 Oh, it's Anfa. Can you hear me? Um, almost. No sound? Or is it there? Okay, yes, there's sound. My goodness. Oh, that was a rollercoaster. Getting this stream... Getting this stream to even start was a rollercoaster. Ah, welcome in 2021 everybody. If that's how the rest of the year is gonna go, I don't know if I'm not gonna go back to 2020. So today I started my preparations by messing up my partition table after a failed update because my disk failed up and it wouldn't boot up. So then I went on to try and fix it and I broke it even worse. And then I was trying to restore some data and then finally managed to fix my partitions and made the system boot. And then I updated BIOS and then a couple of other things, yeah. The webcam didn't want to work. Nothing wanted to work, but here we are. Somehow. Oh, it's a miracle. Someone told me on Discord when I was reporting all the problems that my sweet wife should be carrying a camera around me and we should make a documentary about how the hell is this even possible to have this many problems. It just works, sometimes, as Rob van den Berg says in the chat. So yes, welcome in 2021. Hopefully, I hope you're all feeling well. There's 75 people watching. It's quite a lot. So it was interesting. Even up until yesterday or up until yesterday, there was like one music track submitted for this live stream. I think everybody just got so busy with the holidays and family stuff, I guess, that they've just totally forgot to submit something. But I said it in the chat and I also announced on Discord, I posted it on then, hey, if you're sitting on some cool tracks made with FOSS, hopefully made recently, then send them over. And you delivered because we have 30 minutes of music to play and that is awesome. Another one is Greg Triek Tercek says the mushroom tower. This is a cover art for a remix of combustible lemonade's track titled The Other Castle. You can read in the upper right corner, there's the title of the track. Yeah, so I made this my wallpaper because I like this. Alrighty, we're gonna make some music. I wanted to make time to make some concrete ideas and what I want to make today, but all that time went into the fixing problems. So I'm a blank slate. We can do whatever. I'm open for ideas. If you have any ideas of what music we can make today, let me know, I'm gonna just start up Ardor and we're gonna create something. A lifeline says that remix took five years to complete. Yes, it took five years, this track. I have been making it since 2015 and released it in December, December. Only last month, last year. Alrighty, let's make a new Ardor session and I'm gonna also reduce my face size because that's apparently something I often forget to do. So what the hell is this thing? Oh, that's the thing. Ah, wait, that's not better. Where's my face? Oh, my beautiful face. There's no way, there's no face. Okay, so the trouble isn't over yet. Well, wait, why is there... Okay, oh, there we go. All right, that's the thing, we need good. Okay, you can hear my voice. There's no background noise. Fabulous. Let's call it Anfa Life 2021. Zero one, zero three. Alrighty, and here is our beautiful blank canvas. We can make whatever. People say polka, face of base. What is face of base? Is that someone's name? Use be oops. I don't think I have installed. I'm really liking... We could try Gion kick a bit. All right, let's find out. Someone said synthwave. That could be interesting. I haven't made synthwave in a long time. Oh nice, it probably roots seroness of these thingies. Cool, awesome. So we have, let's call it drums. I'm going to select these things and just hide them because I'm just gonna use the first three. I'm gonna call one kick snare hi-hat. This should do for our time being. Okay, we have MIDI input. Gion kick has changed a little bit since I last used it. It looks like now it's nicer. It has more things also. The layout is a little bit different and has these presets and also samples. By the way, there's a drum kit I made before or sounds from my... Which note is that? Oh, there's a kit. Okay, but we're gonna make something fresh. Let's not use these and just make something new. Oh, I have a new... What about reset? Oh, there you go. What about reset completely? Maybe I'm just gonna delete all them. Make a new one. Call this kick. Also, I could be zooming in, couldn't I? Yeah, I could be doing this thing. Wow! That's new. Haven't seen this ever. What is that? Wait. Oh, it's reversed now! So this is the audio channel and this is the key mapping. Whoa, that's so good! I like that. That is awesome. Let's say I want to have this play on C4. I don't know if I can select multiple with control. No, no, single, okay. A4, C... Okay, C4. There we go! I like this change a lot. It makes much more sense that here we assign the output audio channel and they are numbered from one starting from one, not starting from zero. That's great. By the way... Maybe I should make my camera a little bit larger in there. Is that better? Oh, there's no sound from Ardor, my goodness. Of course there isn't. Is there now? Okay. You know what? I'm also worried that this audio video sync could be... less than ideal. No, it's good! Wow! I was... I just... I wanted to check it. I just didn't have the time and everything broke. Okay, we have a kick instrument. Let's make a snare and a hi-hat. For synthwave we will probably need some toms also. So I could maybe make one tom. And we can... We can layer assign them. Okay, C4. Now let's go there and make the C-sharp for the snare. Hi-hat, C, D4. And the tom 1, D-sharp 4. Okay. Now we should have... Yeah! These things out-putting on different channels. Let's call this tom. I wonder if we can copy and paste channels. I think we can duplicate them. You know what? I'm gonna name these tom 1, tom 2 and tom 3. Already. And we'll have this ready. And when we make the tom... Hide these. We're gonna have the tracks already there to root it. Kraber says, you can just all use all drum machine samples. Yeah, I could, but where's the fan in that? I wanna make my own... I synthesize my own drums! I can't just... I mean, I can, but I don't find it so interesting to... May use, you know, some other people's sounds. Let's make a kick drum and let's make it... Okay, it's not yet a scalable, but that would be fantastic. Oh, and the coffee is decent. Wow. Sorry. Anfam, notice us. I could focus on the melodies. We are shouting for a minute here. So you mean you want me to not make drum sounds, but focus on melodies and that kind of stuff? Well, we could load some presets and call it a day. All right, let's do it that way. Let's find some... Okay, I don't know if that's gonna work. If it's gonna work? Oh, it is. Just changes the mapping, okay. I'm just gonna modify it slightly, maybe. And chords and cool bass sounds and effects. We have a winner. We can use existing drums. Proceeds to design a kick drum, yes! No, I just use a preset, but... Maybe this and some snare. Okay, C, sharp. We can make this work. I mean, I think this snare can work for synth wave as well. Need some hi-hat, metallic snare. What is this one? C, sharp, major, D4, sorry, D4. That's hi-hat. This isn't very cool, but I'm gonna just shorten it and call it a day. My goodness, it's piercing. Maybe that's a bit better. Alrighty. So, you don't wanna focus on the drums. Okay, let's not do the toms then. I think this is gonna work as a basic beat. Like we could even use. Pam, pam, pam. AVL drum kits to have a drum kit. Acoustic one. I need a snapping. Okay. I don't know if this is resembling anything. I wonder what will happen if I insert it. No, that's a bad idea. I thought about adding reverb right here, but actually we can do it. What's the worst that could happen? Maybe let's use the plate. Well, that's pretty cool. That's interesting. We are adding the reverb per channel, so... That's a very quick thing. Alrighty, let's go make some melodies then, because you guys are up for some melodies. I wanna use Surge, because I just like it recently. Let me use eight instances, so we don't have to worry about not having another Surge instance to play. Alrighty, that's like the simplest... Rob Wunderberg says, I saw what you did there. Also, we can change it to brighter. Wow, I haven't been doing melodies in a while. Don't like it. The rhythm is a bit... Oh, I like this pause here. It was accidental. I didn't intend it to be here, but... And then we can repeat this phrase. Hey, we've got something going on. We can also make one of these drum patterns a bit different. Oh, no, this is not the drum pattern. Let's call this... Solid! Oh my goodness, that's a solid name! You get it. People, people, bam. Alrighty, we have some drum beats. Make them smaller. My goodness, I learned so much from this MIDI Masterclass for Ardor. I've been doing so much research. You know what I want to do? I want to get some vibrato going on in here. What I'm going to do is use a macro. I'll take this macro. I'm going to assign it to pitch. No, what am I doing? That's wrong. Let's clear this assignment. I'm going to assign it to... Rename macro to nothing. Will it work? Okay. All right. Let's do it other way. First, use the LFO. Don't stop me now. Why is Nils Hilbricht quoting Queen lyrics? I don't have an idea. Oh no, we're going to copyright strike my stream! No! It's YouTube. You can't sing a song. Or someone will reclaim it. I should make a stream where I only sing copyrighted songs and just crap on the system. I don't know. Adrian's guitar says, ANFA always cracks me up. I'll watch this later. Love to all and happy new year. Have a good one. Rob Vandenberg sings songs from my band. Okay. I know one. Next stream. ANFA goes to jail. Sorry, I just went EDM there for a while. Okay, so what we want maybe is... Tempo sync this. Or maybe not. Just go with about five hertz. I think four or five hertz is like the... the natural frequency of vibrato that people do. But it probably depends. Okay. So we have this really loud... Now we need to control the amount of that modulation. And we can do this. Ha-ha! By turning this amplitude of the LFO down. Now selecting that and turning it up again. And now we can rename it to... Vibrato, yeah! We could also use some pitch bends. Uh... Let's maybe just leave it for now and play with this vibrato thing we've just built for ourselves. So processor automation surge macro one. I wonder if LV2 allows... LV2 plugins allow... modifying the... automatable parameter names. Let's try and do this. Yep! Got vibrato'd! I can make it really obnoxious and... not really musical anymore, but... let's see what happens. Oh no, it's pretty cool. Wait, what's going on? Oh, something's weird going on. It's like when a note starts... when this is changing, it's like... Oh, that weird. Okay, I think this is great. Oh, we could convert it to... We could convert it to mid-CC automation and have it... follow... our sweet, sweet MIDI clips. I don't know if I'm able to do that. Let's try controllers. Let's use this for... Is there a controller that is... used for that thing? That kind of thing? Let's use the modulation wheel. Channel 1. Maybe I shouldn't be using macros, just use modulation wheel. Okay, I'm going to select all the points. If I can... Okay, with CTRL, I can click and drag. Good. CTRL C. Now I'm going to select this thing and do CTRL V. Oh, it works! I just need to set my edit point to playhead because I can't put my mouse there. Haha! Oh, it's clipped. Oh, what? Oh, this changed too. Alright, that's weird. Set this to manual... and hide it so it's no longer... Now what we can do is the fabulousness of just copying and pasting this whole MIDI region and having everything else go along with it. I just need to copy it to the second clip because it's... Haha! Can you imagine having this technology in 2021? And now I just need to get Surge to use this input for that thingy. Whoa, I didn't want to do that. And we can actually use just this mod wheel here to modulate our velocity... Sorry, our LFO amplitude. It works! Okay, so we can just leave it or we could actually learn... I could like clear this thing and instead assign macro to MIDI CC modulation wheel. Haha! It works either way. I love it! Nicey. I'm really happy about that. So we have our macro. We can have more macros if we want. I think I want to add a little bit of wave shaping to this sound though. Just a little bit of noise. You know what? I need to stop this transport, put it here, select this and loop it. Maybe add a delay. Okay. That's our lead line. That's a lead line we can go with. Oh, there's 80 people watching. Awesome. Welcome. Nice to see you all here. 81 now. 82, what's going on? Stop going up! I'm getting nervous. I think this LFO on the filter is going a little bit too deep. We can make it a little bit... Oh yes, it's going really low, really deep. Let's move it a little bit like that. More viewers! Oh yeah, there's 85, 86. What's going on? Oh, 85. Back to 85. Okay, okay, okay. For a second there I was really getting... Oh my God, 86 again! Okay. You know what? I think we should go with copying this. And the automation goes after and make a second voice for that. But I think I would duplicate this instrument to avoid having... Let's go copy it after selection so it's right below, not on the bottom of our stack. I'm going to call this lead harmony. 91. Oh, it's 90! 89. My goodness, what is happening? Did someone post a link to this live stream in some place where people appreciate what I do but I have no idea that it exists or what? Oh, it's copied our automation lane too. I'm going to clear it. And let's open up the modulation wheel channel. So we have control over that. Let's play with some harmony. Let's try this. What about that? Oh, what did I press? I've hit a key. I have hit a key. I have no idea. Oh, the two phrases are identical. I didn't need to copy and paste the automation. 93 people watching! I think that's a record. 92. I never saw more than 90, I think. 94. What is going on? 95! Oh, you've crossed my birth year. What the hell? Looks like all the troubles getting the stream to work was worth it. I think we should make some variation for the second repetition of the phrase. Ta-ta. I think it's doable, workable, usable. Could do. I would like to hypers these a bit. And you know what? There's a hypers filter just for that. Inside search. Oh, yeah, now we can get a more driving beat and the bass line going after this. Like, you know what? Let's drop into side trends and just go... But also, like, try and connect it with this synth wavy feel. What do you say? Do you know what I'm gonna need? I'm gonna need a... I'm gonna need a different kick. Sorry, I need to synthesize at least one kick during this stream. Like, come on. Oh! Whoa! Whoa! Okay. You know what? I should do this. L trucks and buses and just go visible, visible, visible, visible, visible. And rename this to... Kick 2. Not to be confused with the instrument called Kick 2. Also, Tom's, I can hide these two. Okay. Nice. Wanna kick? Wanna side trends kick? My goodness, I like side trends kicks. 5, 6, 7, 8. Because this one, Tom 1, Tom 2, Tom 3. Okay, this is gonna be it. Tom 3 is D sharp 4. Tom 1, 2, 3. Kick 2. Alrighty. F sharp 2. Sorry, F sharp 4. Yep! There we go. Oh, it's got reverb. You might need to get rid of that reverb. Or it's gonna be... Oh, and we can change this sign note here. That's so convenient. I love it. Gion Kick is getting better and better. Xavier Brand. Brand, or Xavier Brand. Says, hello from South Africa. Welcome! Nice to see you. Okay. I'm gonna make a side trends kick. So, what we need is... I'll lay out a little bit changed. I'll slate 1. Frequency, please. Frequency. There it goes. Let's make it higher for the starters. Because the side trends kicks need a lot of... Pew, pew! They're very... Pew, pew! Dependent. About a lot of... Pew, pew! They don't sound right. Kraber says, ANFA, thanks for linking all the video editor. I'm loving it. Awesome! I'm happy it works for you. Some people are having major stability issues with it, but I am very happy with it. I think we need to move this plate from the actual... like the master to the... Yeah. I think we don't need it on the kicks. Oh, we could sample that. Pew, pew! And... Mark Durand says, has this stream reached 100 plus people before? No, never crossed 100 as far as I remember. No, never crossed 100 if you were as concurrent. Yeah, I think it never went above a 90 before. It was like 85 something. Who knows, maybe we'll cross 100 today. Rob Van den Berg says, kind request to promote this live stream in your socials. Thank you. I need that 100, he says. All right, let's get back to this Psytrance kick that nobody wanted, but I really needed to do it. I think we need to tweak our pitch envelope a little bit. Ooh, that's deep. We can equalize it by altering the velocity in different frequencies. I'm cutting off the MIDI stuff. MIDI, MIDI, MIDI. Talb says, hello from Israel. Welcome. Rob Van den Berg says, wait synthesize kicks equals lose viewers? Not necessarily, there's 95 people watching. Okay, so that's... I think it's a bit too long. That should be, that should be do it. I think the highs are a little bit painful, so what I'm going to do is use air windows. Yeah, what should I do? Two vinyl. Oh, two vinyl. Two vinyl four. And that's the thing is it has an interesting limiter of high frequencies. I'm not sure it's doing what I think it's doing. I think interstage could help us. I don't know what it's supposed to be doing, but interstage is a plugin that emulates something. And what I've found it to do is really nicely round off high frequencies if you push it really hard. So I'm going to push it really hard and then back off. There is a slight, slight difference. It is less painful in the high frequencies when I applied this interstage thing, but I had to really drive it hard. Okay, so F sharp. This is our kick new. Oh, I think this is gonna be... Whoa, this is gonna be tough. Let's change the edit point to mouse. You can see we have this blue line under our mouse cursor now. That means it's the other point. Maybe we can do something with the hi-hat. Yeah, like do this and then do the classic speed it up, speed it up, speed it up. And I think I still want to EQ this kick to LSP parametric. Closer stereo. Yay. To reduce the highs a bit. Oh, wait, what's going on? Greetings, you've just updated plugins to version 1.1.28. There's some new stuff probably, maybe. Alrighty, let's use a high pass. Make it very, very, very, very, very, very steep. Use a low shelf to give it more bass still. And use a bell. Alrighty, should be better now. Okay, do it. We need a bass. And after we have our citron's bass, we can continue our quest to make it melodic. Alrighty, I need to fit four notes in one of these. So I'm gonna just do that. And I'm going to do this. Do this. 16th. Yay. Yep, I can actually do this just to have four notes. And simply, actually I could also lower this in one octave down. How much kicks we have. This much kicks. Okay, let's make more of that, because why not. Alrighty, the important thing here is going to be sidechain, LSP sidechain compressor stereo. And we need to route in the original kick, or actually not the original kick, the citron's kick. So in that place, now we need to also change the input of the sidechain. Can lower the threshold. I think this could be pretty cool. Holy smokes, it's one of the four people watching now. Let's make a wave, everybody. And wave. Wow, that's a milestone. Oh, they're quickly running away. Seeing me doing weird things. But wow, that's amazing. This is still way too high. I'm going to open this surge and lower this. Also, I'm going to loop that so we can just listen. Let's use the filter envelope. I think this is pretty side trans-y. Oh, I like this even more. What else can we do? Interesting stuff. Add some reverb. Let's use the scene LFO too. Okay, one more thing. We need to make sure that our reverb is quickly decaying after the notes are over, so it doesn't last. So I'm going to reduce this release time for envelope. And now it doesn't leave our nasty tail. Kramer says, I have to go to sleep now. Bye, Anfa, bye, all. Nice having you. Bye-bye. Alrighty, let's listen to this so far and see what we got. It's not even in the same key. Oh, that's awesome. I love it. I think it would be better if it was in the same key. What a key am I in here? D minor. Okay, what is this then? F sharp. Okay, that's the reason. Oh, because I just copied the note we had from the kick. Oh, let's move this to D then. So F one, two, three, four, five semitones down. That's going to be too low. It's not going to sound good. Let's try it. So is it D? Oh, no, I went one too far. It was just four semitones down. Okay, four semitones down. Let's see if it sounds like it's in the same key now. I'm not sure if this bass is not too deep now. It may be so deep it won't play on any speaker system in the world. What do you think? Is this bass too low if it's going to work? Maybe I should move this up in key and keep this similar or at least a little bit up. I think I'm going to move it up three semitones. Oh, I like this tone. F. So we're going to be a little bit deeper. F and now I want to move this thing to F as well. With our D, one, two, one, two, three semitones up is going to be F. So let's do this. Actually, when I'm thinking about it, oh, I had some, okay, let's be in the grab mode so I'm not selecting like individual notes, just everything. Why doesn't this move? That's so weird. Are we F? We are F. Okay, I think we have the key change or the not changing keys, actually. That's okay. That's working. So I think we should have this side trans thingy for a while. Actually, I think we're going to need a hi-hat, but we can use this one we have already. I think I'm actually going to use this sound and then we will enter with hi-hats. I know it's not a side trans-y hi-hat, but we don't want to spend time synthesizing drums, right? Oh wait, what is going on? That's weird. I know what's weird. We're just missing the bass. Also, I think I should do something with the bass too. Let's go with 30 seconds. Oh wait, am I snapping? Okay, I am. Okay, weird. Oh no, this sound, this feels weird. This hi-hat here just froze me off. This is not good. 106 people watching. I don't think it's good that this hi-hat has reverb. It shouldn't, it should be dry. I think we are going to need a hi-hat for this thingy, right? Let's synthesize it then. It's going to be quick, don't worry. F-sharp, so this is going to be G-kit. Okay, let's make hi-hat 2. Make it send on channel 8. F-sharp 4. G4. Yep, controls. Okay, hi-hat. Very simple hi-hat. Square wave, square wave. Weird frequency, weird frequency. Perfect. White noise. Turn this the hell down because it's really painful. Add a hypers filter. My goodness, still painful. Now add a volume amplitude to make it decay. Shorter. There you go. All right, was that so hard to watch? Ah, move it. That's a hi-hat I'm talking about. None of that silly sluggish business. Yeah, that's good. That's a cruisant Saitran's hi-hat. Now we can do something melodic on top of that. Maybe some chords. I'm not sure how. Wow, there's 111 people watching. I'm gonna screenshot that because that's a moment to remember. And my face was perfect too. New rule. Viewer count is the BPM. That means I need to somehow write a script that's gonna read it up and change it immediately here. I think we need some weird vocal chops for this. What do you say? Weird vocal chops are very Saitran-sy or aren't they? I think we need some weird vocal chops for this. Like, you can't have Saitrans, well, weird vocal chops, can you? Ha! My instinct is to export this for Ninjas 2. Whoa, I reversed it. Let's normalize it. Yeah, let's do that. I'm gonna rename it to vocal chops 1, 0, 1. I'm gonna export it alt E. Control shift E. Control shift E. Control alt E. Now MIDI. Okay, export region. Yeah, that's the way. Sweet. Now enter Ninjas 2. I hope I have it installed. Yay! LV2. Let's use LV2. Ninjas 2. Now the problem is I need to find the, oh my goodness. Okay, there we go. There we go. Ha ha! Slice it up. 32 slices. Cool. All right, now let's just have some fun. I'm gonna mute this. Also, I'm gonna insert a marker here so we know this is Saitrans. I'm not sure what note is the first one. Okay. C4. All right, C4 is the thingy. You know what? I think this is gonna be fun. And I have an idea to do it like, let's randomize it. The edit MIDI. MIDI transform. Note number is this note's number plus, wait, to this note's number plus a random number between 0 and 31. Okay, it doesn't really sit in the beat. Weird. I think I need to change the sensitivity. Onsets. Oh, because it wasn't. Oh, that's the thingy. Okay, that's a, it's an interesting thing. I'm gonna undo that. I'm gonna duplicate this way more. So we have more like, and I'm gonna repeat this. Transform. So this note's number to this note's number plus a random number between 0 and 31. Let's do it. And now I'm gonna just mess up these things and see what happens. I'm gonna see what fun things I can find. You know what? We need a sidechain gate on this so it's going pumping with the base or the kick. Or it's not gonna sound like it's in time. So kick two. All right, I think we need to shorten the release time. All right, what? Let's calm, solidate this. Yep. And make it longer. I think it's too fast. Yeah, that's something I'm talking about. Also, we could do something like WOLF LFO and maybe not sidechain. Didn't Anfa say they didn't have bobs installed and reverb to this Anfa? Reverb to the vocals, you mean? Alrighty. Dragonfly. I like the plate. So Robin Berg says plate is love, plate is live. You mean life? I think I want to tweak the little bit of the chops. Wow, I like how this plate is like it's almost like a spring reverb. And also the flanger effect. Wow. The flanger, I mean, the, okay, what it's called, flutter plus the reverb sounds like a spring reverb. How about this? I want to make some one particular like a part of my vowel just gets stuck at some point. Just something like this maybe. Okay, control. That's even more side transiting than a Use the pitch bend, Luke. No, wait, wait. Luke, use the pitch bend, Luke. Wait, I need to reverb on my voice for this to sound right. Let's use audio tracks, make them stereo. Whoa, whoa. No, no, no, make him stereo. Yeah, dragonfly. Okay, what am I doing? That's silly. I think this is a little bit too aggressive. I think I need to change this pumping effect. Maybe make this shorter. Ah, I think I also should compress this heavily before I apply the wolf LFO because compressor. Oh, actually, you know what, squeezer. Oh, I haven't found the plugin. I haven't refreshed my plugins. Maybe it's going to be quick and easy because I found this open source compressor plugin called a squeezer and I installed it recently. I haven't used it yet and I thought it could be a good idea to try it out. Oh, LSP plugins going strong. I wonder if I can do anything with Ardor. Oh yeah, I can work. This can be going in the background. I can do stuff. Great. But it's obviously making it less responsive. I think this flutter is a bit too strong. Okay, squeezer. There it is. First time I'm loading this plugin in Ardor and you know what happens when you load the plugin first time in Ardor? Sometimes it just goes poof. More plugins equals better. Oh, it's already compressing it. Wow, nice. I like compressors that compress stuff out of the box. Actually, I don't know if I like them. I just like this. I want to smash it. Okay, but that's after wolf LFO I wanted before. Use the pitch band. Of course I'm going to do that. I think we need to set the pitch band depth 12 semitones. That's great. That's what we want. And let's go with just zero. Ah, yeah, it's two things. I need to do two things. All right. Also, I need to make it slightly shorter than the whole region or it's going to disappear. That's the thing. What do you say? Well, the hi-hat is a bit painful. I need to EQ it. This is the message we are going to send aliens to listen to. Yay. It's compression like the strobe light of music production. It's compression like the strobe light of music production. I don't know. Okay, I think you know, this is the part where we get like the side transparent thing going. And then that's the part when we need to get into melodic stuff. And I want some chords. I want some some fun things. So let's maybe go this thing. So here we're going to introduce melodies, copy this four times, side trans bass. Now we're going to make a different bass. I want to maybe move the drums, move the midi drums track lower so I can see them easier. And so I want to move the bass higher. Yeah, let's make the life easier for us. Oh, I have ideas for sounds. I have ideas. We're going to abandon the side trans feel a bit, maybe, kind of sorta. Just it. So we're naff. Let's make a new lead, because why not? And make it a fem. That's a bit loud. Ha, you know what we can do? We could make this into a like an electric piano. Or we could make it glitchy. Can we modulate the speed of one LFO with another LFO? That is a question. Can I modulate rate with one LFO with another LFO? I don't think so. Assign parameter two. Okay. Hey, wait, I can. Add modulation from LFO S LFO one. Oh, it's seen LFO. LFO modulation current. Does it work? Holy snap, it works. Let me turn down the volume a bit. Oh, sorry, I will do that for you. Really nasty stuff. I think this is very interesting. I think this is a... I haven't done this in a long time. Just go absolutely crazy with synthesizers. And I missed doing that, really. Let's use this LFO as a gate. So our volume is going to be zero, and we just pulsating with this thing and make this tempo synced. So it's every eighth note, maybe. I have something in mind. What if I use the same LFO and... Oh, but it needs to be a scene LFO. I see. Let's copy it and paste it here. All right, and use it as a mix control. Just in reverse. But we are in the key of F. Why not do D? Because it does... I mean, yeah, it can work in this key, I think. It's a bit too loud still for the context. Or it should be D sharp. Holy snap, we're literally out of key. I mean... Holy snap! Why does E sound good here? We are in F. Why does E sound okay? And back and forth. We have enough drum snow. Now we have... Oh man, we need a bass. Okay, let's try and repurpose our... I'm gonna just copy this. Really, we need to make a bass line for this thing. Maybe we can make it quieter. Control C, control D. Ah, wrong. Oh, it doesn't work for a while. Oh well. Are those kind of unresponsive for a while? Okay, now it's back. That was interesting. I'm not sure if it's good, if it works, but it was interesting. And there's still 95 people watching. That's amazing. Okay, what do you say we give it this one last playback and then we jump into music submissions. It works, as Rob Wanderberg says. All right. We didn't use our sick ass vocal chops later. Maybe I can try and do something. I don't know. Stretch them. Just go crazy. Be music says, es funktioniert. Okay, we made something really weird, but that's interesting. Actually, that was really fun. All right, let's play this one more time. Everybody, thanks so much for going through this process of creation with me. And we're gonna listen to the final piece and then move on to music submissions. Let's go. Yeah, that's it. I am not sure about the tonality and like the changes and key. Like I'm not sure everything works together. And like the standard European tuning or enough like thinking of harmony, but it's interesting. And I'm happy we've done some nice synthesizer experiments, especially with this little screaming sound here, which was supposed to be a lead and turned out to be something really weird. Awesome. Xavier Brand says Cyberpunk vibes. From what I've heard, it's not not that close, but a little bit maybe. Yeah. So we started with some synth wavishness and then went to what I don't think there's any side trends in Cyberpunk. So they go with something called mid tempo and it's more like, I don't know. Actually, I was thinking about making it a Cyberpunk themed track and call it bugs and crashes or something like that. Yeah, fun stuff. Alrighty. And now the moment you've all been waiting for, playing your music. Unfortunately, I haven't managed to arrange the order perfectly like I wish I could. So it's going to be a little bit random, but also, did I mention that yesterday there was just one track submitted, but I let you guys know that there's not much music to play and you send in all the tracks very quickly and they're awesome. Did I? Okay, let's go. This is a track titled Big Top by Milo Fai and he's made it with Ardor Bristol synth, Drum Gizmo using the crotch-hell kit. Something's coming. I love the arpeggio floating around with reverb automation. And there's so much dynamics in here. I like how dynamic this mixes. Ah, lovely chord change. I love his guitar playing. He makes you want to do a collab with this guy. Wow. So that was Big Top by Milo Fai and now let's listen to Not the Same Kick by Steve Pixis. That's an inside joke, the title. He said it's done with LMS and stock plugins. He also writes, this is a work in progress of a hopefully upcoming track called Solar Wave. Tried something different this time. Let's see if it works. LMS factory sample is for the drums. LB302 for the bass. Triple a sliver for some effects. And a shift load of Zenatsum FX for everything else. That's some nice 80s vibe. It's pretty synth wavy. My goodness, so many classic synth sounds. I think it would be good to gate the reverb on the snare a little. The tail is quite long. I think it would benefit if you just cut it short with a gate. Tom Phil. You guys are absolutely loving this track. Nice pluck. Now right, that was Not the Same Kick by Steve Pixis. And the next track is titled, it's titled Car Fug by Paik. Made with Ardor. That's all the info he gave me. Pretty unusual drum sounds. I like these chords a lot. The B music says, are all tracks exactly 3.3 minutes three seconds? Not all. I do fade them out if they are longer than three minutes. That's why they are all, most of them are three minutes three seconds. By the way, still 104 people watching. Rob van der Berg says, now I want to play Minecraft in creative mode. Oh yeah, I think this really captures the mood for something like that. This should have been the track I play as last, but I've said something nice for last as well. So that was a track titled Car Fug by Paik. And the next one is titled None Moving by ST. And it was made with LMS. Rob van der Berg says, does the clip? No, it's not clipping. That red color is the bass, the deepest bass. You can see on the vector scope that there is no clipping involved. There's no cut corners, no square things. It's dynamic. Sahativa asks, was there a Lopez filter on the master bus? I think something must have happened because look, we're cut off at actually four kilohertz. But this is the file I got. Maybe it's an error. Maybe he just encoded the file wrong. I don't know. I think we're never going above four kilohertz. No, these tiny spikes of high end, these are artifacts of compression in my opinion. This is what very compressive sounds, file sounds to like if you use amp bag or maybe it was a mistake. I don't know. ST, if you're here, let us know if this was a mistake or if this track was supposed to be low-passed at four kilohertz. I like the bass and groove that it creates with the kick. Maybe it's made as telephone call waiting music. That's why it's so low-passed. Alrighty, so that was non-moving by ST. And now let's listen to Source, Work in Progress by Wulnier. And this one was made with LMS. And he says, hello, this is a Work in Progress track. Kick might be very heavy at the moment. I'm working on it. Alrighty, the kick picks around 50 hertz. This is weird. Oh, I like this change in the bass. The lead seems sound detuned. Oh, I like this lower note in the bass. A change is coming. Oh, wow. I like this wailing synth in the background. It sounds very ominous. Yeah, that's a little bit of a horror movie theme. Is this like a horror movie dance track? Ksavaritan Jengowski says, my track is in mono by a mistake. Brandon says, are you reviewing music or something? I am playing submissions from viewers to promote and inspire people to use free and open source software for music production. So that was Source, Work in Progress by Wulnier. And now let's listen to Come Inside by Kilgore. Love that synth. This is beautiful. And this track was made with Ardor. Kind of a two-step beat there. I like it. So I recognize the hi-hat sample. Oh, it's funny. Oh, I can't align the beat grid. Oh, I can't. Just, oh, that's better. There's my voice too loud. Holy snap, that bass. Oh, that bass line. I don't think I ever heard this kind of vibe from Kilgore before. Work in software. Blothled a little bit. This track is so soothing. Soothing it groovy, Klein says. These are user submissions never to be found again. So cherish it. Yeah, that was Come Inside by Kilgore. And now I think this is the first one by Xperibase. Titled by Fox. It was made with LMS and Audacity. And he says, fear me for I am fluffy. I think the kick is a little bit too loud. I like this arpeggiator in the back. The track could use some variation. Like, I'd appreciate a second voice of the lead line coming in, like, with some harmony maybe. Here we go again, man. And now we're in three. I mean, the triplet feel. Interesting. I wonder if the bass is gonna go triplet now. Yeah. Interesting pitch bends in the kick. Okay, that was by Fox by Xperibase. And I I think I've never played his tracks before. It's the first one he submitted. And now a track by our old friend Xaveri Treningovsky. And it's called Abel Thoron. And it isn't a mono. This is so cool. At least sloppy, but very groovy. So that was Xaveri Treningovsky and the track was titled Abel Thoron. Oh my goodness. Let me say what he's made with. It was made with Ardor. That's all he wrote. Now, time for a track by Quantizer. I believe this is also the first submission. Never seen this name before. And he says this track is titled Slightly Stronger Coffee. Let's go. We're up first on Drone Bass now. Yay. And he says it was made with Linux Mint, LMMS, Vital, and Audacity. And Sahadeva says Venetian. Venetian. I'm missing a kick though here. It's a longing for that kick to come. Ruba Climo says, found his soundcloud. I'm content. Ruba Wanderberg asks, who did this? The guy? The guy's or gal's name is Quantizer. Yep. So that was Slightly Stronger Coffee by Quantizer. Made in Ardor using various stuff, including Vital. And now a track by Outer Mind titled Technologic. Work in progress. And he says, made with LMMS, Synth 1, and Tyrell N6. He also says, samples, the kicks are his own. Mid-intro sounds, heavily manipulated glitch machine samples. Two plucks are samples mellow from Musicrator, Lofi sample pack, and are from Glitch Machines. Clap and snare, producer spot house drums. Back then, back on effects, Musicrator samples, crash, Melbourne bounce, crash, maybe change to center 9-on-9 for the one. Classic, trans, Outer Mind's adventuner tracks and hardstyle things are clashing together. That's awesome. All the sausage mix you can see is flipping a bit. Or it's very heavy. So that was Technologic by Outer Mind. A work in progress. And now the last track of this evening is by Nimbius. And the title is No End Cutoff. It was made with LMMS. The time it seems like Nimbius has come, something slightly more upper beat. Or bass, I don't know. I think the tempo detection wasn't perfect. Look how effective can be a filter sweep. It's just a filter sweep. A completely different feel now. Like it's a different track. But it fits so well. Today, thank you all for coming. You've had a nice evening. I wasn't sure if this theme is even gonna work, as I had so many different technical issues. But it worked out in the end and I'm really happy for it. And there's still 95 people watching. Yep, that's all for today. Thanks for watching. Thanks for coming to this live stream. Thanks to all the people who have submitted their music on my request that, hey, I need some music to play tomorrow. Thank you for delivering that. Yay. Also, huge thanks to all the people who are supporting me financially. The Patreon and LibraPay. This is very much appreciated. And the Patreon support has exploded after I released the Art or Media Masterclass video. It was two weeks ago already. Wow, time flies. Yay. Let's hope I'm gonna be back in my usual studio for the next live stream. But who knows? Yay. Take care and I'll see you in the next video.