 I'm Anfa. I'm an electronic music producer and sound designer, so I work exclusively with open source software and Linux. This is a monthly live stream. This time it's the first one of 2023, and as an exception it is taking place on a Saturday. Usually these are always on the first Sunday of each month, but this time the schedule is different. Hello! Is there audio? Everybody can hear me? Seems so. Yeah, I figured out where was a little bit of noise coming. Background noise was from John. John the Bard is gonna join us real soon. Today we'll be doing some John bass probably. John has made a little starter project using earwindows production drums inside of an LSB multi sampler, and that is a preset that SG75 has created and shared it with the community. So, I think I'm just going to show you the project. Right, we have the drums. This is what John made, and this is all playing through. Be music says it will crash. Yeah, honestly I had the LSB multi sampler crash order a couple times, but it was the multi in the direct in-out version, and this is the stereo version, so just to all the outputs. Maybe that's gonna be better. Anyway, this is Airwindows production drums. It's a press preset by SG72-75. Sorry. We have lots of people with letters and numbers, like X42, SG75. I'm sure there's more. So, this is a little bit of snare kick. Lots of stuff, and every single instrument has layers. So, it's not just, you know, not just one sample per instrument, but it's eight samples for different velocity levels. Here is the velocity, the threshold, like for what velocity this is used. I see this also. Yeah. One thing that I had to change when loading this preset is the MIDI notes, because they were all default 57. You can see a bunch of them are still 57, so I think I'm gonna maybe try and assign something. I don't know. Try and do 27, 28, 29, 30, 31, 32, 33, 34, 35, and 36. Okay, so it's just now saved in my presets, so we can have a little bit of fun with with the drum kit. So, that's a tom. I don't even, so one tom is here, another tom is here, is there a low tom? Nope. Just have two toms. This must have been a crash or something, because it's wind VST, not lead. Wait, this is VST? Oh, this is LV2, man. Is that sampler available for one of VST? Oh, it's not available for Windows, unfortunately. I think the creator of Linux Studio Plugins, the suit of these plugins, is intending to make them available for Windows at some point, but it's a lot of work, and so it's not there yet. Plus, they can be drafted to go to a criminal war anytime, so it's kind of hard, because LSP developer lives in Russia, so you really can't be sure what's gonna happen, unfortunately. I think maybe the door output is a bit too loud. I'm gonna turn it down, what do you say? It's a bit loud. Maybe this is gonna be better. This is better. This is better. I can also turn my compressor. Oh, it doesn't work. It doesn't work. Oh, this is actually threshold, yeah. That's gonna work better. Oh, maybe. Yeah, so now my speech should duck the door output more. Okay, so what we have here is some basic chords that John made, and there is a side chain bus that the chords go into, and then we have a synthesizer that just creates B-Music asks, is Satko watching this? I don't know. He could be. I've been announcing the live stream in my community chat multiple times, reminding to there today, and I've seen Satko around, so he might be. I don't know. If you are here, Satko, let us know. So this is a side chain trigger. This is fed into the LSP side chain compressor, this one here, and this is ducking the chords. We can turn down the threshold and turn up the ratio to make this more exaggerated. Yeah, but something we can do is use a little bit of a different plugin, and I want to, like, Airwindows production drums is one thing I want to tackle today, but also not invented here plugins, which are the work of Robert van der Helm, who is also the developer of Yeahbridge, and he's involved in the CLAP audio plugin format development, and he's made a couple very interesting and unique plugins. One of them is Spectral Compressor. Let's create a midi track. I'm going to go for Vitalium. No, maybe not, because it was crashing out recently. Let's go with Surge. My criteria for using plugins. What's going to crash out or less? We'll call this bass. More is the root note here. We could copy the chord midi pattern and just steal some notes from it, and this is going to be the baseline. Now we're just going to make it interesting with spectral movement. Oh, I need my Royal Surge skin. Oh, no, there is no Royal Surge skin here. Why? Maybe I should be using the VST version, you know? So remember that LV2 version of Surge have had problems. Let's try. Yeah, that looks more like it. Okay, first let's go and shift ourselves an octave down. Now, an interesting thing that we can do, let's maybe start with some FM. We can make this wobble a bit. Let's sync it to the tempo. Make it a bit less. I'm going to middle click to go back to the macro assigned mode or modulation assignment. Okay, I like that better. And now maybe let's go with another LFO. We have another operator. Let's go and make it a little bit of a different frequency. Okay, middle click. Now let's sync this one to tempo as well. I'm going to middle click to go out of the modulation assignment. All right, John is here. Hi, John. How are you doing? There I am. Oh, nice. Oh, yeah, I think the reason you couldn't find the Royal Skin is because I think your VST is Normal Surge and not Surge XT. Surge also had that pad. I mean, it existed in Surge before Surge XT. And I have Surge XT and marked as favorite. So I think I probably picked that one because it's in favorites. And I think I went from, or maybe I mistake, maybe I picked the wrong one. It's very much possible. Also, I realized those chords are supposed to be in G minor, but they are in A minor. I don't know how I did that. That's all right. Oh, I'm going to correct your exposure. Oh, let me turn it up. I have a mic control. There we go. Oh, yeah. That should be better. Oh, you're now a little bit more bright. Welcome, John. We missed you. How are you doing, everybody? I switched back my microphone, so hopefully I'm not a sea of keyboard noises this time. It should be better, yes. Let's see if the octave is better. Oh, we have a chord here. I'm going to make the patch monophonic. So there is no way we're going to have that. By the way, John, maybe you want to turn up your gate threshold because I have a little bit of bleed from your headphones. Okay, now what we could do is maybe distort this a little bit. I want to create a little bit of a dense harmonic texture so that we have, okay, that's let's go ahead a little bit of an old filter. These always make awesome sound. Yep. Tempo sync. Let's go with that. And the band pass, the classic duo. This one was go with 12 decibels per Oh, but this is the global effect, so I want to put it here. I think we're high passing. I want some multiband compression on that. And what better multiband compression than LSB? I see that John dropped off. I think he's got technical issues, the technical issues. I'm going to keep an eye out. Okay, stream pause. Okay, if that is stream pause, then I think I'm streaming fine. So maybe it's YouTube that has issues or it's somewhere else in the line. Right, LSB multiband compressor. It is an insane eight band multiband compressor. Attack DB is the threshold, but we need to first set the ratio. Well, crap. So that's the first crash. And it wasn't the sampler. It was a multiband compressor. So I don't know. My special cool thingies didn't even work. So that's disappointing, honestly. Well, at least Ardor has decent crash recovery. I think, I think that's it. I think we're done with the project. At least Ardor decides that or LSB I don't know. It's like if you ask developers what is causing the crash, everyone says that the other guys work causes it. The dog guy says it's the plug-ins. The plug-in guy says it's the dog. Okay. Let's see maybe if I don't recover from crash. I don't know if I'm going to have the option because it's possible Ardor just applied the recovery and it's no longer an option. I don't know. Okay, we have something. That's nice. Let's see. It sounds like our patch. That's good. I'm happy. Cool. Maybe I'm not going to touch it too much. Just going to wait. Control D for duplicate. Yeah. Right. So what we can do with spectral compressor is going on. Also, yeah. Everything went to shit. Here goes my family friendliness. Okay, let's take bets. Are we going to reach double digit crash number before none of the stream? Is there an autosave or shall we remind you? No, there is an autosave. I mean, I'm also saving manually. Okay, so LSB multi-band seems like no go because it crashes everything. Let's just go with spectral compressor. Actually, we probably could use spectral compressor, spectral compressor. Yes. Yeah, that's the newest version. So spectral compressor does crazy things. Let's open spectacle. I'm actually going to have two instances of it. Put one before the spectral compressor and put one after it. So we will have preview of what is, so it would be best to have one instance, but two channels that I don't, I don't know if I can route this properly. Okay. So this is spectral compressor. We have upwards and downwards compression. What it does is it basically uses fast Fourier transform to convert, to split the incoming signal into individual frequency bands, you know, 20 to 20 something thousands of them. And then it applies compression on each of them individually. And then we combines that really like it pretty much re-synthesizes the sound after that. So we can achieve some crazy things. Let's maybe loop the, let's maybe loop our baseline. It seems like it's turning down the bass. And this is, this is the spectrum compression like part. So we should see, we can tilt the, we can tilt the, oh, there's a threshold also. We should probably play with the threshold. As you can see, it's pretty much like applying a threshold in the spectrum. The highs right there are not affected. I don't know, maybe I should go back to Ardor 6. It seems like we're not gonna have a good time today, are we? Why is everything crashing Ardor? That's a good question. Okay, I'm gonna see chat. It seems that John dropped off and is nowhere to be seen. I think, you know, he's running Gen2. I'm running Arch, so everything is possible, you know. Okay, let's see. Try crash recovery. Is this gonna crash right after recovery or not? Well, it seems like we're back. Are we back to the spectral compression thingy? Or we forget that it existed. Okay, so spectral compressor. Scroll so that I can see a little bit of the track from below. Right, threshold. I wonder what is window overlap? I think it's averaging. You can change the amount of latency this introduces and precision of the FFT analysis. Higher precision should let us do more precise compression. I will try and turn everything into white noise. Oh, nice. Okay, that's good. All right, there's our slope. So in addition to compression, we also have something like a tilt EQ. But actually, it's not an EQ. It's changed the threshold. So we can change the threshold among this frequency spectrum, which is quite crazy. Oh, I see we have a countdown to another crash. Right. But the even crazier thing is that we can give this a side chain input. So let's take the chords we have. I'm gonna maybe or we can, yeah, I'm gonna do this a little bit differently. Yeah, so I'm gonna, okay, doesn't, yeah, routing. Why? Okay, so it's, why is this going on? Okay, some weird things are happening. I want to add another audio port to the side chain. So that I can grab both outputs of the chord track. Yep. Okay, which one is which? Maybe it's that. I think it's that. Okay, now we should be getting the chords. All right, now there is a mode. Pink noise, side chain matching or side chain compression. Side chain compression is what we would assume so that whatever comes in is pushing our thresholds. And let's see what that does. Now we have stereo. It's pretty crazy. And this is side chain compression. We can also do side chain matching. And I think this should do something opposite. So it's like, whatever is not present in the input, it should discard. Let's see how that will sound. So you can see window size determinants are precision. We'll come back, John. Perfect. It seems our camera exposure is down again, but I bet it is. Yeah, the I don't know what happens because I could connect to myself on my phone, but I couldn't connect to your video room. But now I'm connecting to your video room again. So no clue what happened there. Well, I can't connect to my phone in my room, sometimes via Wi-Fi. So usually I have better bitrate from you than from the phone that's like 30 centimeters away from the router. So do you use our door provided from Arch? I'm not sure. I think I'm using the official build. That's interesting. You get way more crashes than I do. I like never get crashes in. It's wrong way up. So maybe that's why. I don't know. Honestly, I have so many versions of Ardor. I just I'm kind of not keeping track. Rob says he blames system D. I mean, I'm running open RC. So it might be that's clearly the stability issues. Anyway, all right. So where were we? I've missed a lot trying to because I figured the issue was on my end, but I just couldn't anyway. So what I have is I made a little base in search. I'm going to mute spectral compressor base sounds like this. And now I'm playing with spectral compressor using your chords as side chain input to get this. Sounds crazy. Yeah, crazy, but a little bit too crazy. It's not not very controlled. What you could do is my chord patch has a lot of unison. I found when I was making a track with this that no unison really helped the chords themselves shine through. Yeah, and I'm so pissed because I programmed this light show and it's not working. Oh, and it's worth mentioning I forgot about this because it had been so long. I have that ArchVM so that I can connect to Rust Desk. And I started an update on it because our Rust Desk wasn't working and then everything broke. Oh, so we're going to blame the Rust or the ArchVM update, which might find you nothing's running in completely unrelated to this live stream. But Arch updates are just that powerful. I did an Arch update today, but it was Ardor was crashing just as well before I did that. So I don't know if that has any effect. I was working on some sound effects for liblast, the game I'm working on. And I've had Ardor crashing constantly whenever I was doing stuff with Vitalium. That's why I didn't use it today and went with Surge. Let's see where were we. Okay, that sounds familiar. Good. Yeah, I don't know. It has to be something on Rust or on Rust's Arches end because a Ubuntu Studio has been perfectly stable for like as I would expect. And then Gen2 has been surprisingly good to me. But I can make pretty complex projects. This sounds really cool, by the way. Oh, interesting. When I went for side-chain matching and we're silent. Oh, maybe the sub outputs don't work. Oh, I don't know. No, the send is there. No, that's something. Yeah, I don't know. The sub is very loud. I think I'm going to turn this up just in the patch. Also, maybe it would be best to separate it out to a completely different track. Yeah, maybe I'll just duplicate this. I've had good success EQing the carrier, as I'm going to call it. It's basically a vocoder at this point. So I've had good success EQing the carrier a lot. It's just like a vocoder with 20,000 bands. It's crazy. I wonder if there is a... I'm not sure if some of the controls, I don't know if the window overlap is, but probably should be bin overlap. But I guess it would make sense to have some kind of smoothing along the frequency spectrum so that you can be less selective so that you're not just cutting out individual partials, but something around them as well to act more coarsely. Rob van den Berg says, I don't know, is every compressor about negative 40 decibels basically a limiter? The definition of a limiter is a compressor with a ratio of one to 10. And then if you go to one to 20 and above, it's considered a brick wall limiter. The silly thing in this definition is that it doesn't seem to include anything about attack and release, which are kind of very important. So I don't know. But no, it's not about the gain reduction. It's more about the ratio and the speed of it, because a limiter is about not letting things through. So it should be more strict about keeping things under the threshold. But I was doing... What was I doing? Oh, I was duplicating this. Okay, so on the base, I'm going to call this base sub. Here, I'm going to add a high pass. Just a stock Ardor filter, just disable the low pass, make the high pass steeper. Just do it the crude way. That sounds mono. Why shouldn't sound mono? What the hell? Well, something isn't stereo. Check this send and the send's end. What is this look like? For some reason, things land below my main window. Yeah, I'm taking left and right, because I'll audio in one, audio in two. Yeah, so this is left and right channels. For some reason, it acts like it's not. It's reassigned up. Let's see. No, still mono. Yeah, it doesn't have any effects. It's... I'm wondering if those two send knobs... I guess look on the sources send. It might be easier to see. Doing great. It's pretty extreme. I don't remember when was the last time I had so many crashes on stream. Blame Robert's plugins. Not that I'm not having this amount of crashes every single day I'm living, but on stream I usually have a little bit less. TransWolfy says, successful crash. Sorry. No, no need to be sorry. That's the truth. Okay, so we don't have stereo sound for some reason. So it is also possible that... No, we are sending out stereo. I don't think we're affecting it here. Yeah, something is just messed up. I don't know, we're having weird issues all around. Now let's do a low pass here. I will isolate the sub... sub oscillator or... FD. Yeah, now we can control this. We can also disable the spectral compressor on this just to be a little bit more stable. Yeah, I think that's gonna do. And here we can do some more extra crazy things, like apply some saturation with Wolf Shaper, which has had a new release recently. I'm not sure if much has changed in it, but yeah, let's see. Over sampling. Does this drop down work? No? Is anything gonna work today? Should we just start streaming my desktop? I wonder if the drop down menu is appearing beneath the window? I don't know. I think you can click and drag. Like drag up and down to change it. Oh yeah. There we go. Okay, let's move. Times two. I don't know if it's... It used to be broken, so... Yeah, also we don't have... We just clipped the output. What's on the master? I think I put a limiter on the master. Yeah, you have x42dpl. Interesting. Yeah, the problem is the spectral compressor is introducing 170 milliseconds of latency. We can reduce... Okay, what happened now? Why is it? I guess the window size has messed it up. I've noticed it makes a huge difference what window size you use. Yeah. I think what is possible is that this clips so hard that everything becomes a sub-base and it gets cut off. I don't know. No. I'm gonna hype this a little bit more. So the problem is we don't have automatic latency compensation. I don't know if we have any latency compensation. Maybe I can manually... Oh, you're using pipe wire, aren't you? Yes, I'm using pipe wire and that's the downside of pipe wire. There is the LSP latency compensation plugin. Yeah, but it means I need to manually delay every single track, which isn't gonna cut it. So I'm just not gonna bother. I don't know if this is gonna work at all. I'm not sure if it's gonna mesh right with the chords when they go alone. Oh, you have the blip unmuted. Ah, yes. I think I would maybe mute the chords and just use them as a sighting trigger. That's what I did, yeah. Because they aren't really readable because we're not using them. We are cutting off the chord partials. Oh, Robert van der Helm, the author of Spectral Compressor is here and he says, you have the DC filter enabled. That filters out sub-bass for most reasonable window sizes. Yeah, but it seems to be... Like, if I disable the high pass, it's making a difference, but it's not really getting rid of the sub-bass. And I wouldn't expect it to. It's not a high-pass filter. It's a DC filter. That should cut off things only below 20 hertz, I guess, which is considered non-audible. I'll dance to my subwoofer. It goes down to 15. Maybe let's add a little bit of reverb. Dragonfly have had a new release some time ago. Maybe it's... Let's give it a shot with the reflections. Oh, I need to enable the... What about the wolf shaper? It seems like it could work after the high pass. Yeah, this becomes a bit painful so I can use deep bass to reduce the high frequencies. Solo it. I think I also need to make this... I think I'm gonna bypass this high pass filter, bypass the high pass. But I'm just going to disable the sub-bass in this instance. I'm gonna switch the mode to single again. Okay, what the hell? Did I do it on the wrong instance? No. I guess I have plenty of sub in the main part of the synth still. I'm just gonna up the high-pass then. I think we do need a compressor, a traditional compressor after the spectral compressor, and I'm gonna put it after the reverb as well. Because we have quite a lot of swelling up and down. Maybe a bit of release on the synth itself. Could you repeat? Got that click when it... Oh, maybe a bit of release, maybe some attack on the synth itself. It's got that click when it comes in. Yeah, I don't know why it's that, but I suspect it's happening because of a delay with the sidechain processing. Oh yeah, that could be. Because of lack of latency compensation. So I think the click is that thing. Okay, now if we hear this together with the sub... Robert van der Helm says, ATC filter is a high-pass filter. Yeah, I know, but it's not meant to affect audible frequencies. And he says, in this case, it zeroes the all frequency pins at or below 20 Hertz. And at the window size of 512 and the sample rate of 480 Hertz, 48 kilohertz, you're filtering out everything below 93 Hertz. Huh. Okay, interesting. Well, it's definitely not doing that. Yeah, it's like that's... I understand what you're saying, but I don't see that happening. Let's open the spectacle and see what frequency content we have there. And this is off. This is on. We still have stuff around 60, 70 Hertz. That sounds lower, but yeah, definitely right there. So I'm a window size of 4k, so maybe at this 512. Yeah, but at this window, it kind of seems like everything is gone. So that's where the click comes from, though. I don't know. The window size is affecting the sound. Oh, he says yeah, 22 Hertz at 4096. Okay, so the larger the... Ah, right, because yeah, because this is dependent on the spectral resolution. So the lower the spectral resolution, the more we are cutting off with the DC filter, right? Hmm. I wonder if it would make sense, sense to make the window size like it possible to change the window size to things that aren't a power of two, because it has a huge effect on the sound and that could give more creative freedom and using the plugin. I don't know if it is even possible or make sense from the DSP standpoint, but that's just a thought. Okay, let's see. Is this super quiet? I'm gonna... At this point, I'd just use a DPL to get rid of the transient. Yeah, pretty much just making a limiter out of that. Says to the downward thresholds at negative 88 dB. That's probably why it's so clicky, with a ratio of 500 to 1. That seems logical. Right, because that's the offset of the threshold, yeah. I'm trying to figure out what this plugin does. Okay, let's see how does it work with the drums? Oh, it doesn't. We have no sound. Let's see why that is. I think this is because... No. Oh, because our MIDI assignments are gone. So we do need to remap our MIDI. I wonder if that's usual thing. I think that's a problem with the preset or our data got lost. Yeah, I think probably the data got lost. That's pretty unusable. No, if I load the preset, it has 57 everywhere. Works for me. Oh, it does? Okay. Yeah, I didn't change anything. I just used it. Let's note 24. Let's note 26. And then I had note 40. No, not 30. So the basics of this are... Okay, the bass is quite loud, clearly too loud. Send it to the side chain. All right, send it to the side chain. A silly thing with working with multiple monitors is that the drop-down menu opens up and hides up below because I have monitor space on a different monitor that reaches below. But note on this one, side chain. Okay. Ah, because I changed the side chain as well to make it more... Oh, no. I touched another speed plugin. Okay, no, it didn't crash. Oh, I'm expecting the worst today. Save. I just pressed control S. It did save. Nice. But I don't know if... Actually, I want to try because, okay, we've been crashing. What if I just close... Oh, no, it's gonna... It's gonna show up as a crash. Okay, I'm not gonna do it. I don't want to have the counter, you know, show the wrong number. And I don't want to reset it either. So I'm not gonna do it. But I wonder if the MIDI numbers are going to get lost when I reload the session, normally, without a crash. I think that something is not particularly bulletproof in there. Okay. Martin... Martin... Martin... Okay, I'm sorry. I can't... I don't know how to pronounce it. Martin says, I just fell asleep to the couch on the couch watching this. Oh, nice. Now, we have a multi sampler which has just a single stereo output. And that is a problem because we can't... I mean, we can't... John, maybe you want to turn up your gate again. Oh, it's making. Let me see. Do I even have a gate? I don't know. Out of the default settings because I closed everything. Yeah, because I can hear you breathe. Sorry about that, everyone. Martin... Martin... Martin... Okay, Martin. So what we can do is either use a multiband compressor, but that crashed harder. Or we can use a sam ZA multi-comp X2, which means it's a stereo one. This is another multiband compressor, which is three bands, not eight, but still pretty nice. Let's see what we can do with the drums on it. Or with the... with it on the drums. Okay, didn't crash. So that's bypassed. Is there dry wet? No, I don't think so. No. But I can just back off the ratios. I'm cutting off the snare really fast. Okay, that's a bit more subtle. I think I could spend an hour just tweaking this. It's hard to balance it with, you know, just a stereo mix, but we can duplicate the track and then just filter out the notes we're sending to have a separated kick snare and hats. We could also... you could also probably just save this, like export it as a preset and import it into the X12 multi-out. I tried, but it didn't work. I did save the preset from LSP, did this. Yep, I saved it here and loaded it in the multi... the direct out version and it didn't load anything. So I think either it checks like which plugin it's supposed to be a preset for and it doesn't load it if it's a different plugin or I don't know. It would be great to be able to move it between the plugins because it seems like, you know, the data is pretty much the same. It's just a different plugin which differently treats the data and outputs all of the channels separately instead of a stereo mix, which would be really useful because then we could just mix this, you know, on separate separate tracks and yeah, it would be much nicer sounding as well. I... there is some... Seeing if I could figure on my end, but I don't think so. There's some... I would like to... I don't know. Maybe I will use the Calf EQ because it has a very nice thing, which is unique. I mean, I'm gonna check if it loads because maybe it won't even load in Ardor because the UI... oh no, it does. Will the graph show? Okay, the graph even works. Wow, that's amazing. So the cool thing that Calf EQ has that I didn't see anywhere else is that you can enable a filter on left, right, mid or side channel. So I can turn down a particular band of frequencies just in the right channel, for example, which is just what I want to do because the hi-hats are in the right channel very loud and not so in the left one. So I'm gonna try and correct that. Yeah, I'm gonna turn it up in the left channel with a different filter. Yeah, this is neat. You can do this in LSP with a couple different versions of it, but there's like a dedicated mid-side and a dedicated left-right. Yeah, you have a separate EQ plugin that has... that works on left-right separately or works on mid-side. This is also nice for, you know, monitoring your lows, because you can just use a hi-pass on the side channel, which is what I used to do. Well, that EQ makes the snare really present in the left. That's interesting. Oh. Hi-pass, just the... Because you have that band you never moved. Maybe I shouldn't amplify the left channel at all. Is that better? I mean, it depends what you want to do. I want to balance it out a little bit. Maybe I should do just this. Enable the slow shelf on the mid-channel alone, and now I can use it to try and bring back the energy of the kick, which is lost because of the hi-pass. Yeah, Logos isn't shit. Logos actually just mentioned to me the other day that he wished LSP did this. It's funny. The multiple... Yeah, it's interesting. It's a totally different approach. So I think I prefer the one that Calv takes, because we have LSP parametric EQ. So we have a left-right mid-side mono and stereo. This is actually the Amen programmed into the air windows kit, which works great for breakbeats. This sounds pretty excellent already. Is this an Amen break? Yeah, okay. I didn't see you're playing to chat. Yes, I should read chat messages for those listening. Because if we're like someone who watches without the chat playback or we'll mirror this to PeerTube or something, then the chat is lost. Yeah, exactly. Yeah, so I wish there was a mono version and the stereo version. The stereo would have mid-side and left-right modes in it. So we could just change it per filter. So maybe that would be quite crazy, because the parametric equalizer already has a lot of controls and that would add to the confusion. So I don't know, maybe it's better that it's separated like that. So you need to just add an instance to just operate on left-right or mid-side. So we might have three instances of DQ when you could just do it with one of KalfiQ. I don't know if KalfiQ does any bad things to the sound like this, because there are some people have issues with the phasing of multi-band processing with KalfiQ kind of smear phases. I'm not sure I can hear it very well, or maybe it just doesn't matter for the kinds of music I make, which is all about messing things up in interesting ways. Yeah, it probably just uses some typical... The typical bands for EQs and filters are fine as long as you aren't trying to mix them. So if you have two filters in parallel and then you mix them back together, then it can sound weird, which is I think where the phasing issues come from. But if you just use one band EQ, the type of phase is usually pretty irrelevant. Like how much phasing it does is usually pretty irrelevant. It can matter, but the default settings for most EQs don't have any phase correction. And when you do do the linear phase EQing, it causes pre-ringing on transients. Yeah, so it's not very good for drums. I mean, it may be completely inaudible if you don't do super narrow cuts and super narrow boosts. Yeah, I mean, it's interesting that the linear phase EQ is something that was missing from the open source audio toolkit for a long time. But it also, it's something that's good to have, but it also has drawbacks. So for some things, it's like the only way to do something. Because you can mix the signals together, like do dry, wet, and then mix them back together without any phasing issues, which you can't do with the regular minimum phase EQ like this one because you're just have weird phasing. Rob van der Berg says, so no kicks in today? Come on. Okay, we can do it. We can reinforce our kick with a little bit of Gion kick maybe, because that's the fastest one I know. Kick extra. Can't have as unforeseen life without a synthesized kick, I guess. Yeah, whenever I use sampled brakes, which I don't usually do nowadays, but back when I used to, I would always make a kick and snare sub layer to put underneath it so that it actually hits on systems. Because if you take a sampled drum brake and you pitch it all over the place, lots of things can happen to the subs. Yeah, we could actually use a pitch shifter on this acoustic drum kit and see what happens. I think Robert van der Helm has made a pitch shifter and it's called puberty simulator. I don't know why, but it's called that. And maybe it's unique. Let's see. The dreaded window size control. This might be a cool layer. Yeah, this could be very nice for, we need, yeah, we could, this could be nice. It sounds like it would fit right in B oops for like some momentary effects. Yeah. I don't know if we can bypass this with automation. Robert says it's the best worst pitch shifter, works worse, I mean best on vocals. Works great. It reminds me of MA pitch shifter, which also has a window size control and it can be also sound extremely bad, which I love. Bad sounds are the best. As you can see, it's in my favorites. So this is MA pitch shift. I'm going to mute puberty simulator for a while. Have you noticed that since about 2010, heavy electronic music has been a competition for who can make the strangest sound and fit it in a song. MA pitch shift also has a dry wet control, which is interesting because we can have this as a layer. I wonder what does the mode do? I don't hear any difference when I activate that. Oh, another thing we could do is use the Opser or whatever it should be pronounced. The Opser is another plugin from the not invented here sued by Robert van der Helm. And it is an extreme all pass filter or wait, why does it? Oh, because MA pitch shift. Okay, I'm just going to enable what we have an it. We have strict IO and still our door lets MA pitch shift give us more outputs. How it made two instances. Yeah, because oh, because it's a mono has a mono input. But funny. Yeah, why did it? It even has strict IO enabled. So it shouldn't allow more outputs than inputs or any different numbered. That's weird. Yeah, so now the Opser is can make our kick sound synthesized even though it's not sexually really cool. When it's subtle, it you don't even hear that it's there, but it makes the kick punchy. Is it doing something to the stereo image of the kick? Could be. There's safe mode, which is enabled by default. If we disable it, the filter stages can go up to 512. Let's see what happens. Are we gonna die? Excellent. Great lasers. This is laser maker 2000 drum beat is now laser. Oh, all your drum beat are laser. Oh, man. Good. Yes. Thank you, Robert, for this amazing, amazing plugin. Automation precision. What is that? Oh, oh, we can automate that. Well, it's just wants us to automate it. I wonder what it will do in a voice. Let me make a vocal track for this. I'm going to record something. Maybe bypass it for a moment. I'll mute myself in OBS. Yeah, I know I was so far off it lines up again. Oh, I think you're still muted to the chat. Oh, snap. I didn't unmute myself. Okay, thanks for thank you chat for letting us know. Thanks, John, for noticing. I'm back. So I said I was surprised that I'm in time because I have quite a lot of delay because of a large buffer size for audio processing to avoid X runs or clicks and dropouts with high CPU load, like, you know, streaming and stuff. And I'm very surprised that I'm just right on time at, you know, just this is amazing. I'm almost exactly on grid. I just like this and it's just perfect. Yeah, so Robert, I'm assuming that it's impossible to reduce this latency on these any further, right? I don't think so. Yeah, I'd imagine it is, but we're in boring mode. There we go. Then we could could we mix this with the inverted signal and get break just this laser noise. I think that's perfect. You know what, we need to use this one because there Robert said it's it works best. I mean, worse. Worse, I mean, best. What even is that sound? I feel like Noisia is channeled here. Like, what the hell, man? Can we, can we take another frequency shifter and drop this like two octaves? Oh, yeah. Is it pitching it up? We're on mono. Maybe we can disable strict IO to have it stereo. Oh, wow, your pitch shifter isn't messing up stereo image. Amazing. That is something new. Maybe we can use spectral compressor on this to even Oh, yeah, compress it side chain it with the bass noise. Oh, man. That'll only introduce tons of latency. Yep. Oh, yeah, it totally, totally is doing. I think I see why the other ones mono and not stereo. With our doors routing. I think the way you're choosing it, if you pull back up that routing menu, yeah, see how it has the two sends underneath it, I think that's left and right on the one channel. So it's sending full right signal and no left signal. So now I think this is I think this is panning of the left and right because you see we have a like a default. I don't know. It's weird. I don't know. There is no, there is no tooltip that says what this is. Also, what is that? I think that's the that's why because it's only coming in through one of the two. So I think that it's sending the stereo signal to the top one. Maybe that will give us stereo. I don't know. Let's try. Logo says it's phase invert. Who knows. Oh, side chain. Maybe we can match it. So that's a vocoder then. Oh, but we're now we're in stereo. Yes, because there's no input on the second one. So I think let me show you how I do these routings if you instead of using the full mixer. Yeah, because this is definitely mono. Since I usually just use a send because you can right click anywhere in a mixer track and then create a send and then there's a routing options for the send you can choose side chains. You want to grab my mouse and do it. I could not connect to your rust desk. Can you restart it? Oh, I will. Yeah, because then I can show. Give it a try and I will mess around with this. Yeah, it's still not connecting on rust desk. I'm not sure. Yep, there it goes. Yeah, did the rust desk number change or something because it just won't connect on my end. It ends with 686. All right, so it's still the same weird. I guess my network is just, you know, I change ISPs. So maybe it's blocking some ports. I don't know. That could be everything is possible. So we're at seven, seven sweet crashes. So if we can go higher. Okay, I'll just walk you through the send for two seconds. Go to where you want to send it from the track that you're trying to send audio from to another. Okay, and then wherever you want to send it from right click. Okay, right. Actually, I wouldn't do it to do it before the spectral compressor. And then just do new external send. Okay, and then go to side chains on the right. And now if you route left and right, it'll show up at those two channels. SC audio one. Yeah, this is audio one. Oh man, that's interesting. That's kind of reverse to what I always do. I'm going to call this vocal. But it seems to make much more sense. And now these two. Yeah, this should now seems like the first one is still sending the monod version. If you go back to the other track, I think it's still got what sort I'm looking for back to the base. It's at the bottom. It's got a send. I believe that's the yellow one at the bottom. I believe that's where it's coming into it from so you can delete that. I think that's wait, because that's going also to the vocal, if I understand right. Oh, right. That's the old one. Yeah, that's what's on a crash. Oh, never double click on a sand kids remember. Yeah, I think this is a pipe wire issue. Could be, you know, it could be, it could be a weather issue. It could be a language barrier. I don't know. Maybe it's here's my accent and says our doors America software. We let American accents use it. Yeah, I think I think it's the time we slowly move towards music submissions. We don't have full material, but we still can take a bit more time to just talk about it. Maybe we can manage to do something. Oh, he's a skill issue. It's a skill issue. Yes. Yes. I just I'm just using it wrong. I just don't know how to click. Yeah, our door knows you haven't installed gentoo. I think you want side chain matching. It's kind of interesting kind of, I would need to use an EQ just to correct this, because there is a lot of you, there's a lot of high frequencies, not a lot of not enough mids. Also, maybe I'm going to use the opposite after spectral compressor and see. Yeah, you can also use something like calve pulsator to make it pan from left to right, like this, only faster. I said faster, maybe the opposite. And we do need a, I think we need a compressor after that. Just just one more compressor, you know, sweet. What does it sound like? Ah, we're not having audio output from LSP. And I think it's what I think it is, which is all of the midi notes are back to nothing. Do you want if the project will open right for me? I don't know. Yeah, this is a very nice. I mean, typing in a bunch of numbers every time you load a project that's no go. You can't work like that 26. Okay, I'm just gonna do this real quick. I think this one was 30. We didn't synthesize a kick. Damn it. Quick. Whoa, that was, that was crazy. Quick, we need a kick. How quick can I make a kick? Okay, let's go. Sorry, that was too loud. There we go. Oh, it needs an EQ. So I think the drums are panned left. Not sure why. But hard left? Maybe. Okay. Maybe my right ear just went deaf. No, they are panned left. You're right. This is coming together, you know. This track is starting to make some, oh, maybe we can make this shorter. Just too very short. Accentuate. Where is my body of the kick? Where is it? There it is. Yeah, come on. Yes, right. The sync broke. Hey, that's interesting. I'm gonna save this as an archive and no compression, man. You need raw 24-bit. It's gonna be okay. It's no clipping. You know, why does Paul want to get rid of all my dynamics? Dang it, Paul. Yeah. All right. Hey, I think this sounds pretty cool. I think we would need to synthesize a snare as well to reinforce the snare because the kick is like dominating the mix. Hey, we didn't reach double digits. Look, we were close. We're almost there. We're just two crashes away from double digits. Oh, man. Yeah, I think having a bit of a project prepared went well. Yeah, we managed. We survived. All right. We're going to now switch to the, we're going to go to the music submission part of the stream. And that means why did it, why did the tab close? Oh, that's okay. It's there. All right. Okay. Just me. So this live stream, when I'm gonna stop it, you're going to be redirected to the next live stream, which is only for the viewer submission, for the viewer music submissions. And this is to separate the two so that if there's any copyright claims or something, it's not going to affect the educational slash, we talkie, screwy around, crashy thingy, and just affect the music submissions, which is cool. Right. And I think it's a good time to also take a little bit of a break because we've been sitting in here for almost two hours. And I'm going to go and drink some water, I think. So I'm going to stop the stream and start it again in the next stream. And if you don't know where the next stream is, and YouTube doesn't redirect you, you can find the link in the video description, in the live stream description on YouTube, right on the top of the description. And also if you're watching this after the fact, and this is, you know, VOD, then you will find the link there as well. Yep. Thanks to everyone for joining this live stream and we'll see you in the next one, which is in a few minutes. See you soon.