 Can the syntax be heard? I hope so. Hello chat. Goodness, the proximity effect is strong on this microphone. First of all, if you have picked up the EP, then thank you so much. The sport's been really, really lovely. Really glad you've enjoyed it. So I'll just wait for a couple more people to filter in. And then what I will do is go through these different patterns. That make up the EP and talk a little bit about how they are built, what the sounds are, and how it was performed as well. Because it's not really taking an approach that's normal if you like for the syntax. If you are in the chat and you haven't already, then do feel free to hit that like button. It just helps the stream appear on more people's feeds. And hopefully we'll get more people in the chat and more lively streamers results. So what should I do? I'll tell you what I'll do first. I will talk a little bit about how the pieces were performed. Because the way that it was basically done is almost entirely performed on the mixer pages. So apart from one track, I basically didn't touch the mutes for the entire time. Instead I started the pattern playing and then I was basically using the mixer page to bring in these different parts. And if you've grabbed the album, you do actually have a copy of what amounts to the score if you like. I had it all on a note paper, which my child has stolen and put somewhere. But I'll just flush it up on screen. So that's the score for the first track. And basically what the score tells me, you might be able to see it there, is which tracks to turn up, which tracks to turn down in sequence, which ones to sort of modulate by hand as I was going through. The way I worked out what the arrangement was was that I basically just played it live a bunch of times and I made notes as I went, which things worked, which things clashed. And that's kind of how I came up with that kind of score if you like. Obviously a lot of what's going on in those tracks is somewhat generative. So as I turned up different things, other things might be happening that weren't happening the first time. But that's the world of this kind of more generative ambient music. So with that in mind, perhaps we'll go over to pattern one and which is track one. They're just in order. And we'll have a look at what the individual tracks are doing. We'll just do that for each of the patterns. I'll try and highlight anything that I think was interesting in terms of the arrangement or the sound as I saw. Let me just get rid of this off the screen. Stop this pattern and go across pattern one. And I'm just going to get my notes because I do have photos off them. And let's have a look. The first things that came up on this pattern are tracks nine and 11. So let's just turn everything down. So basically everything starts down on most of the tracks, apart from one I think. In terms of how the patterns are set up, a lot of the tracks. So for example on this one, tracks seven and eight are basically just a static drone. So when I just have a static drone, what I do is I put down a single trig and put the first condition on there so it starts the drone off and then another place it again, essentially. And because the decay is infinite, it just plays forever and ever and ever. And then I'm just literally playing the mixer to bring those in and out. So if I hit play, we'll hear nothing because everything on the mixer is down. And the first thing that I brought up on this one was track nine. Generally speaking, track nine on most of the patterns is a low drone, which this one certainly is. So look. So this is using, this is an analog track and it's using Cyro. Just an octave or just off an octave detune, a bit of noise in there, a bit of distortion. And then the LFO. Yeah, so the LFO is a repeating, you can hear it's kind of pulsing. So what we've got here is a repeating exponential LFO. Going to the overdrive and then it's depth is being modulated, or it's depth is being modulated by the second LFO. So you can hear that pulsing kind of comes in and out. And I think this is literally just one note the entire time. Yeah, it's just a single trick on that one. Okay, next thing that gets brought in is 11. So it's levels on 11. That is a school kind of hand drum thing. So that's actually a bass drum machine, but then played a bit higher. So that's the bass drum silky of modulation stuff. Yeah, I'm bringing the resonance up and down so you can hear it's got quite a it's a bit smoother now. But sometimes it's more sort of hand drumming kind of clacky resonance. And that's just bringing up the resonance on the low pass there. Yeah, here's more sort of hand drumming now. That's just the resonance doing that. The pattern's really simple. It's literally just these two notes most of the time. And these ones are little smaller clacks, sort of room shot type things. 14 steps, almost all of the, in fact, every single one of the patterns is poly metric. Next one that came up, one and seven I bring up next. So there's one there. Is the PC carbon, actually. So this is kind of like a totally hand drum type thing. And I think the, yeah, that sort of difference chord is actually just on the in harmonic parameter. Seven is one of our drones. So this drone is doing the same thing as the low drone in that we've got this kind of pulsing thing going on there. This time it's done with the volume but the same basic principle. The other thing that will be happening on a lot of the drones is that it will have quite a wide tuning LFO. This one's not as wide as some of them. But in some cases the LFOs on the drones are moving the tuning around by like a semitone either way. So one of the key things on the EP was actually this idea of the kind of in between notes. And I was tuning a lot of these steps by hand to be slightly flat, slightly sharp to kind of find these different intervals that could sort of create tension or sweetness within that. So these sort of moving quite wide tuning LFOs end up creating sort of recontextualising certain notes and chords. Next one's coming up is eight which will be another high drone. Oh this one instantly will be a swam as is the other one. That's about to come up. Here again that swan's got quite a wide tuning LFO. A little bit wider on this one. It's almost growing up a quartz tone either way now. It's brighter and sharper. It kind of makes the low drones feel darker somehow which I really like. Let's bring down the next thing to come up on this track would have been 12, 10. That's kind of our clave sound. This will just be done with the pulse. I almost never use the cymbals on track 12. I almost always just use either the noise or the pulse. And then have that going into a resonant filter. So you've got a really resonant band pass in there. And that's what's making the sort of clave sounds rather than any of the other machines. I also just filled this track with tricks and then just probability them. He says I'll be able to see the probability. Probability perhaps I just programmed it straight in. And I think I used re-triggers on some of the steps. Also just microtiming. It's just microtiming yeah. Okay so quite a lot of microtiming instead. And it's on an odd meter. So it kind of goes over the other stuff nicely. And next on this track, probability I think. Yeah so the whole thing is 75%. And then on this one I've kind of got this sort of shorter plink. Almost like sort of slap and pop bass bar. Merges quite nicely with the low drain. Two is what I've called the car horn or train horn. And that's actually slightly more complex than it sounds I think. Yeah so we've got our sort of main honks. And we've got these shorter ones in between that sort of honker kind of sound instead. This one is a bit, a lot of the stuff is bits or swarm honestly. And you can hear that the tuning is quite wide on this one. So this is going like a quarter stone either way. So it barely spends any time back on the pitch. Just going with this sort of uneasy, swaying, drunken feel. That's kind of a hallmark of this leap here I think. And we've got this other sort of repetitive part here. Rhythmic part which is going to work together with. Six is the toy. And here again quite a wide tuning. I've even forged this melody part. So five is a bit playing the same melody in octave up with some portamento. That's kind of how the climax of the track of the distortion going on there. Pretty much every single track on every single. Every single sound on every single track is going into the overdrive. And the nice thing about using the overdrive and everything is it kind of acts as a sort of instant dirty compressor. And you can kind of really mix into it. And have the louder sounds effect, the quieter sounds more. So like bayonet sounds. Hear how those drones that are shifting up and down sort of quarter tones. Kind of recontextualize that melody as well. Down to a bit more major though. And as they drop down the relationship becomes more suspended. So yeah that's track one. Track two. Let me just turn down all the tracks and work out what I actually need to hear first. Let's bring all of these down. Okay so the first thing to come up on this track 12 which is just I think noise here. Yeah you've got to start with some noise sometimes. This one you know I've got the resonant filter. The resonance of the filter moving around and then after that modulation has been modulated as well. So you kind of get this pulsing that becomes more or less prominent. Marco you'd like to hear about the effects used for the performance. The only effects that you hear are the reverb and the delay on the syntax itself. Nothing else was added afterwards other than EQ. Actually I didn't even compress other than the final mastering limiter. So there's I use the dangerous backs EQ plug-in to sort of widen sort of shine up the width of the the track. I do it on pretty much everything. But in terms of like any other effects it's just the delay reverb inside syntax. Speaking of the delay reverb I don't know if I did it on this track. Yeah I did okay so one thing that I did with the effects within syntax is that I usually not usually on a lot of the tracks I had a really slow LFO going to the reverbs pre-delay and the delay time with both of which creates pitch variation inside the reverb and delay which I just like the way it sounds. And I don't tend to use the LFOs on the FX track for much else. So yeah just sort of creates a sort of coarsing inside the reverb and the delay. Most of the time the reverb and the delay are also going into the master drive as well which just helps glue everything together I think. So there's some nice noise. Next thing I bring up is one which is a low drone and this one's got a lovely sort of vinyl-y almost sounds just like vinyl noise and nothing else. Again this is just one note so it's just the one step at the start. This is bits I'm going to tell you that without checking. I'm not modulating actually this is just that's just what it sounds like with a lower sample rate, lower bit rate, a bit of distortion, a bit of noise in there. So really that's literally just bits doing its thing. You can probably hear a bit of pitch modulation in there that's the reverb doing that. That's that modulation of the pre-delay. Five and then two apparently is next. Yeah I've called this the resonator drone. So this is the tone so it's sort of the pure FM one and I'm modulating the filter frequency. Okay so the modulation there is just the filter frequency. So a really resonant filter that'll be what's going on there. But otherwise it's kind of like a slightly off pitch tuned up modulator. A fair bit of distortion. I'm sorry I can't EQ the voice or I don't have it set up on the live stream so I can do that so I apologize. I will just back off a little bit I think it's the proximity effect doing that. In terms of yeah it's literally just a drone for that one. Next up is two. So kind of a fockhorn kind of thing. This is bit as well. This is doing a bit of tuning movement really slowly. A bit of modulation of the wave shape as well. Well that's pretty much just it. A bit of resonance on the filter to give it some character. A bit of distortion not much though. Then I bring up four. It's kind of a whistling thing going on here. And uh that's the raw on really really tight bass width just to bring it right into one little point. Resonance a lot of what you're hearing here is probably the resonance of the filter I think. This one's actually actually sequenced. Big on automato. Bit of probability. Yeah so I'm individually tuning some of these steps as well so they're kind of not exactly a note. Which I did a lot on some of these other tracks for a second. So nine here is kind of a heartbeat thing. It's basically just with the overdrive on the LFO and then another LFO modulating the depth of that LFO. So there's one one. And I think the relationship between the LFOs yeah the integer but they're not like normal relationships where that's kind of occasionally the heart skips a beat kind of thing. Sort of adds quite a menacing low end to the song. Six next apparently. Again sort of low past a bit of a hump on the resonance. In a lot of cases um a lot of cases everything but the lowest drones be quite restricted with the bass width filter just to make space for everything because the low end's taken up so much power and so much energy. Must be modulated here so the form and the tune. The tune again is quite a wide sort of a eighth of a tone either side. And then the form is being modulated on a step by step basis just to give it a different sort of timbre per step. What I've done because I kind of liked how an area it sounded are basically just these two steps that are actually steps. And then you've got these two trig locks which change the the note but it changes the partway through the note. That makes sense. Changes the pitch partway through the note I should say. Which kind of is this sort of weird broken kind of thing. Really dick. I quite like changing the pitch of a note partway through a note with lock tricks. I do it quite a bit um on other stuff as well. What's next two and three apparently. I've done two and three. There's three. That's bits but the the two oscillators are tuned to a not exact interval. So this isn't like a diatonic interval. It's rented fifth but not quite. It's short for not rented fifth. Which is quite an uneasy sound and then on top of that the tuning has been modulated a fair bit. The tuning actually has been modulated so much that the upper note in the in the detune will go into tune but the other one will go out of tune and just kind of liked how unstable it sounded. And then we're just modulating the you can also hear when I brought up this track how it affected the sound of the heartbeat. Like the heartbeat started to sort of rumble into the distortion more. That's because I'm not cutting as much low end on this so it's kind of fighting in there. So you can see how the different parts can start to influence the sounds of other parts when you're working within the distortion. It's my favorite bit of sound design on the whole. I'm just going to turn on some of the other tracks because I don't know wait about this one. Yeah I'll just turn on some of the other tracks anyway. So this one is kind of these eerie kind of clacks and clicks and percussion things. So I think on this track the way that a lot of this is done is I've basically got yeah every single step is is populated here just a very low probability per step. And then what I've done the way you're getting these sort of kind of sounds is that I'm locking the speed of the LFO that's going to the level. This isn't the level of the amp it's the level of the noise which is then going into a really resonant filter. So it's the pre-filter level which then essentially sort of doing pinging around the resonance. Yeah the LFO is moving around the resonance. So I've just got this sort of cool percussion thing happening. And you've listened to five and six yes through. Those are the bells. So here comes my favorite bit of sound design on the whole thing. So you hear this this is the last sound you hear on this on this track. And what I tried to do is synthesize what it would sound like if the syntax was asphyxiating. So you can kind of hear how it's breathing. It has to keep taking these sharp breaths. So what's going on here is this is the noise utility oscillator. The noise oscillator resonant filter with the resonance turned down to begin with. And then what's making this breathing sound is a sawtooth LFO going to the resonance of the bandpass filter. And then the second LFO is modulating that depth at quite a high rate. So you've got these two overlapping rhythms and that's where those kind of gags come in. Which is while I was making this it made me feel quite uncomfortable. Like I realized I wasn't breathing well when I was playing. Which is when I knew I'd succeeded. So yeah that's track two. Let's just see what comes up first on this one. So it's everything's out apart from nine to begin with on this one. So this is probably one of the songiest tracks on the album. Mostly down to the score baseline. So this is one of the analog tracks. It's the dual VCO mode. It's in ring mod mode just to get a bit more sort of instability to it. A bit of overdrive. Yeah it's actually bandpass filter and on low pass. Sort of standard and we've got a bit of LFO to the balance of the two. So sometimes you get more of the ring mod. Per step we've got random going to the overdrive which has given us what's essentially our velocity. People have already said some lovely things about the album. Thank you so much. Prim, thank you keyboard enthusiast. And thank you as ZBS. I'll say ZBS because I'm English. Thank you so much. I'm really glad you enjoyed it and hopefully continue to enjoy it. So we've got this bass part in here. You can hear hopefully that the reverb on this one is like pretty short. Sort of the opposite of what I usually do with sort of ambient stuff. Sort of short and dark more sort of a room sound. It looks like I had to turn up a bit to get it to fit. So what comes next on this one? If there is ever like a signature sound for me it's doing some sort of clave finger clicks on track 12. I think I do on like four of the six tracks. So as before it's just a pulse utility going into a resonant band pass filter. Probability and then some retraders as well. You can like some triplet ones. Prim's locked the resonance on some of them to give you different pitches. This is kind of pulsing. So this is the Cyro. It's just got quite a lot of the noise in it. So it's the noise level that's been modulated by the LFO. So sometimes it goes into just a dot. It is pitch though. And so for some reason I did it all with, I don't know what I'm trying this way. One is this sort of, I use this carbon a lot which is weird because I don't use it at all. I'm doing like techno kind of stuff. When it comes to doing this more ambient stuff I tend to use it quite a lot. It just makes a really pleasant thong. The low end stuff. So much of the sound that the EP comes from that interaction of the low end within the overdrive. Glassy thing on track three. So although it sounds like it's just those steps is puts a second one in between most of the steps. Yeah so it's got quite a synth page and I think that sort of ping-pongy width thing comes up next. So this is a bit's most thin frequency bass. It's been moved around as well a fair bit out here but the bass is moved around. Can you hear it sound sort of crinkly? That's the bass width filter being moved around with a fairly fast sample and hold. Kind of just destabilizes it some more. There it is without it. You know that sort of more broken that way. Good way to break sounds. That'll make it too obvious what you're doing. You can also hear that when I bring the bass in everything sounds out of tune. So the bass kind of reestablishes itself. The bass doesn't tune everything else is out of tune. Modulation on that is just the animation within the the swarm for that. The closest thing we kind of have to melody here in this pattern something doesn't get reset. So these are somewhat challenging parts because they are tuned very specifically. Sometimes they don't line up quite as pleasantly so it's like an extra bass which is just the tone I believe. Again there's loads of probability as but you there's also this track which I never turn up in the track for eight and ten is where we start. Seven, eight. Ah yes so this one lots of the tracks have big long so seven and eight here for example have big long envelopes for the volume so this one kind of plays itself for a lot of it. So seven and eight are these sort of long swelling sounds both of which are bits and so this is actually a single droning note but then I'm parameter locking the different pitches within it and these are just on a 75% trick and because the two tracks are fading out at different times different speeds rather different frequencies Marco asks how do you arrange the stereo field panning in ping-pong the delay is always on ping-pong mode and I kind of once I've got a couple of things in I sort of set the width of the ping-pong to work out sort of how wide it should be throwing things because of course if you have something on one side if you have ping-pong turned on it's going to be thrown all the way to the other side for as wide as you have it set in here so it's in set not that wide just under 50% this one I've got yeah yeah so I've got LFOs going to the delay time and the pre-delay on the reverb on this one in terms of actually how I pan stuff a lot of that happens once there's more stuff in the track some of it auto pans around the stuff and I will like parameter lock panning but in terms of like the more static positions a lot of that is about making sure that the stuff that needs to sound cohesive still sounds cohesive so so we're trying to move things that need to be wide as wide as they can go without them starting to sound separate to the stuff and then conversely uh because this in many cases going into the overdrive which sort of mashes everything together one of the key ways that you can stop stuff from being trodden on inside the stereo overdrive is by just nudging them ever so slightly out of the way so like some of the kick drums or sort of really low bases and not in the center which is kind of conventional wisdoms that low stuff goes in the center but because there's so much low end energy in a lot of these tracks and because it's going into that overdrive in some cases I'll move that low end stuff out to the side a little bit it's the question uh the other track that's turned on here is I think obviously track 10 and this is a very low probability and slow there we go there's one it's this kind of thing that happens that modulation is not coming from a um that modulation is not coming from an LFO that's actually because it's um the detune between the VCOs it's ever so slightly detuned and it's that relationship that's creating that beating instead what I'm actually modulating here is the filter frequency and it's like using the high shelf with a really high resonant because I don't want to get rid of all the bottom end or have something as aggressive as the high resonance in the high pass but I still wanted to have that kind of resonance in there so what else then comes in on this one so this one's much more of a chill track come before the storm on the next one two and three come up next according to my notes so these are little so these two tracks are kind of doing similar things with sort of this broken toy they're both using the toy um uh algorithm machine machine that's what they're called and they're short no these ones aren't short are they so quite long um sort of low probability melodies with odd meters between the two of them and quite a lot of um microtiming in many cases so that even when you happen to have something happen on the same stuff they don't quite happen at the same time which I do with quite a lot of stuff on on the p probably 12 comes up next true to form I'm not using symbol here it's just the utility noise going through a resonant filter you know you can have a pretty good guess that's going to be either the utility noise or pulse going through a resonant filter it's just kind of this nice it's tuned actually this so I've um parameter locked the filter resonance so the filter cut off so it's playing particular notes so one tip if you are playing with the project files in the download you do need to leave this to warm up a little while for this to be in tune so when I came to record this performance I had to leave it on for half an hour to make sure the filter um had got up to temperature so these notes were in tune I think nine is our big bass sound it's just this kind of two note bass line just a nice warm sound using the side raw and then just getting a bit more towards the square wave using the overdrive on the synth page the filter itself is a mood so we're just hearing amplitude nothing to be modulated it's just a nice warm bass sound apparently six comes up next so this is a parameter locking which chord mode it is yeah so just these three chords that can turn up modulating the panning and the waveform track one is this kind of broken pad thing we've got um suddenly hold on the filter bass again which is what's giving it this sort of and also something hold on the tuning just a bit on the tuning it's just kind of giving it that sort of broken tape flutter I think big long potamento on it's filter sweep um I think on this one because it's just a drone for the most part these yeah so these these um lock tricks here aren't playing a new note in terms of retriggering the amplitude envelope but they are retriggering the filter envelope with a particular um depth which allows me to sort of re-swell the um droning sound I think I did that because I'd used up all my LFOs and I wanted it to fade in and out so I didn't have an LFO left to fade the filter and announce what I did instead was retrigger the filter with lock tricks which is a good tip aspram asks how much planning goes into what you write is the uh grand design behind it all will do you 10 more towards trial and error how much if it's a lot how much music did I write that didn't make the cut um for this EP I had a vibe in mind before I started each of the songs so this one I knew it was going to be sort of long swelling more chill because I decided what was coming next the aggression level for each song was kind of set out ahead of time and at like on the previous track with that bass line I had that bass line in my head before I started I was like that'd be cool to have something that sort of room sort of based around that bass line a bit more um a lot of it is establishing one or two parts and then from those one or two parts that kind of sparks the ideas for other parts so it tends to be vibe as an idea which dictates one or two of the parts that leads to more sort of an improvised approach to building up the rest of the track that makes sense on this recording at least in terms of what didn't make the cut there's an entire pattern that I just couldn't get to work it was going to be so what is track five on the EP which is the very aggressive one very much faster thing before and I just couldn't couldn't make it work so I took a couple of the elements from it that were the elements that sort of started the whole thing and moved on to a new pattern I was like all right same start in place but what what can I do different what's going to work this time that off-cut one is actually in the download as well it's on track uh so pattern eight tell us on this one um just turn up one so come to my notes yes it is four five seven uh I'm not struggling too much with a cough I've just need to drink some water I think honestly it's just talking for this long I've got a child and they bring everything in so the last two tracks are these ones here which are these arpeggio things so four is the more sort of arpeggiated one and five is the more um triplet thing that did it and you hear that kind of coming in now off their own accord do you track five first because that's where the more interesting one so we've got an LFO on the that's just the it's a bits and we're certainly an LFO on the wave and a big detail on the filter frequency which is why it keeps fading out now it's literally just a three note sequence that's all you need sometimes just more sort of start stop thing sort of this sort of sprinkling thing over the top this one's also been modulated by a square wave on the tuning which is pushing up and down an octave just get a bit more out of the sequence and I think that's all of uh this track yeah so that's uh track four hi Jim glad you could make it sorry I started a bit early and I said I was going to start but hope you can catch up so pattern I mean my notes is called pattern seven there's actually pattern five uh so everything starts down on this one uh let's say this is the one that I actually did mute on let's just set what my notes say so in mute mode three are up six is up two three six muted ten eleven one two three or start up four start down five or start down six will start up seven and eight will start down nine starts down so we should hear nothing to begin with yeah okay so this one is the big aggressive one this is also the one that is the only one that was a second attempt at the song um so first of all we have this one come up which is just a disgusting drone I'm just going to turn the mastifier down because this track is just louder beautiful disgusting drone that um the master distortion on this is just cranked so this is a raw loads of noise the sort of moog style sawtooth and then it's actually the band pass filter and it's just lots of resonance lots of drive in the actual synth engine as well the filter frequency um is being audio rate modulated just a little bit three five eight if we just remember three five eight so without it here it's a lot more stable not the most stable in the world because we still got the sampler and hold on those waveforms but as we turn this up it just gets cooler filter it's a great thing if we go higher then okay get into that sort of area but only for like your audio rate modulation here looking at my notes eight and seven come up next and these are both I think big nasty raws at swarms rather so it's just sort of nine-inch nails mode the tuning in this is being pushed up and down by a whole tone so the tuning will be out by 50 then modulating at 50 with the LFO is going to give you I'm sorry a whole tone a semi tone variation constantly they go in a different speed I think and then I've also got the filter width noise modulation trick here as well just to destabilize them even more then it says I turn up 11 for the filters being modulated step by's so side raw square wave and then a triangle wave it's the only instance of fall to the floor on the EP solid all pages for no good reason actually used to be faster we've got this snare sound here and ST vintage send the sort of this time of the site all the wavy arrows and the ones in the performance notes a wavy means bring it up but modulate it up and down as you bring it up so like when I was bringing up seven and eight I would have been doing it in page here and I would have sort of like been bringing them up overall but bringing some of them down as I as I go so there's an instruction to perform manual modulation at the same time but obviously you know it isn't up here is quite short again really short actually to get more believe it say it's a noise through a filter what a surprise but they're all tuned very differently other parameters a lot to be very different things so like the filter resonance the attack it's internal fields for the noise they're all tuned for particular things I'm loving the swarm sound in the toy piano absolutely nine inch nose vibes yeah I can't help but rip off Trent resident at every turn yeah so this this uh my master plan has been uh uncovered so each of these is like a very different sound based around the noise so you've got a big sort of rail snake or like a simple thing so like the the breath of doom thing there yes there's lots of little variations in there yeah so this track just kind of builds and builds and builds sort of bringing in the different parts the swarms really sort of fights that leads into the final track oh for your interest this is what the first attempt at that track sounded like yeah it's lame don't like it so that's the camera in floor that's in there if you want to check it out that brings us on to the last track just look at my notes to see what needs to be turned down I think everything starts off down on this one two thirds of the way some noise to a resonant filter of course of course it is it's on track 12 it has to be we've got these three tracks which are all kind of doing the same thing so once again I suspect we've got an a foam on the delay time at the very least here to give some crossing on the delay so these are all tones so they're not the toy piano they're tones and then just they're all odd meter lengths probability on the go and I suspect yeah microtiming as well so you've got these three tracks each sort of prime number lengths microtiming within them so they kind of establish a a vibe and occasionally get these little clusters of notes because they're not very long sequences so you do have the opportunity to overlay or pan differently 10 comes up next which is a it's kind of our droning base which kind of establishes the kind of core sequence so that yeah this track is droning but um so this first trick here will be setting and then these other ones will be changing the tune these lock tricks will be changing what what pitch is being played but also the detune between the two oscillators so it's kind of giving you a chord sequence because yeah that just sets us 63 so sometimes I'll play out for longer so you've kind of got this chord sequence which the same chords will sometimes happen near each other but it's not quite the same thing each time around modulation it'll be on the detune not on the tuning of the synth itself just on the detuned oscillator so the root note of each step stays where it should be because I felt like this track needed some stability to it and then the filter resonance has just been modulated slowly just to the character that sounds a little bit unstable drones again sort of pulling out those different notes from the chords they're both swarms yeah I think they're both basically identical and speed of the tuning modulation as well so I've kind of taken the unstable swarm and then tried to make it more unstable like no it doesn't get moved around by the animation I guess was what I was trying to apologize for he went through it because there's so much low end as we've sort of seen before it affects what the rest of the stuff sounds like because they start taking up that headroom within the distortion the cool thing with this what I've got here is the delay senders on the LFO so sometimes this sounds of goes into the delay which is much more high-fi because it's sat outside of the master filter sounds like it's getting brighter it's not actually getting brighter it's just more of it's in the delay and the delay is brighter or comes up next I says that's bits again I think I'm probably yeah changing the tune the detune and that sort of portamento up on every single note is done using the LFO one shot or half shot actually in this case going to tune delays outside of the master yeah that's that's how the whole thing goes so thank you to everyone that has picked up the album already the EP it probably is an album because it's like an hour long but it's only got six tracks so I'm calling it an EP if you haven't then the link is in the description of the video and it does come with the performance notes and if you have a syntax it comes with the project files for you to mess around with as well anyone has any last questions drop them in the chat and happy to answer them but otherwise bid you all goodnight thanks again for hanging out everyone until next time take care