 It was a filtering and I don't know what tonight's all about, in case you haven't already worked that out. Well actually it was New Year's Day last week at some point but I've only just got round to finding the time to open up and this thing, full disclosure, hologram sent me the microphone to check it out. I have not had or do not want to say on the content I make with it, just explore it and if I like it, show it off on the channel and I've actually got as far as setting the settings to work with my setup, so stereo and line up. I haven't even really changed any of the parameters yet. Set up some loops on the dig attack and I thought this evening what we would do together is just have a bit of an explore and see what it's like and expectations have already just been set pretty high because that's lovely isn't it. I'll just turn it off just for a second so you can hear how it just, the dig attack. I've currently just got four loops going, that one's me at the moment. The size of it is quite imposing isn't it. Get the important things out of the way. What am I drinking? I'll have a sip and a nutty scotch this evening and it's knock and tossion, 18 year old. It's actually the last of it. I thought I would treat myself to the good stuff for this demo. What samples are this? So these are the cases on a lot of my streams. These are just some little loops that I put together before stream started. There's all stuff from Spitfire. The piano is just a little loop that I wrote, which is using there, which is a paid library but it's only like $25 or something. That's not expensive and it's really, really, there's a patch pack which I have on. Symbolom pack that Spitfire make and that's, which is from one of the lab's sample packs which are free, which is from the tape orchestra pack. So I'm just on the first, let's bring the mix of the hologram up. I think that's just the hologram that we're hearing. And if we want to bring it up, we've got a separate effect. Mostly everything is done from the knobs, optionally holding down the shift button. Question in the chat. Nice sounds to use a door or a hardware with you. I use a door to record. Electronic music. I'm secretly a shouty guitarist guy as well. I certainly use the door for tracking and recording there. I tend to, when I'm making electronic music, tend to be in the hardware domain. There's no snobbery around the, I think it's just, I enjoy making music this way. I do occasionally write stuff in the door but not often these days. So let's have a play. So one of the things that immediately struck me as being cool, where you've got all of these time-based effects here, is that we have a filter on. So we can actually filter the effect right down. So it's just sort of sitting in the background in a really nice way there. A bit open and sparkly. And the other bit of this control is, we have resonance. And that resonance gets really sharp in terms of picking out those harmonics. Very cool. I'm discovering things at the same time as you are. I don't know what the activity knob does, so let's take a quick look. I'll do some more activity, the density of the effects. And so we should also have some pitch modulation here. So at the heart of it, it's kind of a time-based effect. There's meaning to get one. Because there's lots of things that it does, which I think are useful. Lots of the alternative. So the interesting thing that I noted when I looked briefly through the manual was that this has a pretty excellent MIDI implementation with lots of CC control. So depending on how the evening goes, as soon as we haven't even moved out the first mode yet, we might not get to it. But I was thinking we could start to apply some MIDI control from the dig attack. I am hooked up by MIDI at the moment. Right, so we try another mode. So if I understand correctly, there's four modes. Four versions of each mode. And eleven modes or something. So let's move across. And you'll find out, it probably says, doesn't it? Mosaic. Okay, so this next mode that we're on here, it's pitching down what we've already got in the effect. So we're getting this much lower. Gorgeous. Getting just delicious. Okay, let's have a look at this manual here. So Mosaic mode is all around at the moment. Overlapping loops play back at multiple speeds. So the one we were just listening to was octave up, which is why we're getting that lovely shimmer. So octave up. Sorry, double speed and normal speed. We're getting both. Lovely, lovely, lovely. So that's an octave down, which is, my cross seems marvelous, but isn't it too random? For me it's too difficult and too much automatic things. I don't know yet is the answer. I like randomness in what I'm doing, as long as I can frame that randomness I can understand that having those chance elements is actually quite important to me. And I think this micro, this Mosaic, lots of little loops based upon what's going in, playing back at different times, at different speeds. Let's move to the next mode, which is all loops playing back at double speed. So we should get lovely shimmery. Let's introduce another loop, shall we? Thank you. I'm not doing too much. I'm not doing anything at the moment in terms of processing anything just to keep it more obvious what the hologram is doing. Let's have this particular sample pan left a row, I think. Samples for us to work with. So the next mode, half speed, normal speed, double speed and quad speed. So it's kind of like everything that we've already had together plus more. So the reverb only gets applied to the internally processed stuff, I think. I don't know if there's a way you can get it to reply to your normal sound as well. Right down the space. Isn't the Digitact totally dry? There's a little bit of reverb being added to some of the samples just to make them sound right. But there's no delay on that. So that's Mosaic loops, I think. Let's try Seq next, which I presume is going to use some pitch sequencing. Those reverbs is affected by this. So this changes the subdivision rather than tempo. Okay. Okay, this is cool. Okay, so that's... Okay. So let's bring the... So it's grabbing little loops. Repeats keeps those loops going for long. Okay, so this will make more sense if I was doing something with a bit more of a steady pulse, I think. Similar, but it's going... So this is going on in video or something because this will just create entirely new arpeggios from what's going on. Filter sweeps now. These Mote can create short overlapping loops, shift in pitch over time. So this next one is double off speed and half speed. So similar. Half speed isn't working for me. So the next one should be normal speed and double speed. I think this is a setting where... Yeah, it's a type of pitch. It's not mono, but I think it's working with the stereo spread that I'm feeding it with. So whatever's on the left is staying on the left. Having this dance around a bit more, overlapping samples glide in both directions at the same time. So rather than having just glitch, let's add another layer of something. So dual tricks that the way I guess you would have that dance around more in stereo would be to have your source dance around more. So let me put a little panel on this, I think. Granular processing, I guess. So this is haze mode. Clusters of grains create a wash of sound. An activity that controls the grain density and speed. Okay, let's just turn the space down so we can hear what's going on. Some modulation. Those grains are going for longer, I guess. It's really lovely and this is the sort of thing where a lot of the other modes and it's no criticism. It is what it is for those modes and sometimes it's going to be right. It becomes very much about the effect and the effect becomes the intrinsic part of the the music that's going on. But this is just a mini simultaneous randomized grain. That sounds like the sort of thing I like. Drop the space just for a moment. Is stereo, yes. Insert cable, basically. And this octave down was a little bit more subtle, actually. Yeah, I bet this would be nice for just a bit of vibrato on piano. It never fails. The first one and this one around what was already going on. The octave up one was nice, but it was a bit more sort of there and in your face, whereas these are tibnotic drones with unique modifiers. This is drones that compresses in length and so the reverb is kind of masking what was going on, the weekly digital stuff. Yeah, this is real sort of end of a jam going 100%. It's kind of like doing a reverse reverb thing, isn't it? It makes me think of nine inch nails, actually. Maybe if we give it some filter tweak at the same time. So the next one is going to give us a sub-optive and filter sweep. Yeah, and it's triggered by the envelope, isn't it? Okay, so that should give us a fade in. Yeah, so these ones, these tunnel ones are creating an accompaniment towards going on there. So whereas in haze what we were getting was like a haze around our sound and it was really sort of giving us something that sort of created a bed or blanket at least for our sound. These are creating an accompaniment for sure. Drone samples have resonant burn pass filters. Less interesting to me than the last one, I think. For this source material, the last one tunnel envelope triggered compressing in length. A loud signal comes in, it's going to do the sample length trick from the first one, I think. This is going to react to the source material, but the last one. Okay, so the next one creates pointillistic textures. No, it's crossing a threshold with something. So staying something in there. Cranking activity makes it sound like it's just one long drone, so this is 100% wet at the moment. Okay, that's an easy one. Obviously. So the next one, many copies of the most recent note onset overlapped create phasing effects. Like, some of that looks so pretty, so I will tell you about it. It's a dumpster file, I'll tell you what. You take that back, I will hear nothing no bad words Fourth mode on Strum is a favourite begging for me to make it bit busier, I think. It repeats. Long stuff stays in the buffer. Subject matter in context is you could take something like this and completely morph it into play with it for ages. The next one filters symbols overlapped and fade out results in your soft and less angular glitch sound. The last one rearranges the incoming signal using bit shifts and bit scrap. Pretty better if we had the more busy input in range versions of your playing interrupts at the line. So if you want more glitches, turn it repeats. So the next one interface has lost synchronisation, I think. And we're set the dick attack. Let's try restarting the pedal just to tech issues in the middle of a stream. I think it was the pedal, okay. Perhaps there's a firmware update. Yeah, there we go back to this. So the next one is filter sweeps and decay. Tempo synced with a beat going on. That's so useful for this big footage stuff. Small white machine do. A lot of stuff as it turns out. That wasn't it sad. Inbased. This is mad at this like granular stuff and this activity down. It starts up agiancing. Of course, because it's different notes going in there's loads of interesting ways of rhythmic ideas from rhythmic source material. This strikes me as like a sort of song start-up workstation, especially when it's tempo synced. Have it tempo synced to the door. Feed it with stuff. Sticking up the dick attack with pedals. What sort of thing do you want to see because it usually is just a case of plugging stuff in preferably in stereo. That's a great way of pushing it. Okay, let's go to the next mode. I'll leave it basically where it is. But we'll go to a different mode. So this is going to be arpeggios include various playbacks, speeds resulting in pitch shifting patterns. The previous mode, nothing was being pitch shifting it was just picking up different chunks of what was playing in and that was what was creating the arpeggios. Whereas now we're also pitch shifting or sample rate changing or less. Pitch shifts which are less related to the source material than the other one. It's a bit more glitchy sounding. The previous version, always based around our source material. Whereas this one is not whether it is but less so because it's pitch shifting as well. Source material. It's just looping our loops and stuff. High bits, super cool. The first one but now with filter values filtering as well. Introduces bit crushing. Source material is really like this mode. All of the arp modes are obviously not suited to the input in terms of blending it into the input but in terms of new ideas loops and bets for tracks. Also if this was something that was sort of the different modes here just changed the ability to just have a good utility delay which is super useful. If I was using this on guitar I would use that to spring back to life. The next one is pitch shifting. That's everything. We haven't looked at the loop but I think that's really enough for one night to see how it responds to pieces of CC because all of this stuff is MIDI controllable. Certainly there were times where I was like I wish I could modulate the shape control and some of them might do some FM there. Also we go on just for that glitch section it's just an idea to write something because I don't see the up six as being competition to something else I hope actually. It might not be what you think.