit, just for the kicks. Pitch shift, maybe just a few semitones. Is there a four months? Yeah, why not? Oh, sweet. I think I'm going to combine this. Combine. Now I have this was as a single region. It's going to be easier to copy this around. Let's see. We don't need this shit. We need this. We need a crossfade. Ha. You know what? The time's up. I need to do. Shoot. I need, I need, I need to do the music submissions now. How about this? All right, you know, it's a two minute, 20 second track. I'm really surprised that we managed to do this. It's amazing. And like I never done this before. But your your input was was very, very inspiring. And that was I had great fun just doing this with you guys. I'm looking forward for the next live stream to do it again. OK, now let's mention. Let's talk. Let's play our sweet, sweet music submissions. So teamwork is very important. Let's play the first one. This one is called You've Got Mail by Spicy Chicken Studios. It was weighed with LMMS. The man says he tried to go to for a 90s vibe. There's some samples from late 90s. This is weird. Why is there something about a cancer? Don't wait for 199 law USA for a free legal consultation and financial information package. This thing that could possibly happen. You can see this track expands. It's longer than three minutes, so I had to fade it out. We're watching Anfa live on TV now. The number one, it's a bit weird. We're looking for the metadata for this track and find it. OK, so the guy said his name is Man. And the title of the track is Taylor Swift. Yeah, lovely breaks, really lovely breaks. Interesting. And there's Penguin Polka by Rob Van Den Berg, who is with us here live. I think I saw you writing on master done about making this track. Am I mistaken? It's just so club-like. The rest, brass sounds yourself. Rob, tall-nose maker. Wow, so this was done in order 5.12, so the same dog we're playing it in right now. Rob says he's using caves to the repositories for a KVR one-stem challenge. He also says an open source alternative to expert OTT would be nice. I think someone might be. This is classy. This is just top notch. Rob Van Den Berg, awesome track. It's called Penguin Polka. And now, something else. How about it, pop star? You go ahead and sample that riff from one of our rock songs. We understand. Creativity's hard for you. Punk their phonics with hardware. I hope there are no samples. I will give me a strike, but he said they are not. It goes from Frank Sinatra to Kill Switch Engage to System of a Down to Slipknot in a matter of minutes. Rock on. Creativity's hard for you. Stealing ideas is so much easier. Especially played on repeat on your roof. Yeah, so that was Punk their phonics by someone who doesn't say his artist name. Please don't submit music with copyrighted samples. Please. Okay, that was really cool, but I really hope it's not gonna screw me over. Now, it's a track by Outer Mind. It's actually a work in progress. Going back to the 80s. Yes, I'd love to have that RRR session for this Polka track. Nice. Nils asked if I listened to the tracks in advance. I did listen to parts of them. I didn't listen to full tracks. So you can see my authentic reaction for Chestra Hit. This is a short one. Outer Mind says it's inspired by modern talking. Oh, nice. Now it's a track by Nimbius. It's called Testing Anda Joguar. It's made with LMMS. I stop drinking. Gotta stop drinking now. I think there's decimator used there. Yeah, I like this one. I think it's a work in progress because it's a bit short. So, really sweet. It's called Import It With Art Orr. The guy doesn't have an artist name. What? He made this 100% from YouTube Vine compilations. So, it should be clear for many copyrighted samples, right? Andasita, Dana is off tonight. He was murdered and then set on fire while celebrating his birthday. I hope no television is gonna come for me because of the sound. I'm gonna turn it down. Turn it down. I gotta turn it down, yeah. I'm gonna turn it down. It's hurting my ears. Ending, though. Okay, now it's a track called Broken System. Wait a second. No, it's Ardo Dev by Xaveri Treningovsky. Yup, I need to disable auto-return. Now it's... Yeah, that was short but sweet, Mr. Xaveri. Astro Groove by Alphar Rock with a K. It's a bit loud. I think it's a bit distorted. Yeah, it is clipping. We need a limiter, dude. But I like the groove. I like this part very much. This flanger, phaser. Sounds awesome. Come to Sonoy, Rob! Come to Sonoy! We can high-five there. Yes, you can have a view with me on Sonoy. King Games Forever says it wasn't clipping in the MMS. Yeah, it was made within the MMS. He says, Zim is his weapon of choice. Weapon. Just a little mine. So I guess this is all synthesized. Nice. Combustible Lemonade entered the stream. Yeah, Fighting Games Forever. Was that all synthesized, including the drums? Or did you use some samples for the drums and sims for other sounds? Tho distorted. Please check it next time. This track is titled 16-bit RPG Airship made to say his name. An open-source mini sequencer and fluid synth. So this is all sound funs. This snare definitely makes it feel like something military. Tho, I like the composition and it sets a mood for some adventure. I think this could greatly work for a game. And this one is called MMS. And the guy doesn't say anything about his artist name. So I guess it's his undergrad. There is some reverb there. Commend an oscilloscope. Lv2, not VSC. It's called Simple... Simple... Simple... Simple Scope. Wanna add some breakbeats to this? There's some noise though. Simple Scope by X42 won't load in the MMS. Unless they support Lv2. Effects. Effect plugins. I like this. And there we are. That's the finale. And it's exactly the time to end the stream, dude. Yeah, but you know what? I just wanna play one more time what we've made today. I guess I think it's awesome. So, thank you everyone for attending this live stream. I had a great time. I hope you had also. Let's hope for some more awesome live streams in 2019. I'm gonna make some new videos. I have some new ideas and probably also some collaborations about videos. Stuff. I don't know. Things are coming. Yeah, I also was thinking about making some thematical live streams, like, I don't know, discussing drum soundflowers or something, but then I thought, but that's a topic for a video. And I should just probably script that. Make a real video out of that. So I think I'll keep the live streams for now, like this. So I'll be making music live with you guys. Any suggestions from you. And then we'll be playing submissions from you also, commenting on the live, having fun like we did today. So, yeah. Thank you for watching. Thank you for attending. Also, I wanted to say big thanks to all the Patreon supporters on patreon.com, because these guys allow me to take out more time from my daily work to do this stuff. So that's really how to join them. Go to patreon.com. This is a, yeah, that really makes me dance. I'm working on. It's going to be about my current tool chain and all the software that I use and why I use it, including plugins. I recommend lots of good plugins. It's going to be probably about 15 minutes on kind of an extension of the previous video where I just said, that's it for two minutes, three minutes over time. Thank you guys so much for watching, for attending this live stream, for making this show together with me. I had a great time. I hope you had too. And I will see you in the next monthly live stream and also in videos. So yeah, that's it. And now I will switch to the splash screen where I just disable the get ready and I just enable go home. Oh, I didn't move it off, let me back.