 Hey, it's Anfa. This is my director's cut video of the Sonoy 2019 presentation about Matt Titl's Vital Synthesizer. This was an exclusive world premiere demonstration of a beta version in October 2019. If you're watching this in the future, Vital might be already released, so go to Vital.audio to check that. And now, sit back and enjoy the big reveal. Now, are you ready? I am ready. Okay, so light. Cool. Yeah, then let's go. Thanks. Nice to see you for the third time. I'm glad we are like packing full. I'm Anfa. You probably know me if you've been here before, because I'm presenting for the third time. If you don't know me, I make electronic music with Linux and open source software. I also make videos aiming to share my knowledge, experience, and passion with the community, tell about the tools I know and I use and how you can use it effectively them. I'm growing on YouTube and on Patreon, etc. Yeah, these numbers were much smaller, two times, two years ago, and even one year ago. So I guess that's fun, whatever. But this talk, this talk is about Vital, which is a new synthesizer that's not yet published. Do you recognize this synthesizer? Please raise your hands. Like 80% seems to undo. So this is Helm, of course, if you don't know. Helm is, I think it's one of the better-known open source synthesizers in the world. And I think what contributed to that a lot is that it looks really good. And the look of it gets you inspired. And also it shows you what's happening. If you, you know, you can drag these automation Helms and attach them to different things and it all starts moving and it's exciting and you understand what the synthesizer is doing, which is not as easy as you might think it is. Like many synthesizers fail to communicate what they're doing very well. But Matt decided to make a new synthesizer. And this is a and this is his first blog post in February 2018. And I've read that and I was like, ah, that sounds cool. And create the most popular synthesizer in the world. That's his goal. Well, I think he's pretty close in achieving that, knowing what the synth is like right now. So I read that and later he also on his GitHub, I was, you know, just asking for some features for Helm or checking some bugs. And he mentioned that synth that, oh, yeah, that feature is going to be in the new synth I'm making. So I was like, hell, I want to know more. So I emailed him. Hey, Matt, I wonder if you'd like to tell me something more about your new synthesizer. I've read on GitHub that you were working on it and I'm very excited to find out more. And he actually let me just try it and he sent me the binary and I opened it up and I actually wondered if I should play you the video I recorded for him when I first used the synthesizers because it was like I was so excited because and I'm still very excited because I'm going to show it to you today. And it's like the best thing that has ever been created in the open source audio, I think. So as you might see, Matt on his first blog post says that this new synthesizer will be open source and pay what you want just like Helm. He didn't make like an official announcement about this since the synthesizer was named Vital and since he created the Vital website because he's kind of like keeping people in the dark and like making people wonder what's going to be. So to probably just to build excitement and appreciation, not appreciation, apprehension, whatever, words are hard. And I'd like to play you a completely unrelated video clip just totally completely unrelated. So now let's have a look at doing the same thing inside of very well known and very modern digital sounding synth Serum. Now this is Steve Duda's masterpiece, if you ask me. It's just it's become almost vital for all producers to have this in store. Almost vital, almost vital, almost vital. Building up the pipe. Yeah, so that's just jokes aside. Well, they could have not known what this is going to be. So this was an excerpt from a video totally unrelated video when where James Wiltshire was showing how to make analog sounding sounds with digital synthesizers. And I just thought that line was very funny in this context. Please, absolutely. So I want to introduce Vital. It's a modern wave table synthesizer. If you've heard about Serum, it's it's similar. People who used Serum and used Vital and the beta testing, they said they some some of them said that some parts of Vital are actually better than in Serum. And well, that's quite a testimony because Serum is it indeed is the industry standard. So Matt Titl, the maker of Helm, he's making it for Linux Mac and Windows. It's working in standalone Lv2 VST and IU plugins on the website is announced to come in 2020. I don't know if it's going to be January or December, but I don't care. I'm super hyped anyway. And I know and I can tell you it will be released as free software, but it's kind of secret. So hush. Now, this is not just any presentation. Only a small group of people who are better testing this synth has actually seen the whole interface. The rest of the world only saw some little little pieces that Matt has decided to publish. And this is an exclusive world premiere. So get excited. And I wasn't even sure if I will be able to give this talk. For a long time I was like hanging on the verge and I didn't want to if I will be able to present on vital or not. So I was researching other topics. But finally, Matt agreed to for me to make this presentation under under one condition. And that is to make absolutely sure that you understand that this is not finished yet. There are some things that are rough. Some features might be missing. So this is by no means the final look or functionality of vital. But it's even despite that, it's perfectly usable already. So it's time for the big reveal. And I'm going to do this by cloning my screen. Wow. It's amazing how the simplest things become so difficult when you're doing this live. This is vital. Developers, developers, developers. Developers, developers, developers. No, sorry. I don't know what that was. So as you can see, we have two wave table oscillators. We have a sub oscillator which is providing us with some simpler waves forms. Usually you just use this with a sine wave to give yourself some more base. We have a sampler which usually is used as a noise source. I wasn't sure if this is a good idea. I was like actually I was involved in the development process because when I saw that first post and I asked Matt, I was constantly back and forth and testing his progress and giving him ideas and my feedback. And I'm really glad because many of the ideas we share and discuss together are implemented and this is just very exciting. So I wasn't sure if sampler is a good idea, but I think it's a very good idea because it's very flexible. You can use this just as a noise source and with the long enough sample and there's an option to shuffle. So every time you press a note, it starts at a different part. So you don't have this machine gun effect where if I disable the oscillator and just press... Oh, we have sub oscillator. This sounds repeated. This doesn't. So it perfectly suits the need for a noise generator, but it can do much more. You can just drag and drop any audio file here and play it and you can tune it to the note pitch and use it as just a musical sampler. Of course, this is pretty limited for a musical sampler. We don't have loop regions, etc., but it's just an addendum to this whole synth. So after the oscillators, the sound sources, we have two filters which you can root signal into with these buttons there. You can, by default, oscillator 1 feeds sound to filter 1 and oscillator 2 feeds sound to filter 2. But you can swap it around. If you disable some source on both filters, it just goes through unaffected. So, for example, if I have just one filter, oscillator 1, if I disable the filter, the filter is still there, but the signal from the oscillator goes through unaffected. But I can also root the same signal to two filters. And now I can set them differently. And they are mixing and because filters impose phase offsets, phase distortions, we can get some nice, really funky effects. So, first I want to give you a rough overview. Maybe we'll go into detail about the oscillators, the filters. So, on the right side we have the envelopes. There are six envelopes total, but only after you assign four of them, the rest shows up to not just clutter the UI too much. And also there are eight envelopes, sorry, eight LFO units, which also, when you assign the fourth one, the fifth one appears six, seven, then the eighth. And below that we have lots of modulation sources. We have note pitch, which is the MIDI note from 0 to 127, but on a scale from 0 to 1, the note velocity, aftertouch, I don't know what this is even. This is the opposite of velocity, it's the speed at which you lift your key, so you can have different release times, for example. I tested this, but I wasn't able to figure out what it does, because you have portamento here. It's the glide function, and you can set up it to always glide. Let's demonstrate that. Probably key tracking through a filter that slows it down. I don't know, maybe. I gotta ask Matt for that. So we have glide, if I enable it. We can also make it always glide, so it will... By default it only enables the glide when you overlap two notes. Okay, so we also have four macros. You can assign this to anything, and then you have a single knob that you can just move or automate. I've done quite some work with actually music with the synthesizer over the past year, and I just automate the macros. I don't use any other things, because you can automate all the things, but the list of parameters is very long, so I just use the macros. It also helps me fix things when a new version comes out, and the order of the parameters is changed anyway. You're not going to have to worry about that, because it's going to be cemented when the synth is released. So with macros, we can, for example, can drag a macro to the filter cutoff, and now I move the macro knob, and it modulates the filter cutoff. I can change the amount by dragging this point here, but I can assign this macro to some other things. For example, maybe the type of the filter. So it goes from low pass to band pass to high pass, as it changes the frequency, or we can reverse that, so I can make it go the opposite direction. It doesn't sound as cool though. Alrighty, we have also some extra modulation sources. There's the mod wheel, of course, the pitch wheel, and there's random, which gives you a random value for every note. I use this mostly when I make some pad instruments, and I want, for example, each note in accord to have a different setting for the filter or the wave table, which we're going to get into. There's also a source called parallel noise, which is wiggly stuff, and stereo, and there is stereo modulation, because a very weird thing, but very cool thing, about this synth is that the whole signal path right from the oscillators is completely stereo. In most synthesizers, you have a mono signal path, and then at some point it gets split, usually at the effects, or maybe in some mixer unit, and if you recall, maybe Helm was also completely mono. You didn't really have any stereo options, unless you did a hack with multiple instances in Ardor, and yeah, I showed that in one video. The weird thing is you can just use this stereo source to, for example, modulate the pitch, and this goes like, let me disable the filter. Yeah, that's very surreal, but basically we can change different parameters between left and right channel with this source, which is very cool because you can use it, well, on this pitch it's really obnoxious and bad, but if we use it on the filter, it gets interesting, and we can create very interesting ways to define the stereo field of our sound. It's going to be hard to hear on the speakers, probably, because it's not as pronounced. We can also automate this with, or modulate this with an LFO, and such other things. Okay, so what else do we have? We have a keyboard, we can click on it with the mouse, or it shows the notes I play, usual stuff. We have the voices switch by default. It's eight voices. For bass lines and drums, I usually drop this to one voice, so it's monophonic. Oh, that's great. I love that. We can also change the pitch-band wheel arrange by default. It's two semitones, so one whole tone, and you can go up to 48, which is four octaves. I believe this is four octaves up and down, so you can actually spend eight octaves, so this is pretty much the call-audible range of human hearing. I don't know if we need that, but we can have it. There's also velocity tracking. By default, Vital does not use the velocity, so I can hit it very slightly or very hard. It makes no difference, so we need to enable the velocity tracking. Now I can actually play softly. So usually it makes things quieter, so we need to compensate to make our dynamic range higher. Still not that high. And here we have this place for the pitch-band and mod-wheel. Now this makes sense when you connect a keyboard that has more than just this, that there's no, I don't know, I think I disconnected my MIDI keyboard, of course. Is that what you do? Yeah, that was a mistake. Okay. All right, so that's pretty much the main interface. There are some other things like settings for the glide option. We can also bend the glide function, and there's legato, which makes the envelopes continue throughout notes that overlap. So if we make a very long now, I just have to enable this now. To be asked a question. Yes. Can you use the velocity to track or to modify any other parameters? So for example, to turn soft when you hit it softly and more aggressive when you hit it harder? Yes, with this velocity modulation source here. This only affects the volume of the of the synth. Amplitude modulation probably, like how velocity affects the loudness of the sound. But also we have velocity modulation source here. So we can make the filter, for example, respond to note velocity. Or we can have the velocity change how much of an envelope we have applied. So now I apply an envelope. Let's give it a decay. And now I can go to the modulation matrix, which shows we have 32 slots to assign different things. And when you drag stuff like, you know, drag the macro to LFO frequency, it creates a new entry. We could create all the assignments manually here, but it's tedious. So dragging is way easier and faster. I can also right click to disconnect it from different things. And we have removed the modulation assignments. And I can, for example, use the note velocity to modulate the amount of other modulations. So now, if I play softly, the envelope has minimal effect on the filter. But if I play out, it has a lot of effect on the filter. Yeah, if you also, if you move your mouse over something, it highlights what is modulated. So I'm now hovering my mouse over the filter cutoff and it highlights the envelope too, because that one is modulating it. So it's very helpful to figure out what's affecting this parameter. And I can also change the range. But yeah, now changing this range doesn't even have effect because what's controlling the amount of change is this. I hope that answers your question. It's weird because you can have like, you know, higher notes be more stereo or have more reverb because despite, because apart from the modulation matrix, we also have effects. And we have a rack of things we can do. We can have a chorus. And we can have a compressor, which is highly inspired by the OTT compressor, which is a very well-known among electronic music producers and overused. It produces very loud and intense sounds. And so free band compressor, but it compresses in two stages. In one stage it turns down the things that are too loud. But in the other stage, it turns up things that are too quiet. And with this interface, you can drag up and down on these parts to change the ratio of the compression. So now I'm making the peaks compressed more. So nothing gets through. But with this, if I drag it up, I also make the quiet stuff being turned up. So it's very, very squashed. We can also have attack and release. Now it sounds like you're recording it in a bathroom or in your toilet. Perfect. That's just what we want. There's also a delay unit. Are the effects always at the end of the chain? Or can you apply them to each oscillator also somewhere else in the busser sing? No, right now the effects are like a separate chain. Everything that happens here, in this stage, oscillators and filters gets mixed down to stereo and that is sent to the effect rack. So it's like a single rack. You can split signals right now in there. The delay is pretty fun because it has a bandpass filter. So our delay voices are more and more bandpassed, which is cool. And we can also modulate this with an LFO, for example. The cool thing is also if we change the type of how we determine time, by default all the time-syncing options like the LFOs, they are all synced to musical time, which is related to the beats per second information that Vital gets from the host, if you run it as a plugin, or from Jack, if you run it as a standalone. But you can change that to something completely independent, like seconds. And now we have a quarter second. I'm going to disable this. And because delay is what it is, we can do some really funky stuff by modulating the time. We can even actually scratch the whole thing if we set the feedback to zero. I'm going to enter a value of zero to make sure it's not anything else. Make the mix all the way right, so it's 100% wet. There's no original signal at all. I'm playing, and it's like scratching a vinyl tape, vinyl record, sorry. Vinyl tape, my god, that's an abomination. Vinyl tape! Oh no, I want vinyl tape. Give me vinyl tape! I think I know what the next t-shirt is going to be. Vinyl tape! I think I even have an idea for the design. It's like a compact cassette with two vinyl records inside, if you never mind. Yes? So is it also possible to modulate, for example, delay effects, frequency with things like velocity? Yes, absolutely. You can use the velocity to, for example, modulate the time of the delay. Let's make it pretty much small, and we need feedback. I actually do. I also need to disable the LFO modulation because it mixes things up. We can bypass the modulations. I think the range is a bit too low. I can see the UI is not super polished yet. If I hit harder, you can see the delay set is set to shorter. If I hit softer, it's weird because it resets to zero when I release the note, so it messes up the effect a bit. Yeah, we can play with that. If I disable the velocity to trunking, it'll be easier to hear what the hell is happening. Yeah, we can have fun all day with this delay unit. It's really cool. We also have the ping pong and mono ping pong effects. So that's for some extra stereo thingness. So we also have a distortion unit. We're making really crazy sounds here. You know what? I'm going to initialize the patch, make something more predictable. So we have distortion, pretty straightforward. We have various functions to choose from. And of course we can modulate this if you want. So now we're making this saw wave, this wonky FM sounding thing, just with the distortion. And the cool thing is also there's a built-in filter. So we can use a pre. Now we're low passing the signal before it hits the distortion, which also can be modulated. Yeah, this would be a miracle in the early 2000s. A dubstep age. No, this is fun. It's really cool. We also have an EQ, which is a freeband EQ. By default, these are shelving filters. We can turn them into hybrids and low pass filters. And they also can be automated with anything. So you also have a peak filter here. We could use that to get more obnoxious noise and such. And I'm going to initialize the patch again, because we made a mess. There's also an extra filter unit, because better testers said that they really would like to have an extra filter after the effect. So we can have the distortion before. Let's ignore that the distortion has a filter in it. And also we can rearrange the effects. Just drag and drop. And the whole thing works backwards. You can also turn things down with the distortion. There's also a flanger, a phaser, and a reverb. Oh, I forgot to start my timer. What time it is, Nails? Yes. Awesome. All right. So let's talk about the oscillators. The oscillators are wavetable oscillators. So we can click here and edit them. We can draw here. We can also draw in the harmonics view. If you want to make a sine wave, you can just clear everything. Right click, clear. Make a sine wave. Just remove the DC offset. Below that, we have a timeline. You see, I can insert a keyframe and add some more harmonics. So you can have a saw wave that morphs into a square wave, that morphs into something else. And right here in the middle, we have the type of blending that is done. By default, it's spectral blend. So it checks the harmonic content of each keyframe and it interpolates that and produces the waveform from the harmonics. But we can go around the other way and use the waveform blend, which then interpolates the shape of the waveform and produces the harmonics from that. So it's the other way around. There's also two smoothed versions. You can see the harmonic decays pretty differently. And we have a weird jump here. So we can draw things. And now this is just one source. This is called the wave source. Let's remove that. And we have more sources. We have a line source, for example. And line source is like vector graphics. We have points. You can move them around. And we can animate this. So it can make a perfect pulse width modulation wave table. Which is pretty useful because who doesn't like pulse width modulation? Freaking nobody. It's the... Okay. We can also use audio files as sources. There's an audio file source. We can drag and drop any file here and then scan it. There's some very weird use case. If we right click here on the drop down for the presets, there's an option text to wave table. Let's do that. Look what you've got. Look what we've got. And now I'm going to add an envelope to this. So it will scan the whole wave table. Let's reset this. Let's make this last, I said, three seconds. Is that enough to say that? Let's play it. It's a bit high-pitched. Let's go to three octaves down. Welcome to Sonoi Convention. Okay. Welcome to Sonoi Convention. That works. You can scratch with this. Yeah. Oh, yeah. I can right click, learn media assignment. And what does it look like then? What just happened? Oh, I have to see if we have a question. Maybe if you'd like to talk first before I ask a question. There will be a part for questions in the end. Sure. Do you want to hold your question because there will be a part for questions near the end? Maybe that's better, yeah. Okay. Keep it in mind then. Now what just happened? Well, Vital uses text-to-speech, some text-to-speech service online and it just sends a text. We can also set the language. It gets the audio back and then it uses that as an audio source here and we get, you know, all this stuff. Now, this waveform doesn't display properly. There should be a waveform of this file being just scanned, you know. This is what we hear and there are some other options to interpret that. For example, we can affect the phase of the signal. Without that, we can get some clicks because the phase is going to not match between the windows so they're clear. This is a very weird sound for code. There's also way to blend the spectral content of the each window instead of just the raw samples, etc. We can have this fading between the there's lots of stuff we can do and also, like, if you just don't want to use the whole thing, let's say we just want this sonoi. Welcome to... I think I changed the blending. I can't understand it anymore. Oh, I changed the settings. Oh yes. All right. So, now I have selected this keyframe and I'm setting the position. Now I can set the other keyframe and you can see it's to the right. So, now this will scan. Ah, good enough. There's also an option to normalize and this will maximize the volume of each frame. No. We can make a sick bass out of this. Let's just play around with maybe not too loud. Let's maybe use an LFO to modulate this. Let's add a bass oscillator. Make it lower. We can also use frequency modulation. Which is really cool because you can use an oscillator to modulate another oscillator. But we can also use the sub-oscillator and the sampler as FM modulation sources or ring modulation too. So, I can, for example, FM modulate this with the sub-oscillator. Let's disable everything else. Not disable, but make it quiet. Now, I'm doing frequency modulation with this triangle wave on top of the wavetable synthesizer. Maybe if I pitch this up it would be a better result. A pretty ear splitting. Perfect. Which is, of course, possible to modulate this with an LFO. Or we can change this to a sine wave. I think we have too much of this modulation. Yeah, this is brutal. Let's shift it around a bit. That's better. But the FM modulation is just one type of modulation. We can have various things happening here. Let's disconnect this. Spectrum is like a very sharp high-pass filter. And there's other things to squish the sounds. The wavetables. Yeah, that sounds very weird. Like it. Let's add an LFO to it. And make it longer. Longer, I said. We can also add the sub-bass too. Why not have a notch filter? So, ah, the filters. So we have a few types of filters. The first type is analog. We can, of course, have 12 and 24 decibels. But there's also some weird things like notch blend. We blend from high-pass to notch to low-pass. Which sounds pretty cool. There's also notch spread. Which goes from band-pass to two notches to one notch. There's also band-pass peak notch. So, I think the peak sounds the best on this. That's another LFO to that. Also, the LFOs, you can do anything with them. There's also an alternative mode of a different type of interpolation between the points. And this way we can go from, we can also paint with different shapes enough. We can use this as a step sequencer. You can have up to 32 steps and just make the sample and hold noise. It sounds like it's speaking to us. Speaking of speaking, there is formant filters too. I think I'm going to disable this oscillator and go for a simple saw wave. It's going to be easier to hear the filters. That's one formant filter. There's another alternative one. That was a lot of fun with these. I'm going to go back to the analog filter and disable the LFO. And just use a simple... Now, I like this because there's many different types of filters, which different sound. You can also distort this filter itself, which gives pretty fat sound. Most of the filters also self-oslate. Yes. You can have lots of it. That's not even the maximum. Yay. We have many different types of filters. I believe this is a mog filter. I also like to add some noise to such sounds to make them sound even more analog and warm. Now, we can use the stereo modulation to, for example, vary the filter cutoff. I can't really tell right now, but it should be audible. In the stream, probably it's the best. All right. Well, there's even more things we can do with the oscillators. There's modifiers. We can phase the shift to the phase. For harmonics, separately. There's a lot of things. Now, playing with phase is very cool because if we distort the thing, it's really changing the character of the sound. There's many more things we can do. There's even a frequency filter in here. We can, like, lop us our wave table directly inside of this. Let me do that for a while. So we can, for example, do a filter sweep in our wave table. So there's many things to remove harmonics from our signal in the wave table here with the spectrum distortion type with the filters and the effects. We have also the advanced tab. I should have said, but wait, there's more. There's even more. Yes, by default, the oscillators have random phase. We can disable that, which is pretty important for a unison. If I go back to the voice tab, we can enable unison. Now, I disabled the random phase, so all of the voices start in sync and then they drift apart. But I can make this voice, the phase completely random, which gives us a bit more... expected result, I would say. I think the compressor really helps with the things. A bit loud. I think I'm going to show you some patches that I made before because there's more information and more ideas to make sounds. For example, we have a combo filter. Let me show you this. You see, I'm not using any oscillators. I'm using filters. So how this works is we have this noise source, which is... You can see the amplitude is... We're just producing a very short... Let's disable the filters too. The effects make it down. So I'm creating a very short spike of noise. A very short burst. And that is meant to simulate when you pluck a string. You just create a wide band energy pulse. And I then route it to the filter 2 to just remove some of the harmonics, make it a little bit more toned down. And then I send this to the filter 1, which is using a comp filter. And the comp filter has key tracking enabled. Now I disabled it. No matter what key I press, it's going to sound the same. But if I enable the key tracking, it plays the pitch that I press on my keyboard. There are two types of the comp filters. A comp filter is, in a sense, a delay line with a feedback delay line. It's just delaying the signal, but because it's implemented as a filter, we can precisely tune the comp filter, like define the delay in hertz, rather than in milliseconds, which makes it usable for musical purposes, because we can have stuff like that. And we can just produce some signals or do weird things with this input impulse. And this is basically physical modeling. It's pretty fun. I've also made a different patch for using filters. I'm sorry. So this is using two resonant bypass filters, bandpass filters, sorry, on the noise source. Let me mute all that. So I'm just feeding noise, which simulates the air going through the pipe organ. And then the pipes resonate. And I use an envelope to make the resonance go up in time. So that the resonance is building up. So that gives a little bit of a before the note, which sounds pretty tactile. I don't know about you, but to me, this sounds like a real thing. I think you just need like a brass controller, like the one with the three axis, and then put all the different modulations, like on modding forward, sidewards, and then you have almost all the areas of flexibility. Yeah, I think something could be done. That's what when you do a distortion on that, it's kind of tunes down, which is funny. Interesting. I also enabled a second filter, which is like a second set of pipes. And when I use the macro, I use the modulation matrix to set precise values, so I can tune the second set to the first one. I'm going to show you this because it's actually a pretty cool feature. So you've seen that the envelopes, sorry, that the LFOs can do everything, but also we have such a function here. And you see the macro here has a function defined. So this position gives me an octave. And some other intervals. Beautiful. And unison. Fun stuff. You can also make drums with this, of course. This uses a single sine wave oscillator with a fixed phase, which is a bit offset to give it a click. And then also a noise source with a filter. And then it's distorted, compressed, and acute in the end. And it's pretty freaking kickass. You can also make snares. There's your typical EDM snare. You're going to hear it in action later. I also made this patch to play around with ambient sounds. There's a lot of things happening here. We have two wave table oscillators scanning along with different speeds, with some distortion functions here being applied. Here's a band function. Here's FM modulation with the sub oscillator. And two filters going on. Got some noise. Chorus. And here's a comp filter. Also modulated with some weird LFOs. And you can see we have eight LFOs active here. With some weird functions slowly scanning through to create something that feels random. So I'm using second values, which are very stringent. Low, or slow, like 45 seconds here. Five seconds here. I can go on and on. And we're using... Yeah, I have five minutes left. It just made me look at the clock. I'm using 32 modulation slots, so I asked Matt if he can add more because I run out of them. He said, maybe. Oh, there's many more. But you know what? I want to show you some older stuff because that was all using the single synthesizer. But I'm going to show you some music. Yay! Music! Music! I think I need to... Oh yeah, here it is. Okay. You're probably gonna recognize this. Oh, wait a second. I have X runs. That is no good. You know what I'm gonna do? I'm going to increase the jack buffer size. Is it gonna be good? So this is all vital. You can see in the mixer, there's only vital plug-in inserted, nothing else. The only other plug-in is the limit. So there are drums synthesized as the bass is detuning itself. So it sounds like an old analog synth. That was the goal of this. And I will fade out the piece. There's actually more. Someone mentioned drum and bass. Can I play one more track? I couldn't play this on my laptop, so I made a screencast and recorded it. Oh, but of course MPV doesn't play sound. Give me VLC. You might have heard this on my SoundCloud. So this is all made with vital, but also some other open source effect plug-ins. I'm not gonna play the whole track because it's too long. There's lots of automation happening. So if you want to hear the whole thing, you can just go to my SoundCloud or YouTube because I uploaded it recently as a demo of what vital can do when you sit down and make a proper track. All righty, I'm all over time. Yes. So I actually got two questions which are related. Can you use effect plug-ins in vital, so external effect plug-ins perhaps in vital in the chain of vital effects? No, it's not a host for other effects. Just assuming there are some effects which vital cannot do, but from what I saw that's probably not very relevant. The other thing would be can I use vital as an effect plug-in for another synths by sending the output of another synthesizer plug-in into vital to then use all the LFOs and effects and all the stuff. Yes, right now there's a second plugin called VitalFX which just gets the audio, processes it through the effects. It also gets MIDI and I think you can trigger envelopes and LFOs with the MIDI input, but it doesn't have the oscillators or the filters, the main filters, just the effect stack. So you can use it to process other sounds. Sounds great. So you could play a guitar and really to make it your effects pedal basically. Yes? I have a question from IRC. What's his name? Audio Frankie asked if it's going to be multi-timbral or you just supposed like you did just did to have multiple instances? I don't think it's going to be multi-timbral because there's quite a lot of things happening already in the one instance. So no, I don't think so. I think it's going to be like single voice or single instrument in one instance. Okay, and I have a remark. You should name your pipe organ, preset vital organ. That's a good one. I actually... Speaking of presets, there was one called brain damage. Why is that? Let's just see. Maybe we shouldn't hear it. It's testing how much vital can take. Everything is happening here. All the envelopes, all the LFOs, all the effects. Oh wait, this is muted. All the modulation sounds the same. You can make a very weird and complex sound with it. It's fun or very simple and effective ones too. Two questions. One, how CPU hungry is it? I think it's not that CPU hungry actually. I didn't have much trouble using it. Like my experience so far was that it's pretty well behaved. That there is oversampling by default. It's two times oversampled. Oh yeah, sure. Oh so you didn't see the patch probably. Oh man, yeah. So by default it's two times oversampling and you can drop it down to one but then you can hear some aliasing especially with distortion. But you can also bump it up to four times and eight times oversampling. I tried that. I never had it bogged down my CPU. But again I tested it on a 16 thread CPU mostly and later on this laptop. So I think it's pretty well optimized but that's probably gonna go up later because once the whole design is finished then Matt is gonna probably optimize it to maximum. Okay. I see a question there too. I had a second one. On the first song you played I'm pretty sure and I heard a cowbell. Could you please find that patch and show? Can you hear it? I think it was in this track. This one. Do you mean this sound? Is it that? Oh yeah. It could be because... Snap. Is that sound? This is the one you meant, Bent? Maybe. Okay. Let's see if how it's made. Well I used two oscillators and I just generated random harmonics and phases for them and then Ring modulated them against the sub oscillator and set their pitches to different ones so that it's like inharmonic and I added some extra noise and used its deceased filters too. Oh no, that's brain damage. The filters also increase resonance with the envelope to get more clang. And there's also a lot of effects. Delay reverb. Compressor and EQ to just get rid of the low end. I didn't even try all these notes. They sound fine. Nice. I'm gonna submit all these patches to Matt actually. So hopefully some of that will end up in the final release. I need to call this one vital organ, yeah for sure. That was great. Very quick one. You mentioned cross-platform capabilities for this guy. I have noticed taking a look at the UI it looks already pretty touch-friendly. So any plans in the direction for mobile OSes? I have no idea, honestly. If there's any plans for mobile devices like Android or iOS devices. Matt didn't mention this anywhere, but... I don't know, maybe it's a hint. Maybe that's an idea. So I guess he has pretty lots of work to work on this. But if the UI is really touch-friendly, well then it shouldn't be that much work, right? Got no idea, but it could be a really good one. Yes? Is it possible to load an arbitrary WAV file and then slice it and then use it as a base for the WAV table? Yes. Let's do that. I've recorded something. That's brain damage. Let's remove the brain damage and start over. Oh, no, it's 2019. This always gets me. Oh, no, it's 2019. Yeah, so now we can... You can see the waveform is displayed correctly. We can change this too for code. Oh, no, it's 2019. And this is my voice recorded. I can just play the file if nothing breaks. Because, you know, things break. Oh, no, MPV doesn't do that. Ah, never mind. VOC or Audacity. No, let's try Audacity. Okay, no. That's the sample I recorded and we slice it as a WAV table. We can also load it into the sampler and just play it. Sonoi 2019. Of course. But we can use also this to like modulate an oscillator. For example, let's make this a sine wave. Sine wave ish and FM Sonoi 2019. Well, that's robotic. Yeah, we can do weird stuff with WAV files. Any more questions? Okay. I think we're not as badly over time as I thought. Wait, you planned for this? No, wait. Thank you very much. You can get more of my stuff. You can get more of Vital's stuff. Get the handles. I'm super excited for this synth. Let's just wait and see when it's released, I guess. Thanks for watching. If you've lasted this far, you'll probably want to subscribe as I'll be making vital tutorials once it goes public. I also want to thank all the fine people who support my work financially. Because of them, I was able to attend Sonoi and make this video. If you'd like to join them and help me make more videos in the future, please go to patreon.com slash alpha or liberapay.com slash alpha. Now go and make some music.