 Tito is lost and he is getting hungry. Tito needs to find his beloved button as fast as he can to get food. Tito is right. The Linux audio stack has been in peril for so long. Also reigns supreme in the kernel space, but Jack and Pulse Audio are fighting for power over the user space, leaving nothing but destruction in their path. However, a new challenger approaches. Someone who could change everything, liberate the nerds from the power straggler's hand, and finally bring peace to this troubled land. I'm getting higher. It's ANFA and you are watching a brand new ANFA Monthly Livestream. Can you hear me okay? Can you see me okay? Everything good? I have a huge black ball of microphone in front of me. I could dismount the ball and it would look better, but I could induce some nasty pops. So I can... Yeah, I'll put this on. Okay, let's do this. Welcome to another ANFA Livestream. It's first Sunday of the month, like always. If you don't know me, I am ANFA. I'm an electronic music producer and sound designer. So the unusual thing about me is that I exclusively work with open-source software and Linux. And I make videos about that. I teach my craft. I share my knowledge, experience and passion about making electronic music and doing sound design with nothing but free and open-source software. And as usually as every month, what I'm doing is I am making some music or sounds with your input. I am also answering all the questions you might have about open-source software and Linux for audio production and such stuff. And when that's done, last half an hour is music submissions time. And then I'm playing the music that you submitted through a form. All the links are in the descriptions of my videos and livestreams, so you can find that stuff there. I'll make my computer quieter. And I play your music and I comment on it and hopefully give you some useful feedback as to how you can improve your work. How are you doing? There is 40 people watching or 44. I never know which number is the right one because there are two. It seems everything is working. Let's just... MiKoma says, so you say send the samples. KimoTime Music says, please use modern dark mode for search. Well, I can change the theme, yeah. So I don't know if things aren't gonna break. Okay, here's the dark theme. I think that's gonna be easier on the eyes. So I haven't used it this one, so we're gonna discover it together. All right, today's topic is Surge XT. Surge is a well-known free and open source synthesizer, both plug-in and standalone application, I believe. Which is widely used by producers all around the world. Many of them don't even realize that it's not just free but also open source. Many people confuse free software and freeware, and that's why I like to call things libre, which are from the freedom side of things, not the no-pay side of things like freeware is. Anyway, I've made a video dedicated to explaining this stuff, so let's not get into that. Alrighty, let's get into it. And I'm missing some lights. Now that's better. All right, so Surge XT is a new version of Surge, which they could have called it Surge 2, because it's not the same synthesizer anymore. It's going to be separate. It will be able to be used. It can be used alongside the original Surge, which is at version 1.9 right now. And there are some changes that break backwards compatibility. And yes, this is not released yet, so I'm using a so-called nightly build, which means this is not final software, and it's version 0.99. Let's see if we have sound. I'm going to hit you with a saw wave. Okay, I need to enable monitoring. Yep. There we go. Okay, I really hope that the audio AV sync is good. Do you hear the note when you see me hit the note? Does it look good when I clap? Does it look like a clap when I clap? Or does it sound like a total mess? Because I've done some work to ensure that it is correct, but you never know. Things, things happen. Audio sync is spot-on. Fantastic. I think it's going to be a little bit loud. And also... All right. So you say you can't hear the synth? No, you can't hear the synth. All right, I think I can mute this one. No, I can't. Okay. Let's go. I've made some videos about surge, but this is surge XT and there are some new things around. So we're going to discover the new synthesizer, play around with the things, and maybe just make a bunch of cool patches. All right. So fantastic. Okay, that's a bit weird. Make it slightly less loud. Is the loudness of the synthesizer okay, compared to my voice? Does it hurt? The synth is a tiny bit low. All right, I can bump it up by, like, say, three decibels. Okay, I'm going to turn it down to negative four, as it was before, because you say it's a loud one in the chords. Or maybe a negative five. I can even turn my voice a little bit down as well. Just one decibel. Because my voice is quite loud also. I hope the sound quality of these should be excellent. It's not just possible, at least. Let's see what we have here. So we can use unison. Wait. One thing that should be running isn't running. And I'm not going to let that slip. So, wait a second. Because I spent quite a lot of time preparing that last thing. And I'm not going to have it just disappear. You know what I mean? Far well to not use that thing. I wouldn't be spending so much time making it, right? Doesn't make any sense, mate. Okay. That should be, should be right, mate. Let's do it. Hawkeye. Well, that will be, that will be a Kai. A little bit of cleanup, ready to go on it. Or am I? Okay. I see. I see how it is. Okay. There we go. William Paganini says, hi, Anfa. Say hello to musicians on Linux Brazil. Welcome, musicians on Linux Brazil. I have no idea what that is, but maybe it's some party. In that case, enjoy the party. Mr. Screeti says, who made it to the stream at last? Oh, a crash counter says Joachim Heelestad, yes. Alter Mind says, Anfa VTuber when? Never. So, maybe I'm going to disable this unison. I've seen there is some new filter. And we can also take a look at the existing ones and just listen a bit. Can modulate that. Oh, wait, what? Oh, you can now drag and drop modulation sources. That is cool. And if you click your middle mouse button, as you can see on this little mouse indicator, you can see what I'm pressing. Right click, left, right, middle, scrolling up, scrolling down, typing gibberish. You might think that this is such a simple thing to just have a display like that, but it's not. Maybe let's lower the frequency of that level. What do we have here? Okay. A new type of filter is called Tripol. And it has a bunch of modes. So it seems like Rob Lundberg asks, any crashes yet? No, can you see that thing there? That thing right there. It says no crashes. Okay. No crashes. I like this mode, which is called low, low, low third, maybe the third ones. And the third ones are really interestingly chirpy. That is a crazy sound. Wait, I think my camera is a bit too dark. Okay. No, I think now I'm a little bit too much. It creates a little chirp at every single pulse. Beam Music says, Jack buff size. Why? What? What do you mean? Jack buff size. Is something wrong? If that's the case, just tell me. Okay, nothing gets pretty dark quite. I must say this is very weird. I love it, but I'm going to make it free run. It turns this saw to wave into like a square wave or something. I don't know. It's weird. Okay, we also have effects. So these are all existing ones. Oh my goodness. That's weird. Sorry, now it's too loud a bit. I think the range is a bit too much. Would that work for a bass? I'm going to try and reinforce it with a sine wave. So I need to put that sine wave. So I need, all right, nice. Filter 2 goes here. So now this goes only to filter 2. And it goes through wave shaper. So we can also wave shape it. And the wave shaper is a new thing. There's like a bajillion modes now. Oh, I'm using the modulation mode. Let's remove the modulation. I'm going to middle click over my mouse to disable editing of the modulations. By the way, there is now a list of modulations. You can temporarily disable them. You can also by target sort them. This is crazy. You can add modulations here. Oh, and now the window moved to my other screen. Interesting. What if we do with this? Okay, now I just added a modulation. You can filter. You can add modulations. None, depth, value and depth and all. That is really cool. We have a list of modulations. And interestingly, it's like it's a separate window that is kind of bound inside of Serge's window. Joachim Hilesstad says, ooh, the modulation list is nice touch. And also a nod to vital perhaps. It could be. It was something missing. I wish Argor had a modulation list like that. Okay, I would like to smash this with some compression maybe. By the way, you can see that we have quite a few more effect slots. Like double. Maybe I'll put that on the master. And now the effects are categorized instead of being just a huge list. You can also clear chains. Okay, what is there? Conditioner. That's a limiter, I think. Okay, maybe let's try and play with high pass. Ooh, but now we're going to affect our sub oscillator. I think our sub oscillator shouldn't be in this patch in the scene. I'm going to mute that. Instead, I'm going to copy the oscillator and paste it here. I think this copy and paste stuff is new. I don't remember being able to do things like that. At least not this easily. Whoa, I'm modulating. Let's clear the modulations. Okay, I want to retrigger an all bit of attack. So I don't have this click dual. Now dual means both scene A and B will play at the same time. Which is your favorite Lopez zero green? K35 is my favorite high pass filter and Lopez as well. Okay, let's see, K35. Let's use another LFO. Drag it onto that. And we could maybe make this follow musical timing. So I'm going to right click here and go tempo sync. Oh nice, it now displays something on this knob. Let's do it the same with this first one. Maybe half. We have like a little rhythm. I also have more modes. Okay, it goes from no saturation to extreme saturation. Nice. It does. I think I need to... Back on Paul or Bacon Paul? Yeah, Bacon Paul. By the way, welcome Bacon Paul. Bacon Paul is, I believe, the lead developer of Surge. It's really cool to see you here. And they say, Anfa, if you change the wave shaper from hard to OJD and turn it up some, you will get interesting sound. I wonder what does O-Day-G, O-D-J mean? Let's try it. Asymmetric, O-D-J. Oh, nice. I don't know if this actually displays what should be... I think this is not finished yet. That is quite gnarly. Watcher says, Hi Anfa, my ears are dying. Okay, I'm going to turn down the synthesizer by another four decibels. That should be better. Asymmetric distortion is nice. I wonder if I can... Yeah, I can make this stereo. It's quite heavy on the high frequencies. I'm going to need to EQ that. An EQ. Yes. Ooh, that sounds... Yeah, this sound is quite painful. Surge's output is clipping. All right, is that... Is this better? Is this better now? I'm worried you might have been getting a very badly clipped sound all the way. You have O-D-J all the way up, yes. I wanted to hear what it's doing. Okay, all right, thanks. Thanks for letting me know. I really wouldn't want to cause pain. Maybe I'll try the graphic EQ. Ah, okay. A bit easier on the eyes. Larry Drew Hall says, love this. Hi, Anfa. Hi, everybody. Thanks to everybody. Hello, and rock on. Thank you. Okay, I wonder what we could do with this. A vocoder, actually. Ah, we can do this. Zarda says, Anfa, your webcam output is on top of the post-processing settings. Ah, right. Sorry about that. I'm going to move my face. I'm going to move my face out of the way. Come on, mate. Shrink my face, okay? I'm going to shrink my face. Is that good, mate? Right, this is pretty crazy that it's so easy to just use Surge as a vocoder. And maybe I'll show you how I set it up in options, audio, MIDI settings. I just selected my system input, and one plus two is my microphone. Actually two microphones, but we're not talking about the other one. And selected the ports. Wait, no, that's output. The output is Anfa Studio input is stereo, and there is no other stuff. And the MIDI input. And it's working. I don't want to get sued by Kraftwerk. Kraftwerk. I wonder, would it be interesting to be able to feed something else? So yeah, I could if I was using like a modular, modular hollow host. Then I definitely could. I'm just dancing around. Resonator. There's a lot of effects. I could do some interesting things by modulating. Oh, I can't. I need to use a single instance because effects cannot be instantiated per note. And the top row of LFOs, which can also be envelopes, is polyphonic. So these are instantiated per note. If I play a chord, each note gets its own instance of the LFO. S LFOs are single, and there's just one per synthesizer. And only these can be applied because if I have a polyphonic LFO, then which one should be applied to the effect, which is also not going to be instanced per note. It's applied to the sum of the signals. And we can do some crazy snares. We could also use the key tracking to... Oh, I can't use key tracking because it's polyphonic. I wonder if it would make sense if we turned down the polyphony to zero? Oh, there is no way to do it to zero. Wait. All right. So two means two voices because one is for C and one is for C and B. In dual mode, I'm always playing two voices. Anfa, use the highest key modulator. Oh, the highest key one. All right. Latest, highest, lowest. Okay, so these can be applied. Okay, now we have these filters wobbling because of the SLFO, but also following our melody, which is pretty crazy, I think. I would like to maybe do something in the second scene. Except outside of just the sub-base, which is... I wonder why it is saturating a little bit. Okay, I guess it's saturating here. Bacon Paul says the highest, lowest, latest keys are all seen level. Okay, so they are monophonic. And you can use those to tune the combulator effect to get paraphonic overlays. I'm not sure what paraphonic means. Could you... This is... Oh, combulator. Isn't it combopul... No, combulator. All right, let's see. What is combulator? Yes, combulator. Okay, what does it do? Wow. Oh, it's because of the comb filters. Okay, that's why combulator is called combulator. If I reset that, we get C5, okay. If I play a C note, it should be in tune with that. So now if I apply the highest key, the question is how do I make sure that... Comb filters are really interesting. And you know what? This makes me want to play and make a patch just with comb filters. We're getting some really crazy stuff. So I would like to cut it short because the comb filter resonances are lasting after I release my key. And that unfortunately means we are losing some punchiness. So what I will do is move this mix all the way down and apply the amplitude envelope. Oh, I can't. All right, but what I can do is use an S LFO as a proxy for that. So now I will change this LFO into an envelope mode, have the release at zero, decay at zero. Now this is turning off our modulator than the instant I'm turning off my... I'm letting the note go. If I increase the resonance time, we still have it. Especially on the lower notes. Yeah. If I... Sorry, if I lower this. These are some really crazy noises. You know what? This is actually lacking some high frequencies. Bacon Paul says, I'm from modulated by the level since the key modulators output one per octave. And watch your edit. Get it? How crazy is this? I love it. I'm going to save this. Saving is pretty easy. You call your patch. I'm going to call it cumbersome bass effects. And author is me. I'm for live 2021-1205. I'm going to copy that because I may use this more. Okay. Oh, I have two miles cursors. What? Oh, I think I know why. No. All right. Sorry. Oh, that must have been really weird. Especially that one was with a delay. What? Modulated by the level since the key modulators output one per octave. This sounds sick. I'm going to make a new patch because I don't want to lose this. Bacon Paul says, I'm for click on the little magnifying glass in the patch browser. This one cumbersome effects. Okay. I can change the name after you save this one. Okay. I'm going to save it now. Yes. Bacon Paul says, basically I'm asking you to do all the things I worry will crash it. Lol. Kimata music says plus one for visual modulation for X2. XT. I can search. Okay. Whoa. Wow. That's nice. So, yeah, I made this little patch before. Whoopsie. It's a bit loud. Did I say I can search? I can. That's true. This is a patch I made during preparation for this live stream. But I'm going to in it. So initialize patch. Alrighty. Let's try this compulator tuning thing because I'm wondering what is that? Okay. So we have center. I want to assign highest key to that modulation. Okay. I don't know how. What is the amount of modulation going to type? Okay. Bacon Paul says, if I could make one more request before I go to see if this works. Type in 2 slash 1. 2 slash 1 where? So you want to set the modulation level to 261 Hertz. 261. Oh my goodness. It does play. But I don't know why especially this number. Like because it doubles. So if this filter is right now at 261, I should actually probably do 261.63. All right. So I need to assign the highest key modulation to at 100% make the filter frequency twice that it is by default. So that corresponds to an octave of interval. All right. There's some. It's interesting. There is a little bit of a portamento built into that. Oh, we can tune the individual. What if I hold shift or control? Oh yes. Yes. And control makes me slide in increments of whole tones. That is so useful. I'm going to do the same here. And control shift does the same as control. Oh, it increases my precision. Alt. Shift Alt. All right. I'm going to do negative 12 and plus 12 semitones. I have. Okay. Sorry. This is loud. I'm going to turn it down a bit. Still loud. Loud. I'm going to remove, remove lower the polyphony to minimum. It sounds like a really weird organ. All right. What if we switch the basic waveform? It's so strange. It sounds, it sounds like someone recorded the sound on a tape and is stretching it like a rubber band along as I'm playing. I don't know. This is an image that appeared in my head when I was doing this. Again, I would like to, huh, I'm going to use an SLFO once more to modulate the mix so that we get an envelope that gives us zero release. It's so weird. I would like to add some extra effects after that. For example, some reverb. The cool thing is we have a lot of reverbs in the surge. We have one type of reverb, another type of reverb, and now we have spring reverb. And we also have air windows reverbs. And one of the greatest ones I think is the pocket verbs, which comes with a bunch of reverbs. Oh, wait, I'm using, I'm assigning modulation. No, let's delete that. Gate is a very interesting effect in air windows pocket verbs. It basically does sidechain gating of the reverb. So the reverb only plays when the source sound plays. With a little bit of decay. We could layer a lot of reverbs. I see a lot of recommendations. Bacon ball says air windows galactic. Okay. All right. Let's go with galactic. I still need to learn the layout of this because I'm kind of lost now. Time and space multi effects. Okay. Ambience galactic. I'm going to mute the first one. This immediately got epic. So I want to add some reverb action underneath. Let's try and do this low pass K-35. Bacon ball says. Drag the galactic to the first sense. First sense slot. Okay. That sounds really cool. Pretty weird. I think that. Let's make it tempo. I also going to make it key track. And let's send this. Send one and send two. Or send three and four. If you select it, then they change to send three and four. All right. I think the reverb kind of clashes with the very sharp attack and release of the sound. I'm going to change that a little bit. Let's also do some here. Hs music says. Hey everybody. I'm late, but better late than sorry. What is? Yeah. Better late than not at all. Welcome. Classic says, please save the patch and share. Sure. Let's do that. I'm going to call this. Resonant. Space pad. Control V. Okay. Okay. Sweet. That's really cool. I haven't been making any kind of sounds like this for a really long time. Okay. I'm not saving. I'm going to initialize the patch and I'm going to play some more with different stuff. Okay. Maybe let's get crazy with the wave shaper because there's some extra new stuff in there. I think I will try with sine wave. Also, we have FM. Holy snap. That was quick. Oh, not escalated quickly. Mr. TXD says I would love a patch like that. Sure. I'm saving them and I want to bump the microphone. And I want to contribute them to the surge XT. I hope I can just get them in there. So I will release them under CC0. Bacon Paul, are you there still? Bacon Paul says, someone thought, the other crash test which would be great is due to magnifying glass and then type both time space. Then look for a patch called example 10. All right. Both time and space. Look at that. We didn't crash. Okay. This is loud. I'm going to turn it down. I love this. Oh my goodness. It's a music loop in a single patch. Awesome. I love this kind of stuff. Bacon Paul says it doesn't crash. Okay. At tempo, I'm not really... My timing isn't tight because I have... I'll remind you I have like 40 milliseconds of latency just in jack. So, wow. Yeah. I hear everything in it with quite a lot of delay. All the audio track says, oh, let the sun stream down my face. Bacon Paul says, so the nice thing is this is using the lug interpreter and it all works. Lug. Oh, wait a minute. Holy snap. I just... All right. Okay. Let's do this. I totally forgot. That is one of the new exciting things. Oh, yeah. And this is the one thing that allowed me to crash surge. So, yeah, let's do it. So, the cool thing is we have a programmable modulation source now. Let me switch this to sine. Wait, no. This design. And now here we have a expression or formula and I'm going to apply it to pitch. How would I make this? Okay. Shift. Control. Okay. All right. And now if I go to edit this, this is... We can program something. So, the basic thing is we have a preview of our waveform. This is going to... This is turning into a live coding demo. All right. So, AudioTrack says, Anfa, test driver extraordinaire. Thanks. I really want to trigger this crash counter because, you know, we have a shame to not have it go off at least once today. Bacon Paul says, Anfa, if you look into the patch browser, there's a bunch of tutorials there. Okay. Tutorial or example tutorials. Formula modulator. Okay. So, searching doesn't show me categories. Formu. Okay. So, we need to do example. No, we just need to... Okay. Searching doesn't show us contents of a directory. Only searches patch names. Okay. So, now if I play this, phase is the input and output is the output. Right now, we have... Let's do it times four. Okay. Negative one. Let's go negative two. Now... So, phase is like... Where are we within this cycle? And times four just multiplies. If I just go phase... If I just return this, it's going to be a salty wave from zero to plus one. But times two makes it twice as tall and negative one offsets it so it goes from negative one to plus one instead of from zero to plus one. So, this is extremely simple. Okay. Now, we can do something and just make it... Push it from a sine wave through a sine wave. And now we can do more things like times four. All right. Times eight. Negative three. Just mess around with the numbers. One point five. Bacon Paul says... Category equals tutorial. Oh, wait. Ah, that's... There you go. Nice. Good to know. Musica de Sancti says, We will crash surge before the end of the live. Antha, yes, we must crash it. I will make it for sure. I will. The modulator clips negative one one by default. All right. Well, okay, that's... That makes sense. Okay. I... Let's just now do this. Multiply it by eight. Or no. First add four. Then multiply by eight. And then do a cosine on that. Because why not? How does here... There is a rhythm in there. I wonder if... What if I go max and do like 0.5? I don't know that... Oh, yeah. All right. Okay. What if I go with min? Okay. So this is how we can clip things. But we can do some crazy stuff like... Plus or divide it by... And this thing go with max instead. You know what I mean? I know. I know what I want to go. I'll do the second scene playing a kick drum. This is going to be like a psychedelic track. Okay, I'm going to save this because we are expecting a crash and we want to achieve a crash. I'm going to call this... Trip down the base lane. Call it... I don't know. Sequences. Oh, no, no. Hanfa Live 2021-1205. All right. So this is going to be our kick drum. Let's make it sine wave as well. Re-trigger. Okay. No key track. We don't want to have this key. Okay. Now, LFO. Let's add it to the pitch. Make it a envelope. Lower the sustain. Okay. Alrighty. We also need to change the loudness because... I'm going to make it up. Turn this down. Oh, right. Very basic. Quite basic. I like this. I think I want to extend this range. Dreamer says, 60 is so stable even Hanfa won't be able to crash it. Don't you dare. I'm the expert of crashing things live. If I can crash it live, nobody can. Okay. This is a bit of a high kick. What? I want to increase the... And maybe a tiny smidge. I'm going to copy the modulator. Paste it here. I really... Oh. Copy modulator. Paste. Right. And add a little bit of noise. And the noise will go through a filter. Nah. Okay. Alright. Yes. Filter 1. This is quite puny. I need to smash it with something. I really like a multi-band compressor. I don't know if there is one here. Maybe I can do tape. Ciao. This is too quiet. I need more volume. More loudness. Oh, wait. It's just my monitoring is quiet. Okay. I think I need to add a high pass filter to this. What about... Is there a... Hmm. Okay. Maybe I'm going to use a high pass. Let's go with this. Nice. Now if we... Hmm. Tempo sync this. And make it... Am I missing something? Is this not going to loop? Oh, it's not going to loop. Or is it? Crap. Oh, I want to loop. Another loop is a one-shot. Okay. Change it to an MSG and loop it. Change it to an MSG. Multi-stage envelope generator. Yeah, this is a MSG. Multi-stage. Okay. And this can be looped, I guess. How? Settings. How do I loop this? How do I loop and multi-stage? And multi-stage envelope generator. Create a... Step C1, sir. Oh, wait. I got lost. Reset your envelope. I'm going to reset the whole thing. Oh, set loop start. Oh, loop mode. Okay. The weird thing is... I understand now. Okay, all right. Sure. All right, that took a while, but we're there. So now... By the way, we're showing off the multi-stage envelope generator. So the multi-stage envelope generator. We need a whole quarter note. Yeah. I would like to change this point to an S-curve. No, A-B-Z-A. All right. Now this plays a kick drum. All right. I will... Let's copy modulator and paste this here. Bacon Paul says, as long as your LFO envelope, the seven sliders next to the display, are set to turn off, you are in trouble. Yeah, so I... Oh, snap. I think I am... I think I might be obscuring some interesting details. So yeah, I had... The LFO envelope generator is multiplied with this. So I believe it is. Ah, yes it is. All right, we have a kick drum. Very crappy one, but it will do. Let's go dual. Wait a minute. This can't... This can't go like that. We need to hi-hat. Oh, wait. Can I just offset the phase? I think I can. Phase... 50%. All right. That is weird. I'm going to 100 by... 16? Okay, that gave me 100. So math in... I think it's going to be easier for me to do this manually. Oh, we also can have like a... Wow, this isn't really cool. Hey, this editor is really nice. Okay. Can you feel the groove? Yeah, I'm pressing the keys at a wrong time because I have this 40 second delay. All right. Let's play around again. Let's go back to our module or a formula. Formula dual. By the way, it's really crazy that we have a code editor inside of... All right. So by the way, I wonder if we can like... Because we can like process this a few times. Like, now I can do a bunch of other things with that because why not? Maybe I can do... divide it by a sine wave from the mod state phase times four. Negative two. And see what that got. That gets us. Okay, that does something. Plus sine. Ah, yes, this can be now its own... It's a floating window. Is it resizable? I don't think so. It isn't, but we can have it like detached from... It's still floating. It's just confined within Surge itself. Chetju says sinusoids sine functions can return zero. So there... I could crash this right here. Ah, man. Yeah. But that's the fun in that, right? Okay. This is cool. Now let's do cosine from this multiplied by 30 or 24. Okay. Now we're approaching audio levels of modulation. Now I think if I keep every number a multiple of two at least the ones related to timing I should have this like conform to a space. Okay. Oh, wait. This isn't... We can play this super slowly now. It's like solo. This is just generative music, man. I just typed in some... a bunch of gibberish and look what we got. This is crazy. I love this. I wish there was a way to zoom out this dude. Okay. This is just one thing. What we can do now is copy this, paste it here and now do the same just for FM. Holy shit. Oh, it doesn't want to stop. Keeps going. Oh, because my release is so long. I need to have a release at zero. Okay. Now the cool thing is we can, of course, alter our formula. I don't know, do four here instead of eight. And 0.2 here and 0.7 there. And listen to our new composition. Oh my goodness. Dude. These bops. What the hell? There's just a bunch of math nonsense and I don't know, it's like... I can totally imagine, like, sampling this and cutting it up into pieces and using just these pieces in a composition. I guess it would be more of a more destructive workflow. Okay, I think we need to go deeper. This can't stop here. Man. All right. Let's change this maybe to an FM and have it... Let's copy the original one. Copy much later, paste. And add much later amount. M1 and also M2. No, M2 is going to be in reverse maybe. Can also... Zard says no November for synths. That would be probably bespoke synths. All the tracks, it can use phi. Can I use... Okay, I can use some... Oh, we could program in some, like, you know, golden ratios and stuff. All the nice, mathy things. Yeah! Yeah! Oh, dude. All right, we need to alter this formula because it's the same as the previous one. Let's make this multiply by 16 and here multiply by 12 and maybe change this to cosine and this to sine. Apply. And we have entirely new piece of music. I think we could make this... This got a bit too wobbly. Let's add a COM filter. Copy modulator... Okay, let's modulate this in an octave, right? So, 523. We want to go to 1046. Shift. Yeah. Oh, that's close enough. Yep, now we just need to alter our formula. And there we go. Let's get some more. Could use a wavetable. Maybe not the sine. Something more interesting. Cosine. Oh, we don't have a preview. Oh, no, we don't have it. We do have a preview. Okay, whoa, that gets dense, right? NectoXYZ asks, is it Python code? I don't think so. I think Bacon Paul says what language this is, but there's an example and it's like, if you go here and go to category... category... Oh, I don't see one. Tutorials. Formula modulator. There's a bunch of tutorials we could use, but I don't want to, I just want to discover on my own. Is this Lua? I'm not sure if this is Lua. Maybe window... to enable. I'm gonna copy the modulator and paste it here. And I'm going to modulate the high cut and alter this formula. 2 times 2. Bucca asks, I'm not sure if I'm familiar with Super Collider. I know it exists. My familiarity ends there. I think I tried doing something with it once, but I never got anywhere. I got a little bit swept away. I... I was pretty crazy. I didn't know Surge can do something like that. I had no idea it could be so interesting. Kimotta Music says, can we hear your pad one more time? Sure. Alrighty. That's all for today's music making. You know what? I'm really disappointed in you, Surge. You didn't crash. Not even once. But you know what? I have the power. I can press CTRL C in terminal. Sorry. Okay. Okay. It is time. What the hell? Alright, what happened? That was a non... non-smooth transition. Transition. Today's submissions are as follows. Let's just get it going. Okay. Okay. So it looks like my mix called Yeah, what? This track is titled Far Welles, also known as Flying F by Takuvata. I like the drum and bass beat with the slide accents. So that was Far Welles by Takuvata and now a track titled Contact by Checiu. Alfonso Nanook asks, how did you activate Analyzer in the mix? I'm using Calf Analyzer and I'm just compositing it on top of mix. This track was made with Ardor, Helm, Vitalium, Geonkick, Sphiz, Airwindows and some more. And that was Contact by Checiu. And Far Welles by Takuvata was made using LMMS and Ardor. Synapse were Surge, ZenatsubFX, Helm and a lot of open source plugins. Drums were samples that are bundled and distributed with LMMS and a little bit of Flare using AVL drum kits. Let's now listen to Dead Marching Preview by DNF. It's a very interesting blend. I really like the percussions. This track was made with Ardor 6.9, DRMR Sampler for the drums, multiple tracks and multiple sets. Helm and Alton 2 for the basses, Ace, Fluid Synth for the organ, some guitarics and chow tape for the guitar tracks, Tulled Up 3 and Dragonfly Reverb for the effects and X42 EQ for well, EQ. Also Tapped Auto Paner and Ace Compressor. Nice. DNF writes, this was a nice track to learn to play with effects and basses in Ardor. And I like how the result is balanced enough to be enjoyable. Again, thanks for your work and keep pushing that bice. Okay, mate! So that was Dead Marching by DNF. This didn't end yet. This is like that moment where Dub was turning into Dub Step plus some other eclectic interesting things like the organ. Awesome. And now, a track by Steve Pixis titled No, a track titled Inner Work by Quantizer. If this track was made with LMS, Zenon SubFX, Vital and Audacity. They also write vocals are a bit messy. There's a link for the lyrics. I see a lot of improvement from the previous works of Quantizer. The very interesting sound design is still there but it's more balanced. The basses aren't overpowering the mix and there's some room to breathe. Sounds kind of dark. This is catchy. Very weird but catchy. That's fine. Next to XYZ says Vote for Takuvata. Maybe I should start doing voting and then we, I don't know, honor the winner every month. I would need some, figure out some software to do this. Alrighty. That was Inner Work by Quantizer. Thank you very much. And now a track titled TBA which means to be announced unless it doesn't Vocoder Mix by Steve Pixis. Let me read you the details now. This track was made with LMS, Zenon SubFX, Karla, Kalf Vocoder and Audacity. Sounds like a Trastic Cleanse Trastic Cleanse. They included a description and lyrics in a dense type beat. And the lyrics are Open your eyes and close your mind. Don't know what I'm talking about. This is a placeholder just to be because I have nothing to say. Awesome. That was rad, man. So that was TBA, Vocoder Mix by Steve Pixis and now Disrhythmia by SG75. This track was made with Ardor. Zenon has very few vocal sound sources. Very few sound sources. There is only two vocal samples. A sample of my heartbeat. One Helm patch and one Geon kick patch. Edges tons of plugins though. The more important ones are Noise Repellent, Calm Filter, Kalf Vocoder, Kalf Vintage Delay, Airwindows, Glitch Shifter, Triple Spread and Galactic. They also write I have literally vocoded some beats out of my heart. Vocals are CC0 licensed by Roses1401 Found on freesound. The Disrhythmical kick sound is triggered by X42's Onset Trigger on the heart beat sample with lots of threshold automation. Interesting. I was trying to beat sync this track. Musica, the Sancti says the compressor is still working when Anfa is sneezing. Yeah, that's true. I realized this and I need to figure this out somehow. So that was Disrhythmia by SG75 and now A Moon Hypnotized Preview by Sahativa Oh, I like this acidic bass. Alfonso Nanook says keep on working Anfa, you are doing an awesome job. Thank you. Will do. I see people are saying Anfa Radio Anfa Radio particular Sunday listening to a track titled Moon Hypnotized Preview by Sahativa Let me tell you some details. The track you are listening to has been created with Ardor 6.7 Helm Tall Dub 3 Dragonfly X42 DPL and X42 EQ Sahativa also writes This is a live condition performance recorded in Ardor. I used two hardware synths The arpeggio is a Beringer Crave and the drums are an Arturia drum brood drum synth plus a Line 6 multi FX I used two free helm tracks for bass and the two polyphonic sounds I used two the old good dub 3 and Dragonfly plus the nice X42 tools The performance was 8 minutes long so what you are listening are the first 3 minutes as a preview of the track on my soundcloud I forgot to mention that NASA public domain records is used to found on FreeSynth.org Enjoy the space dub We are listening to Second Try by Xavier Treningovsky Created with Ardor and now How to Drink Poison by Fasta Eki This one was made with Ardor Drum Gizmo, Vitalium Swanky Amp Calve plugins Airwindows and Dragonfly I like the bass This is very interesting, I love this The author writes Hi ANFA! Hope I managed to get this submitted in the time and time for the next stream I'm having significant problems deciding when something is done Usually it's done when you don't want to work on it anymore and you won't feel ashamed putting it out Sometimes you need to get used to deciding things are done Some say that creative work is never done it's just abandoned I really like this This is like psychedelic prog metal with a lot of synth That was excellent So that was How to Drink Poison by Fasta Eki And now A track title smasher 2021 by OV This track was made with Ardor, Orin 2, LSP Multisampler and Airwindows Yo! You may notice that the mix is perfectly mono As indicated by the Vector Scope Ideally vertical There is no stereo difference at all Until now I think the snare is a tiny bit too loud but I like the tone a lot It's interesting, the high frequencies are very tamed down You can see that they roll off pretty pretty quickly on the spectrum analyzer Now this mix, the sub bass is too quiet in my opinion The kick could be a little higher and the snare tiny bit lower and I would love to have some seroness just a bit So I understand that you're going for this very warm dark tone and it's an interesting aesthetic We only have two tracks left That was Smasher 2021 by OV And now we will listen to BASICER Climax by Outer Mind This track is titled BASICER It was made with LMS I like the vocal chops I believe this is my voice From some live stream I have manually turned down my sidechain Outer Mind writes live Yes it was, so this is my voice And it was downloaded from your discord server when Rob typed some lyrics Oh yeah, I remember that We're doing some random stuff and I just decided to record that I do that sometimes So if you want to take part in such ridiculous music adventures and remixing join my community chat Links in the description Alrighty We are nearing the end of BASICER and there's going to be our last track, so definitely not least That was BASICER Climax by Outer Mind And now Deadlock Unfa live stream version by MyLo-Fi This was made with Ardor Guitar X Drum Gizmo Crotchel kit 2nd half of the original 6 minutes 30 seconds version By the way, I'll have links to all the artists' music in the live stream archive description I absolutely love MyLo-Fi's guitar work and composition Always just killing it This prog rock or prog metal I think it is prog metal Wow solo So that was MyLo-Fi's Deadlock Unfa live stream version Thank you very much And we have reached the end of the live stream Thank you very much for coming This is not the end though because I have an after party for you Yes I have prepared a sweet little surprise or maybe not a surprise because you probably know already I'm working on a video game called Liblast And the game is free and open source and it's a multiplayer first person shooter and we're doing it with a few team members and I want to do some play testing and have fun and just chill out playing the game live so I'm gonna take a short break I've just pasted a link to the chat and it's also in the live stream's description where you can you will find a download link for the game in the live stream description there and you can get it so if you would like to join me and play a game and I also made a voice room on Jitsi and I will stream that so you can all call up there there is also a link and you can join that room and talk to me and I will stream that on the stream so we will be able to frag each other and scream all at once it's gonna be hilarious and we'll find a bunch of bugs cause the game is half baked Alrighty thank you so much for joining me on this live stream I would like to thank everyone who has submitted their music there's been 12 tracks and I've decided to push it a little bit and play it for a little bit longer and include all of them instead of throwing something out cause I really like them truth be told I just didn't find time to filter them cause I was preparing the technical stuff but they were all awesome and I didn't make a mistake I didn't listen to any single one maybe Milofa is deadlock I've heard that before and a few others but I didn't listen to them preferring this live stream so yeah but it turned out great yeah huge thanks to everyone also I want to thank everyone who is supporting my work financially cause that really makes a huge difference I will keep making these videos and live streams if it wasn't for people donating every month and if you enjoy my work and you would like to support me as well you can go to patreon.com slash anfa or liberape.com slash anfa and support me with a monthly donation and if you would like to meet other people doing music production and sound design with software often on linux as well you can join my community chat chat.anfa.xyz if you visit this page there is a home page and there is a quick description and there is a link to discord as well because rocket chat is self hosted it's running on my virtual private server and discord is of course proprietary rocket chat is open source so yeah I'm gonna take a short break and I will see you on the after party where we will play liblast there is a public server hosted by a friend of mine combustible lemonade who is also working on the project we will be able to play the game it's a new level in there created by another team member based on my dm1 level so it's like an extension of that and we've done a few things to make the game much faster the performance was terrible it was really hard to play a shooter when you need to do things fast but now the frame rate should be much better so yeah there is an in-game chat not much more just one weapon and shooting each other it's silly but I love it alright that's all for today's live stream I hope you've enjoyed this I hope you found the most interesting thing the most interesting thing is that it didn't freaking crash not even once not even once how am I supposed to maintain my show when the software is too stable what are you doing what is that nasty little alright see you on the after party