 I'm ANFA. Welcome to another monthly live stream. And I... that was last second. I was really last second. I had to feed two cats because they wouldn't let me live. So welcome to another monthly live stream. If you don't know me, I am ANFA. I'm an electronic music producer and sound designer. The unusual thing about me is that I exclusively work with open source software and also on Linux when I have the choice. And today, as usually is with me, my co-host John, who is here. How's everyone doing today? I missed your intro. All right. I missed your intro because I was putting on my headphones, but I assume it was lovely. I... it was funny because I was like almost too late. I just managed to turn on the lights, sit down and that's it. If something wouldn't work, then it wouldn't work. Which would be funny. All right. Everyone, can you hear us? How's the image? How's the sound? Can you guys hear us? Okay. Ah, by the way, John, I think you have speakers on. Oh, they're still on? Let me... they shouldn't still be on unless my mic is picking up my headphones. Hopefully, if you still hear it, let me look through my routing. No, nothing interesting is happening in my routing. How is it for everyone in chat? Do we... do you hear feedback? I don't hear feedback on my end. Like, your voice comes through clearly, so... Okay. Everything seems to be fine on stream, I guess. Don't hear any feedback now. That's great. All right. Good. Good. I'll see if our levels are... I'm a too loud. Can you say something, John? Yep, I'll just talk for a second. Random thing about... I'll turn you up, because I'm a bit too loud in comparison. Or you're too quiet. Yep, it's fine. Yep, making noise, continuing to talk. There you go. Set those levels, testing, testing. Oh, and now I think I should fix your camera, because your blacks are gone. Oh. Well, let's fix that. Okay. There we are. There we go. You're back to your live. I was a ghost for a minute. Yep. Perfect. Okay. I don't know if it's a spoiler if we use the kick you made before we started. Oh, yeah. Well, I'm first stepped away from his computer, and I was on Rust Desk, so I made a kick, even though I couldn't hear any sound. So this is... Oh, man, you made that without hearing it. That's pretty good. I just used the spectrograph. So you made this kick without ever hearing it. That's pretty good, man. But before a deaf kick, I'd be happy with that, really. A lot of people can't make that, even if they spent a whole day on it. I'm prepared to be 90 years old, making house music. Without hearing any of it. It was just, let the kids dance to this crap. I don't give a shit anymore. What the f**k is wrong with you? You see? My bleep button is working today. I tested that. A more embarrassment like the last time. I don't know why it didn't work the last time. Maybe I need a controller, like, screw it up. I got 21 frames per second. That's kind of weird. Maybe you can change some settings in Rust Desk, and that's going to help with the frame rate. That... It's probably changed itself back. Because you're on. It's on what I handed it to last time. I switched to the other screen. Let me... It's on! Beautiful. I get generic sliders for bit rate and quantizer. Quantizer sent a track, but it wasn't full. Sent to an email, but I don't see a reply. No, in Rust Desk settings. I get two settings if I go to custom image quality, and they are bit rate and quantizer, and both of them are a percentage. I guess I'll go lower bit rate. We'll go 25. 25 bit rate. Have things improved. Yep. All right, cool. I don't know. We'll see. So far, 18, 20 frames per second. And I'll lean back so I don't get clipped by the camera. Let's see what happens if I get rid of this guy. I mean, that's going to help a bit. 22. Oh. Well, we are cinematic. Even more than cinematic. Hey, Ocarina of Time was my favorite game as a kid, and that got 20 FPS, so. Oh, we are close to that. Oh, 34, 45. Oh, it's going to be 30. About 30, I'm good. Well, to be fair, Majora's Mask, but anyway. Maybe I can turn down the frames per second, but I don't think I can do that while streaming. That would be, yeah, no. That would be kind of weird. Everything would crash, collapse. Alrighty, so maybe let's make this kick hide it. I'm going to deactivate it and hide it. Let's make ourselves a new track. So there is a new version of Cardinal coming up, and I think you need to up your gate threshold, John. Oh, yeah, let me. And in that version, there are modules from Surge XT, and John has been experimenting with that, and he told me that's really awesome, and also there are some new modules from, I think, MindMeld. MindMeld. So we're going to check that out today. Yeah, the Surge ones are incredible. They basically just turn Cardinal into Surge. But then, yeah, the Mind Evolved ones, there's a lot of them. They do different things. I'm Riaz, a video on them. The most relevant to me is they have one that lets you create buttons, and sliders, and knobs, and label them. So you can easily create presets, right? You could just have like a reverb knob. I can use our interface for your patch. Yeah, exactly. So you don't have to confuse the crap out of people who open, or yourself. You can send patches to people that are just like, what I'll have to make right away is the reverb. Everyone likes the shimmer reverb with those two plugins. Crash already? Yeah, I don't know. It has to be something with this Cardinal version. I think it might be something with this Cardinal version, because it's a nightly build. It's not stable. I already had two crashes before we even started. Oh yeah, I could try the VST. I didn't have time to debug it, but I need to uncrop you, if John, because you're leaning in. My camera, I think, got knocked from the last time I streamed, and I didn't take the time to fix it now, and it's too late. Wait, how do I uncrop you? Why are you cropped? Why are you cropped in the frame? Yeah, I think you'll just need to lay back a bit, or you'll be cropped. I'll try to one my shot. Okay. I'll just have to use my eyes better. And the Ardor's crush recovery is here to help. I'm glad it worked really well. I wish it didn't go over right. Maybe I'll delete or I'll make a snapshot so we don't lose your kick, because that's one of a kind. That's a death kick, not from death, like dying, but from not hearing. And I'm just going to remove everything. So we don't have any LV2 instances running. Hello, where is it? Trucks and buses. There it is. There goes the second crash of the evening. I mean, the second live. So I guess the question is, is there a new nightly build, or an older nightly build? Maybe I'll make a just start a new session. It's going to be made. Maybe that's going to be better. Yeah, maybe that'll help, too. Yeah, this nightly still is using, I think is still using Surge's Beta 2.1. The Surge XTE 2.1, or 1.1, I guess. Because Paul's adding a couple more modules, like a quad AD. We, I think we'll have them with a big alpha label on them, so that you don't really want to use them. I found a way to uncrop you. Okay, your mic is going to be visible. What your face is not going to be cropped. I think that's a fair compromise. I prefer to have too much of you than too little in this frame. That's what everyone says. And then, I don't know where I was going with that. And I thought it might be something funny, but no. I'm just trying to crack jokes while we wait for Cardinal to do its thing. Yeah, I think I'm going to start a new session. So, I'm fine. JTB live, 2022, 12, 04. Take two. Let's use VST3 this time, because we used, I used LV2. I think you also used LV2. I did, yeah. PyroGun says, oh no, I can see his mic. Oh man, that's unacceptable. Well, we're breaking the illusion. I'm no longer in the room with you. Oh no. It's like when the boom, like, sticks down in the episode. You know, your favorite show. Like, light stand falls over. Yeah, exactly. And suddenly it's dark, and oh, shit, man. Oh, fuck. I hope it worked. Did it work? Maybe it didn't. All right, let's see Cardinal. So, I have Cardinal's synth here on the list. I'm going to add an empty MIDI track, and we'll add a plugin manually. So, let's see. Cardinal. Oh, I might need to siege for the predrunch. I didn't refresh my plugin cache. I think it does that every startup, but you might as well just rescan everything. Is there like a... Oh, I think there is a plugin manager. Yep. And there you can only scan for new plugins. Discover new, update it. Ah-ha! That should be a bit faster, I hope. Yes, we won't have to wait for all the VST2s. Those tend to take a while. Oh, man. Oh, no, there they are. Oh, T-Row flanger, always. That plugin always freezes, so I'm... Cardinal, yes. Cardinal's VST3. Wee! I spent probably the better part of a year thinking that the Drow Audio flanger was some bug in my Gen 2 builds, but then I just installed Ubuntu Studio and had the same issues. Oh, look at that. Now we have lots of Cardinal versions. Okay, what shall we do? Instrument VST3. Let's try it. Oh, you can still maximize it. That's nice. That's nice. No explosion yet. No explosion yet, let's see. The immediate sign is that you're... You stop hearing me. And I stop hearing you, I guess. I'll try and load a surge module. See what happens. Let's see. All right, there's sound out. I'm gonna maybe make this track a little quieter. Yep, should be good. Okay, so what's that module? You were talking about where you can make your own UI. Oh, I can't remember what it's called. Just look up MindMeld. M-I-N-D, and it'll show up. Missed some letters. Yeah, Cardinal's weird. Is it single threaded? Yeah, I think it's missing keyboard and events. All right, so the third module. That's the one I'm talking about, yeah. Patchmaster. Oh, it's amazing. So if you zoom in on that, you can right-click on either of those controllers and you can remove them or edit them or connect them, map them to stuff. You can change the type. Yeah, yeah. You can click on the empty spot to create more controllers too. So you can, yeah, and then there's different sized ones. Yep, it's beautiful. Large, extra-large, extra-extra-large. No small faders. Well, there we go. I wonder, does it stretch horizontally when you add too much? No, you just add more patchmasters. Oh, okay. How does it send controls? Like, what do you do? Mouse over one of them. Say controller one's knob and you can use shift one to put it into map mode. Alternatively, you can right-click. Easiest is probably just to right-click in the gray box around it and then see map one. And then if... Mapping, map one. Start mapping. Yep. And then you pick whatever knob you want to map it to anywhere in the patch. Let's try it. So... Oh. Oh, now they're bound. Don't be careful not to blow everyone's ears. Yeah. Several, plus 20 or whatever, but... And then if you right-click it again and go down to the map, you can set the range for that map. So you can set 50%. Right. So I can limit my maximum to 50% so I can never go above zero decibels. Yep. That's so powerful, man. Oh, it's so good. Can you like... And then you can label it, which is great. Can you bind mid-DCC controls to these? Yes. So if you right-click to add another patch and you just go to the... Not inside it, just in the... Ah. To add a new patch. In the empty space? Module. Yeah. Not on it, just a new module. We need the distro ones. Ah, all right. Distro... Maybe I should just write cardinal. Host params. Is it that? It's the other host. Host CC map to the right. Host mid-DCC. No, not that one. Is it here? Hang on. There's a media extension. Oh no, that's... Almost all the way to the right. It should be like host param map or something like that. Parameter's map. Oh. Yeah. Now you can map it like you would anything. So you click it and then you click where it's going. Oh, and now just... It should map once you click on the controller one. Is it like, ah, okay, now I can... Now the automatable... So far no crash, by the way. Yeah, so hopefully the VST has fixed it. Maybe my kick is just that bad. Software couldn't stand it. Yeah, the problem is with VST3 there is no automation. They're the... Because it takes control voltage, I guess. Yeah. It should still have an automation lane, I thought. No. You see that normally there is processors section if there is a plugin. So... You could send MIDI to it, I suppose. Yeah, we could parse MIDI into that. Because we can have... Here are two modules that are extending. Because there's the other map module, the MIDI map in the middle now. There's also... Right to the left of your mouse cursor. Oh no, the other... Carms map? The host MIDI CCC. Yeah, there we are. That one. That can work. Now you can map... Any... Click. Ah, now I see this dot. I remember that. Whoa. Why do I have two? Okay, right clicked. It goes into like an auto mapping mode. So you can just map a bunch of stuff right away. That's because my mod wheel is broken and it's just wiggling on its own. You can see that. I'm not touching it. It's twitching. Ah, now I have an the mod wheel. Yeah, but there you go. Work. I wonder if I can like... Oh man, I can also learn the MIDI. I can also learn the MIDI control. So I can just click here. Or can I? Bum, bum, bum. Is it mapped? Look, it remapped to CC 20. Now it's remapped to CC 1. Or it's like mapped to 2. Okay, so... Ah, all right. Okay, I can very easily map this to faders. That's so cool. Oh man, this will be amazing for performances. It's like... Oh yeah. Like something that bespoke Zenith does. Where you can have these controller inputs and nicely map them together. I guess you don't have such a nice GUI here, but still... Yeah, the end result is the same. It's just a bit harder. But yeah, no, it's excellent. Yeah, I can just... I don't know, this feels amazing. The fact that I can just map some knobs. You can map buttons and stuff too. You should be able to at least. I think you could probably map a key on the keyboard to... Yeah. Oh, that's interesting. Okay. That one, not so much, but this one, yeah. Oh, my mode wheel is messing with me because it's sending messages. So I wonder how you map those. Okay, now I can map it here and... Yep, I can toggle it with my controller. Yeah, there we go. Oh, I wonder... Yeah, it's in toggle. I wonder why is it in toggle because I come... I think it's in toggle because I configured my keyboard this way. There's a setting to make it toggle on the button itself, I believe. I didn't take too long to look through this. I really just made one patch between this and Surge. But I think there was a way to make it toggle instead of full. Okay, there are different kinds. Momentarily latched, inverted, radial button. Okay, does it... Oh, wait, does it change this to type? Remember, it's your map. Oh, yeah. That works the same way. I think my controller sends a toggle, toggling this input so that... That may be true. Makes it high or low when I click. Oh, but you can change the type and it remembers the mapping. That's so cool. I wonder if it remembers where you sent stuff to. Try and change that first one to a fader so we can see if it's still large. What a beauty. Yeah, it looks like it remembers it. What was that? It was controlling the master volume. What was that? I'm worried I may break something. Because I don't remember... I can map something new to it. Okay. There we go. Is it still turning the master volume? It should be. Yes, it is. All right, perfect. Look at that. Things work. I don't have the controller cam, unfortunately, so nobody can see me. Operate, but it's really cool. Yeah, so that'll make a... Is there an option to add this to favorites? Yeah, there is an option to add things to favorites. Yeah, I can't remember if favorites works right in Cardinal. It might not. It may only remember your favorites per instance. I think I remember someone complaining about that. I don't use favorites normally, so I don't actually know. Just a warning to everybody. It may not work in Cardinal because of the nature of Cardinal. Okay. But it may. Let's search for the surge. I need to type slowly. Whoa, there's a lot. Oh, yeah, and they're all incredible. Holy crap, that's a... You can see those labeled alpha at the very end there. Those ones aren't quite finished yet, so we won't be looking at those today. Yeah, yeah. Yeah, one right behind your head. Oh, yeah. Oh, man. Yeah, most of these incredible. I've been using them... Since they hit VCV rack, I've been messing, making a lot of patches with them. So now that they're in surge, I'm going to be using them everywhere. I don't even know where to start with talking about how good these are. That's perhaps something. Yeah, yeah, the alias is pretty cool. I'm going to get rid of the... It's got a whole bunch of modes. I'm going to resettle my mappings for now. Alias has some of the most unique things I've ever heard of, in that it's got some modes where it gets the oscillator from random memory values. Oh, yeah, but is that repeatable, you know? I don't know. To be honest, I'd imagine it changes every update. Yeah, like also isn't that like a vulnerability? Like someone can, you know, steal your passwords because you played them. That'd be amazing. But no, it comes either from... It's like its own memory or from... I don't know that much about alias, but... I think I need a stereo VCA. Yeah, use the mixer at the bottom from surge. It's very good. Okay. Hidden right behind me. Whoa. So it's got... Is it stereo? It's stereo. Yep. And then you can just use those... The mods are controllers. So you can map things. Mapping things is pretty crazy. Wait, that's okay. Input one is there and two. Okay. Now you can see it's getting audio. So how do I make this into a VCA? I put more input into mod? Yeah, you just attach... I have an envelope here. Yeah, you attach that to mod one and then take the volume all the way down on mixer channel one. Ah, all right. So now... Click on the mod one button above it and now you can route the modulation. That's the frequency mod one. You'll want to... Or the ring mod one. You want it above that. Yeah. Well, gain, I guess. Yeah, the first... No, no, just the first one, the mixer channel. Oh, in. Okay. All right, now I'm in the... Yeah, it's just like in surge. Yep, exactly. So now I'm... It's the surge mixer. Yeah, so now I'm in like the normal operation mode. Now I'm in modulation mapping mode. Okay. Oh man, so we can like modulate a ton of stuff. Yep. All right, let's route this out. And now we have... I'm going to turn up the output. It's quite quiet. You can hear the aliasing in the oscillator. I think I'll make it a little bit. I'll reset the gain. Is there a shortcut to reset mixer gain? In ardor? Yeah, yeah. Yeah, you... I think shift click. Ah, I've been trying double click and it never works. Control click sets it to negative infinity. Ah, interesting. Shift click resets it. Good to know. I hope like the screen keys are like showing what's going on. Is there a piece of... What is that? Oh, I see what that is. Okay, it's part of the OBS window. I don't know why it's not cropped properly, but... Okay. Okay. Oh yeah, one of the things... Logos mentions it. One of the things we have to show off is there's a tunable delay, which is really cool. You can... For like car plus stuff. But we'll get to that in a minute. Let's maybe get an ADSR so we can... We'll replace all of these stock modules with the surge modules and build our own... All right, now it's back. Why didn't... I think I somehow killed my audio setup, but it came back pretty quick. I'm surprised or did it. I can hear you now. Okay. You can? That's good. Yeah, so... I think I misclicked. Can you hear me? Yep, I can still hear you. Yeah, the question is can the stream hear me? It seems like it. I think it does. Yeah, what people are saying. All right. I think I clicked something bad. Let's kill mix because I don't need mix. Okay. Yep, we're back. All right, cool. I guess save the project over here. Yeah, I pressed ctrl s and then... All right, don't save the project. Something. I think I was hovering over the wrong window or something. I don't know. Oh, that could be, yeah. A random thing happened. So anyway, surge has its own envelope generator. It'll eventually have the VCA or envelope generator XVCA, but we're not going to use that for now because it's not done. So we'll just use the LFO EG, which is the envelope gen into the mixer. There's all the modes at the top you can see. Yep. So let's route the gate into it. And okay, EG output. So I put that here. Oh, it's always on. Oh, there's an LFO right now. Yeah. Oh, you're moving my mouse. Oh, shoot. Whoops, my bad. I was making sure that that was still open. All right. So you can set it to envelope mode at the top of the display. You can see there's all those. Yep. On the second. Oh, okay. This one is the envelope. No, it's just an envelope. Otherwise the envelope controls the LFO. So you can make the LFO like fade in and out and whatnot. But I still have like, it's the sustain. No, maybe it's not the sustain. Why is there is some? Oh, maybe because the release is... No. It is at 100 all the time, visibly. It was because of the release was a maximum just forever. Oh, yeah, yeah. So it was releasing forever. I think we don't have like a super loud signal out of that. Yeah, it looks like it's unipole. Oh, on the bottom left, change it from bipolar to unipolar. There we go. Oh, there we go. Yes. Yep. All right, so it was going from zero to plus one and to minus one, which meant like from zero volts to plus five and then to all right. Yeah, something. Yeah, you're correct about that. It was only going from minus five to point five instead of zero to one. Depends on what module wants what. So we have a envelope generator. Okay, what can we do with this? I think I should turn it down a bit. Yeah, alias is a crazy synth. It's intentionally bad in the fact that it makes a bunch of just gross digital noises. It's really cool. I like that. Yeah, maybe you can modulate that with something. Yeah, the modulating routing is the exact same as it would be elsewhere. So get another LFO. I also had the LFO output. I wonder if I can use that. Think you'll have to change back to LFO mode. And then I think it'll be controlled by the EG. Yeah, so you could do that. Yeah, but it's right now it's sending the. Okay, I can just copy and paste the envelope generator control. Where is the gate? Get out of the way. Oh, I should move the patch. Yeah, I don't have you and me on the screen. I would be ideal, you know, like have an overlay that isn't captured for the stream. But so just only I can see it, but I guess it would be awesome. Maybe in Wayland you can do something like that. I don't know. Okay, let's make this an LFO. Let's give this the shortest attack and release. So it's just 100% make it bipolar. Great as one hurts. And now let's send out the LFO. Yay, let's make this cool. It seems alive. Like an enemy from Baldur Dash on Commodore 64. Yeah, it's always creeping out when I was a kid. Hmm, let's try a filter then and see what we can do with this nasty noise is amazing. The surge filter might be the greatest part of the surge set, which is incredible just because the cardinal filter VCV has some really good filters, shoutouts to squinky, but they're GPL three only. So now that we actually have a really good set of filters inside is amazing. Oh, and surges GPL two. I think it is. Okay, I can put the filter after the mixer. Yeah, you can. I wonder if there is a way to like route left and right, like a pair together. I don't know, maybe like there's something like it. Yeah. Like maybe they can be grouped or something. Another thing that I need to mention to Bacon Paul, but it would be nice if maybe I just didn't see it, but it would be nice if the VCOs could be set to merge their poly outputs down. So if you use like seven voices, it actually just creates seven polyphonic channels and plays them all. So there's you then have to use like a sum or something to sum it down, which is a bit Yeah, but I'll mention that to him next time I'm sitting in the surgery, see Then check some of the filter modes available because they they're crazy. Like try one of the cutoff warps or something. You know those you use search. We got them all now. Whoa. Oh, just an all pass. That's why it's so weird. Cutoff warp all pass. That's crazy. Oh, low pass resonance cutoff warp. So what these do from what I understand is they adjust themselves based on the incoming frequency. So like it moves the cutoff or not incoming frequency incoming signal. So I don't know in what way it's modulated, but yeah, I think it must modulate the frequency, I guess it modulates the cutoff frequency based on the input. So I I understand that it's like a envelope follower, but I guess it's very, very quick. Otherwise, it could just be an envelope follower and that's kind of normal. That sounds crazy. I would like to make this give this some stereo image. I wonder if I can do this on the You can add voices. You could make it two voices that would just Oh, right. Oh, I can I think I Yeah, I can lower it to tune. Although I don't know. Oh yeah, I guess it's just still properly detuning. Yeah, yeah, it's pretty crazy stuff. Then you could put I know there's so many good surge effects, just pick them load anything. It'll sound amazing. This filter is stored so nicely. You can make the frequency pitch track too. Oh, yeah. That might help really. I guess I can pitch volts, proactive patch volts, proactive into modulator. Yep. And then you should be able to just take frequency to max. And it should say one volt per octave. Yes. Yep. Now you can just pitch track. Yep. Now we'll add some glide to it. Yeah. We need a slew limiter. I wonder if there is a slew limiter among these modules. I don't think so. You could use it's not really correct, but you could use tree monster, which has a pitch tracker in it, which you can slew limit the pitch tracker of, but that's not really correct. So I always I just use slew from bog audio. It's really what if we use reverb on a control signal? That's funny. I mean, that's what modulator is all about. What if I use reverb on my pitch input, like my volts per octave? Like what's going to happen? Because normally you can't do this kind of crazy stuff in synapse, because it makes no sense, but who knows? We get to learn if there's a DC filter. Okay. So I have my left and right. I can move left to my oscillator and right to my filter. So it's possible that there's going to be a difference in tuning. Set the mix to 100 and see what happens. Yeah. I think maybe. I think it's like high passing it. Oh, yeah. Is the built-in high pass on low damping? Yeah. It seems to have no response to. Yeah. Yeah. We'll need a different effect. That's interesting. But what if we instead patched the oscillator here and then... Oh, yeah. That's weird. That is appropriately weird. Oh, I'm feeding this back. It's like, oh, there's feedback. Oh, it handles feedback. Well, it's FM-ing itself. Yeah. Oh, it just handles feedback. I didn't know we can make a feedback loop. I thought it's going to, I don't know, explode. I was sending... Oh, no, I use feedback all the time in modular. That's how you get really disgusting effects. In fact, we should do that in a minute. Oh, there's something crazy with... Surge's mixer is really nice for it, because you can just plug something into input three or whatever. Yeah, it does sound like wind in a microphone, to be honest. Weird. Maybe if this modulation is less intense. I can see how we can lose a lot of time, or spend a lot of time playing with this stuff. So, funny enough, recently I've been doing some combustion and internal combustion engine sounds for a game, and I used Cardinal to synthesize that. So, it's also, like, it's useful as a tool. It's not just for having fun. But once you have some fun and you discover various things, you can then use that to make something. I think it sounded better without the reverb batched in. I think it sounded better when it just was pitch tracking. Yeah, try running that into something to make it wide, like a chorus, and then feeding the chorus back into the mixer. So, out of the filter, into a chorus, out of the chorus, into a mixer. There's a surge chorus, yeah. Yeah, okay, so we have from the mixer to chorus, from chorus to mixer. Yeah. Oh man, that's crazy. I gotta be careful with this. It's in threes input, isn't it? Yeah. No, it's in channel three. I think it's muted. No, that is muted too, but it's in channel three. Oh, wait, so what is here? Oh, there's channel two. Okay, all right, there. Yep, yeah, it's a bit. We need a limiter for that. I wonder, we have... You gotta go full wet on the chorus, that'll probably help too. Wet. I wonder how's the frame rate, because it seems like we're sending 20 frames per second. It seems okay. I've had the stream just playing on the side. I can use X42 DPL outside of... Oh yeah, Logos is mentioning that engine simulator, but UMPFA has definitely seen that engine simulator. Oh yeah, I've studied the engine simulator a lot, trying to do this, and I actually managed to make quite decent sound of a car engine, which is interactive in a game, but okay, how can I... Also worth mentioning, Cardinal has a hard clipper at 0 dB, so... Oh, that's... Oh yeah, but it's still gonna help us, because it's not gonna clip at zero, it's gonna clip at negative 10. Yeah, so that'll be good. Even less if we, like, you know, turn it afterwards down, and then turn this up, but we have less ceiling to deafen us, I think. You could gain it out of... Oh yeah. Yeah, we're touching the limiter, so now if we feed back, it's not gonna be that bad, because it can't really get any much... Anymore loud, and no, can't get much louder than this. Don't worry headphone users, we'll go deaf with you. I think the limiter was essential, but... Wow, that's interesting. If we can control this with an envelope, so that it happens in sync with a note, not all the time, because when it happens all the time, it's not gonna be interesting, but... Pale commander, are you okay? You okay there, buddy? Sorry about that. Yeah, apologies. My suggestion to feedback, so I take full responsibility. Feedback is a dangerous pet, it can be fun, but it's so interesting. It's weird, like it's hard to predict what's gonna happen with that. I want to try an elephopho... What you can do, and it's not worth setting up now, but it's worth mentioning, what you can do is you can use a slew limiter to keep track of how loud the level's getting, and turn down the feedback as it goes up. There's, I forgot what it's called, it's like an auto volume control. There's something that's straightforward, you can look up how it works, but it's hard to get balanced right. You really have to sit there and mess with it for a while, so I don't suggest we do it now. But if you want to make a really crazy feedback style patch, that's an easy way to do it. We could create some rhythmic patterns with this. I can imagine making a beat to this, oh man. There we go, we got our track started. Yep. All right, so here's something really cool. Tempo, sync it, you know? So if we could tempo sync it, but I just want to mention this for other cardinal users. There's a thing, there's a module called the delay time calculator, and it just, you enter a, it's the first one. Yeah, you enter the BPM and it tells you the times for everything, so. That's pretty crazy, and it's also, is that like a clock also? Yeah, it'll control a lot of devices. It's not a clock, it sets the knob if the knobs are standardized. I don't exactly know how that works. It works for some things and not others, so you just have to experiment. But then, so you can connect the external clock into it, and then as you change the tempo of the thing, this tempo will change, and it'll send the appropriate values out. But more importantly, you can just look visually at it and see if you want quarter notes at 120 BPM, then, and so forth. So yeah, 174, the only BPM. Yep. Oh, see, nice 690 milliseconds for half. Yeah. Or 1.45 hertz, so you know, that's great information. But anyway, we're probably better actually syncing to the tempo. Yeah. I wanted to show that, because I think that's such a useful module, especially for when you're setting up delays, because then you can just set them by hand, and they'll be slightly out of time, and it just sounds nicer when things aren't like. Yeah, it could be actually quite nice and organic when they're, because if you had a delay effect, you know, probably in the 70s or something, you didn't have a perfect tempo sync, you would either tap it or tune it by ear, I guess. Yeah, and it sounds more natural, I suppose. What we could do actually, we could have the retrigger to the LFO just be the retrigger to the synth, and then time it to that 690 millisecond or 1.45 hertz time, and then it'll just be synced every time you press a note. We could also use, there is an output from Cardinal that like sends tempo, I think. Yes, the host time module. Oh yeah, host, there it is. So we could use this maybe to like reset the LFO every bar, for example, so that we can't go too much out of time. Yep, that's a good way to do it too. Oh, there's also clock. Yeah, you could probably just connect that to, although that can be a hassle when you're working in a regular DAW because the clock isn't constant. When you're making a modular track, the clock is pretty much always running, whether or not you have sound coming out or not. But when you're working in a DAW, you can play and pause, and some things behave weirdly with that. Yeah, I wonder, okay, something happens. I can route, make, I can make art or follow my... Oh, it actually is. Wow, it remembered this after restarting, that's amazing. I can start and stop playback from using my keyboard. Oh, nice. So now, yeah, step. So step should be 16th note, beat should be quarter, and then bar should be bar, all note. Yeah, I have no idea what clocks expect, honestly, but it does something. This should be what it expects. All right, we have another LFO, so maybe let's try and do the same thing. I can enable metronome, and we can hear if that's in time or not. I'm not sure. Kind of sorta? I think it's, and like, I think it's five to four, if I was counting that right. It sounds almost right, but I don't think it is. All right, delay time calculator. Might be the easiest way. What is the right way to sync it, you know? I think the right way is probably just having it re-trigger. I don't know how to actually beat sync, because the host stuff doesn't really... Yeah. It's not exactly a normal plugin, you know, so it's not really... It doesn't look like clock to hertz. Clock to V... Clock to... Clock to volts, productive, no. What do we get on the host time module? What all's in there? Let me see. I'll load up a phone stuff. I guess if we connected it to gate envelope. If we connected this to gate inputs for LFOs... Oh wait, I'm not playing. I'm not running the transport. It can't do anything. Okay, so what I'll do is I'm gonna... Hook up the host, play to a clock, and then use that clock module to everything else. Yeah, you can do that. That can work. I've done that before. So you use one of the clocks inside cardinal. Like clock is probably the best one. And then you set it to the tempo of your project, and then you have it play, reset, and pause with the host module. But that's still not ideal, because it'll re-trigger these. I think the easiest is simply to set the frequency in hertz, and then re-trigger it. I don't know if there's gonna be a simpler solution anywhere. So re-trigger it every bar? Yeah, that probably just work. Gate will re-trigger it? It should, yeah. So that means you just re-trigger on the bar, and then set the frequency to zero. We are at 120, so let's stay at 120. Yeah, we can do 120. I'm gonna adjust the cable tension, because I like it when there's like... Makes it easier for me to see. Okay, so rate. This is in hertz. So we want, let's say, a quarter note, so that's exactly two hertz. So I can just right-click and type two. Same here. Right-click, type two, enter. I guess. Yeah, it does swell to the beat. We now have tempo-backed wind. Yep, like weird digital... Digital wind. Digital wind, yeah. What an amazing thing we've made. Let's make a new track. Oh, we can also insert it here. Let's make a kick drum, and because we're using cardinal, let's do it in cardinal. Maybe we can make another... Maybe we can make a kick today without like that taking two hours, or do we? Maybe we should just use your kick. Yeah, good. The easiest way to do a kick. You want me to make a kick real fast? Yeah, go ahead. All right, let me... I should be controlling things now, right? Yeah, I'll make one with... Because what I did before, I just used... Although, I'll try and use Serge's stuff. It shouldn't be that hard. Gotta type really slow. Yeah, it's like... It's gonna miss if you type faster than one character every 100 milliseconds or something. Oh, Chris from AirWindows is here. Hello. Hey, how are you doing, Chris? Great to see you. And Logos Coder is here, and OV and Lifeline and Transwolvy. All right. So you've got two LFOs, all right, Envelope Generators. Now for now it's LFOs. Gotta... It's hard to click and drag for some reason. It's a bit weird about that. So we gotta be slow. Let's switch these to Envelope Generators. Get rid of that release. So what we're gonna do is we're gonna have one for the volume. Do we have a trigger coming in? I think so. I'll go look. You mean from the notes? From the MIDI notes? Yeah, let's loop that. Yeah, I routed the metronome so it is audible. By the way, we could use some Rack Windows modules. Yeah, we'll read it. Paul was talking about... Oh, we got some exclusive info from AirWindows. Oh? Yeah. Just for OnfaStream, the plugin you are about to get is ClipSoftly. Soft Clip version of ClipOnly2. Onfa Crew are literally the first to know what it will be. Awesome. Thank you, Chris. Oh, man. I couldn't ask for a better gift during this stream. So let's get a really short no-hold... I'm gonna have to try it on drums. Really short decay. I would like to tape on drums. It's pretty good because it converts transients, especially the excessive ones, into some nice texture. Getting a bit clicky. Chris also writes, Bacon Paul might well have some help there. Why is this so clicky? It's almost... Oh, oh. Yeah, things were being weird because of that. Then... Oh, I know. I need more release because this is a trigger, not a gate. Should use the gate. It's a trigger, not a gate. Actually, we probably do want the trigger because it's a drum. Yeah, there we go. Now that sounds more reasonable. Get less bitch. Does it sound clicky to you still? I think it needs... It does sound clicky. I also think we have a little bit of X runs going on, but I think that's nothing we can do. Maybe. Fortunately. Case. Oh, there it goes. I was waiting for it to happen. I told you, my kicks, they're too bad. Our door can't handle them. That's confirmed. Your kicks? Yup. Rack Ardor. Yup. Too powerful. Too much kick. That was take two, let's see. Let's see how much the crash recovery gets this time. Oh yeah, the kick all module is incredible. I use it all the time. I just wanted to make one with the surge stuff because the surge stuff, you know. Now we have 34 FPS, 29. I think Cardinal is quite heavy on the GPU side. Yeah. Could be. I think I wouldn't be surprised if it was a little bit of a GPU hog. That's a little digital wind, that's our kick. Yeah, look. No, it's still there. I'll let you do something to it. I've made a basic kick for you. Okay. I'll just turn off the, I should have a button mapped to maybe I can. Hold on. No, I don't. I'm going to stop before I crash something. You're right. So I think that clickiness you can get rid of by changing the first envelope's connection to the gate instead. And then just setting here, I'll just, I'll show you. We don't have a phase offset. I'm stealing control again. I see. Actually, yeah, we might be able, there's a reset. So that's, maybe that'll solve it. Maybe that's the issue. I think we would need to offset, or we can just use Eddie ADSR and give it a tiny bit of attack on our envelope. Yeah, we'll do that. So we'll go, we have to go to the gate itself. That should be on retrigger. These two will be the gate. No decay or no sustain we want decay. No hold either. Which one is envelope is pitch and which one is okay. The right one is volume or the amplifier and the left one is pitch. You can also use the deform knob, I think, to bend it a little. So it's more like logarithmic or quadratic. Oh, it's not that. Maybe you can right click and change the mode of deformation because that's an option in, oh yeah, deform type. That's an option in surge. Yeah, there we go. Oh, nice. Nice. So that's better for pitch. Like this. Yeah, I'll let you take back over. Okay. I just wanted to get that fixed real fast because I kind of knew how. That first one's the pitch. Okay, let's see. It should be lower, I think. Maybe I'm going to move it one octave down and then, oh. I was already moving it octaves with the pitch knob. Yeah, yeah. Okay, because it's, it could be tuned as it is. There we go. Yeah, now if I make it shorter, okay, that's kind of, yeah, it's a bit too. Randles my soul. That's very kick drumming. That's very kick drumming. It's a bit, it's a bit like, it's a bit cheesy, but if we, if we, you know, lean into it and just distort it, it's going to be fine. Yeah, there's, load up some of the surge distortions. Try the wave shaper. Wave shapers are good. Oh yeah. You can actually use the brand filter here and go with, that list is huge. Surge XT. Really shows, oh no, I got to lean this way. Really shows how much there is in Gardinal. What do we have here? Wave shaper. Let's go. I'm going to do this before them. No, after the mixer. Yeah, probably after. So you get the transient. Yeah, so wait. So I feed this into my, maybe I'm swapping channels, but no matter. Yeah, you did that before too, but I just, it doesn't matter. It doesn't do anything. And then what you can actually do, there's a noise oscillator built into the mixer. We could give a little bit of noise for the transient. Right, but it's so you can control that. Yeah, you could control that with the same, with the pitch envelope. So I have to un-amute the noise and now, oh, it nicely crunches with the wave shaper. I just need to modulate it with the envelope. Maybe this one, or I can just copy a new one. Yeah, you could just duplicate one. Or if you hold shift when you duplicate, it copies the connections too. Actually, I don't, I can because there is a gate. Okay, shift, control C, control shift V. Oh no, just control shift D will duplicate. Oh, control shift D. Okay. Oh, nice. Control D is duplicate, control shift D is duplicate with connections. I'll change the cable tension again because reset. I'll say. That's why I don't think favorites stay. I think it's the same issue. Yeah, let's see if my favorites exist. Nope, nothing in favorites. Yeah, that's unfortunately not a feature right now. I'm sure Falk will get around to it someday, but. Yeah, we owe him enough as it is. Yeah, exactly. We're never gonna pay back. Wait, no, I'm noticing the wrong thing. Or am I? Ah, yeah, that's a good idea too. Have to. Oh, there's a filter in here. Yep. What if I? I think it's post. You have to turn the green knob on. Or the green one. Yeah, yeah, yeah. Oh, that's crazy. That is weird. And cool. Whoa, that's a swell. Okay, I can do this in reverse. So start. Whoa. Oh, okay. I need to click with this. So this is a high pass. Oh, you can hold alt and shift to move knobs while in edit mode. Let me get a kick that like filters out its lows. This is weird. That's crazy. I like it. Let's see how it sounds in the room. I want another mixer and mix it in so we can get the original lows too. Oh, yeah. That's a good idea. Let's do it. The only downside I think to the surge mixer is that it's actually two channel. No, it's free channel. But also it's the noise. I didn't get the noise. Okay, but I will, you know what? I'm going to just copy the mixer. You said something about a key combination for knobs. What was that? I missed that. Sorry. Oh, if you hold alt and shift, you can change knob settings while in the modulation configuration mode. I remember it. I forgot. Alt shift. Someone in the surge discord said this, but alternatively you can shift the knob. That's the, that's how I remember it. Shift the knob. Should be alt shift. Maybe, maybe it's, no, it can't be control alt. It's got to be alt shift. Without this modulation mode, it goes into precision. So yeah, but with modulation mode, it should let you change it anyway. I'm going to copy the mixer and paste it. And I'll route the, okay. This is channel one. So let us, I'm flipping channels. Again, oopsie. And now the clean channel. Oh, and we also have the noise. Yeah, you could bring that in. That's a chance of, yeah. Have the noise here and, oh right. I disconnected outputs. Nothing can be heard. Still nothing can be heard. Oh, the volumes are all the way down. That's because, yeah. Yeah. Holy snap. That's pretty hefty. Whoa, man. Oh, that's, that's, that's getting neuro. Wow. Holy snap. Maybe clean up the, uh, maybe make it tighter. Shorten the envelopes a bit. Yeah. I think it's in decay. Right. Cause there's the filters. That's so cool. I would never make such a sound in Geon Kick. No. Not that Geon Kick is bad, but I just, I love Geon Kick, but this is a completely different way of working. There's so many different sounds. That's a good one. Whoa. We need presets, man. I'm just gonna copy this track four times and change it a little bit and then make a whole track out of different kicks. You could, uh, you could set a few of those knobs in the patch master to like the decays of some of these and you could modulate them all at once with one knob. That would be crazy. I wonder, it's good that Cardinal has full undo support because I would be like afraid to. There it is. It's back. There we go. Oh, we get even some echo of our past sound. Logo mentions we can export the patch, which is a good point. All right, we can share it. We can put it on, I could put it on my VPS and we could share it through the Cardinal website. So I don't know, this is an alpha build, so the surge XT modules aren't there yet, I guess. Yeah, not in the official. I think they're supposed to be out today, if not tomorrow. Oh, hex chance closed, so I can't see what they've been saying. Oh, we could, we could copy this kick and turn it into a bass. Yeah, yeah. And then do the two together. And you know, sidechain maybe the bass a bit with the kick, so it doesn't fight. Okay, where's my noise? Oh, no noise, man. There is no noise. Oh, it's an older. It's an older version. I'll definitely make it. What was that? It was, it's just like gritty fart at the end. Oh, man, it's brutal. It's really cool that the noise is in stereo. It has a really, really nice image. Yeah, I think it's really cool that all the surge stuff is defaulting to stereo. By the way, Chet, isn't the kick too loud in comparison to our voices or is it okay? Yeah, it's probably, it's probably too loud. It's just such a, it's a transient, so it's easy to understand you. I haven't struggled, but it's probably too loud. Okay, I'm gonna maybe turn it down by three decibels. Hopefully it's gonna be a bit better. Okay, I would just leave this B for now. Oh, I wanted to touch this envelope and then it crashed. Maybe let's try that. That's a cool, like... There's so many cool sounds in this. It's not a very complicated patch. I'm gonna undo... Shout outs to the OJD wave shaper. That is such a good wave shaper. I didn't even change the mode, it's just original. It's such a good mode, the OJD. It's got a lot of modes. They're all really cool. West Coast Fold is crazy in particular, and then the Sanctuators are nice. We don't have the second mixer, so we're just, you know, we're not mixing it with the original. Well, you never actually brought the original signal into the envelope, I noticed. You had the second mixer loaded, but... I'll try to do it. So I don't want to spend all the time on the kick, because it would be nice to manage to do something more. Oh, I'm in input free. Well, you were... No, you didn't reverse the channels, good dude. I was gonna say, you may want to be careful not to hear the noise, because it would phase cancel. Oh yeah, the... The noise comes through undistorted. You could take the same envelope and use it in the second mixer, and instead of taking the first mixer's output, take the sine's output, and then you won't get the noise through. Or I can just shorten this, take this envelope, and... Oh wait, this is controlling the noise amount. So I can take the shorter one to just get a cleaner transient, so that shift alt... Right, so... There we go. Holy snap, that's loud. Oh my goodness. Why is it so loud? I'm not sure. Oh wait, I think... Because I'm modulating this as well. Oh no. Yeah, yeah, yeah, right, because you never initialized the... There we go. Okay, that was bad. So it's just cranking it. Yeah, it was... Oh, I copied with the assignment. I think it's cool. We get a little bit of that... A little bit of that cleaner transient. Okay, I think let's leave it at that. Our kick is really cool. Let's duplicate it and make a bass out of that. No. No! That wasn't intentional, I swear. That was a mistake. Good Lord. Now I can just make this longer. And now we just change the envelopes, basically. Yeah, give them attack and sustain, I guess. Yeah, like give them sustain. That's something up. No release. No decay. A bit of attack, because we could emulate the side chain this way and sustain on 100%. And I'm gonna turn that down. Oh, the pitch envelope! Right! Oh yeah, we gotta attach that around. Yeah, we don't need a pitch envelope now. And then you want the whole per octave connected because it isn't right now. Yeah, yeah, we need volts per octave connected and maybe reset the pitch. Something is weird. Oh, it's the original signal. Oh wait, we still have some... Wait, somewhere... What? Oh, we have the filters! I think the filters here are cutting off everything. Oh yeah, yeah. All right, yeah. There we go. That's a bit too high. I'm gonna... Okay, that's too much noise, I think. Good, good. There's also noise color. We can change, too. This is the... That's so heavy. We were talking about... The memes sound like square wave. Yeah, right. This sounds like something off of cross. We were talking about cross the other day, how it's just a pile of distortion. This is basically... If you want to be justice, this is the way. So they didn't go for like neuro or drum and bass, but yeah, they just went overboard with compression. Maybe we can change the wave shaper. Not a good wave shapers. I can actually turn this up a little bit. That's brutal, yeah. Sidechain that with the kick and it'll be amazing. Yeah. I can already tell. We can EQ it a little bit, because I think it needs some a little bit of cleanup. Give it too much 3k. Sweet, precious 3k. Let's use Ace. It makes all noise sound aggressive. Just use stock hardware compressor. I really use it a lot. It's just... That's the job. I think we'll need to loop that. It should already have the loop. No, we think... Oh yeah, it does. Oh, that's beautiful. Yeah, so it releases. Now we're raving. It comes back to 100% just before the next hit. Now with the kick... This is crazy. Something's... It's okay with the kick. Oh, it is. Oh, it's in a different pitch. It's so different pitch that it sounds... It clashes. I think we should tune our kick. Yeah. Maybe... Should be able to just connect the volt. Oh yeah. Yeah, the problem is that here we might be also... What if I reset that? And now we can tune it precisely with the MIDI notes. Yeah, so now they are playing the same octave. We just need to move our kick. Yeah, they don't really tune now. This kick is very clicky. I would maybe... Yeah, I would just put a filter, I think. Oh, you could EQ it too, yeah. Or try the bass maybe? I don't know. That might work. Oh, I need to... Oh, I think we're crashing. Yep. Rob, I can still hear you. Oh, wait. Hey, we're back. Maybe we are not. What did I do? Interesting. So it didn't crash. But I lost sound. Oh, I know what y'all sound cause... I turned on monitoring of the asses. It's a little bit dimmer. I think it's a little bit more less painful. Let's use X42 EQ as well. It's a very nice, very quick and easy EQ. Our frame rate is a bit low. I can feel it. Oh, that sounds like a... Like a speaker cabinet. Yeah. Not necessarily the sound I'm going for, but it's interesting. Maybe the opposite rather. Yeah, yeah. That's kind of the muddy frequencies. Let's high pass it a bit. I like to use a high pass to also boost the very bottom end. But just cut off everything below. There's something painful in here. Oh, I think it's something here, I think. Okay. Let's hear it with the bass. Oh, that's... I think... Really bright. I think it might be... The best after it. Yeah, that might help too. Also, I probably boosted the highs too much. I think something's happening between the transient and the noise. Maybe more side-chain. What about this thing? It's dwarfed with the volume of these things. We're playing an E. Forgot we made that noise. Here is C. Let's play an E. No, I'm playing D. Yep. What a noise. It's very quiet in comparison. Why is it so quiet? It should resonate. Maybe let's... Then you could probably EQ out like 500 Hz or so from there. Probably just high-pass it. Oh, yeah, that's the band. I'll EQ this a bit as well. Oh, that's a bit too low. Sounds kind of cool. Oh, it's getting a bit of a weird transient from the kick. But it's a bit too low. Weird transient from the kick, but it's better. Yeah, this pitch envelope is kind of whack. Maybe we can tune it, but it's starting to sound like something. Yeah, it's much better already. I'm gonna maybe... Maybe just the amount of pitch envelope needs to be less. Yeah, that's possible. I think that's kind of better. Not ideal, but it's kind of nicer. No, this would need a lot of massaging in the mix, but it'll do. That needs all the massaging in the mix. Yeah. First thing, high-pass. Second thing, low-pass. That might not be such a bad idea actually. There's lots happening, but I don't want to muddy the low end. I could even use the shelf to be a little bit more aggressive with that cut. That's pretty intense. Chris loves it. That's all I need. This should probably go off in some crazy close-on. It's a little bit out of time. Okay, maybe we can make a hi-hat out of that or something. I don't know. We could try and maybe extend this composition. What do you mean to more than one note? Are you crazy? What if we try to play different notes? My god. Perhaps even four whole chords. What about? Nope. We're playing E? No, we're not playing E. Yeah, that's E. I'm missing a quarter tone for this melody. I need a microtonal bass. No, really. I think of a note that's between the two. I never was into microtonal music, but maybe this is the time to try. I don't know. We can have a pitch band, I guess. If I put it into modulator and now... Oh, wait. This was the... Okay, I'm double-clicking to reset it. And now if I do one... Well, that'll move it a full octave. Yep, that's a bit much. So you probably just want... One-twenty-fourth of that, I guess. Yeah, so you could just do divide it by 24. Can I do math? Oh, I can do math in the... Oh my goodness. You can also do letters, too. So you could just type C2 and it'll jump to C2. Or you could type ranges. So if it doesn't have volt per octave, you can use N-one-twenty to set it to one-twenty notes if range. And then you have volt per octave tracking. Anyway. That's like pro tips that I'm not lit enough to absorb even. I think I have a full tone of... So that was one-twenty-fourth. Ah, I guess I get two octaves up and down if I have full half, 100%. So one-forty-eighth would be a half tone. If I do one... Ninety-sixth, I get a quarter tone. Let's try it on a higher octave so we can hear easier. That sounds like a... It's not... It sounds too close to a step. I think that's moving too far. It's almost a half step, but not really one... Let's just do it. It's a blue note on the bass. What you're gonna do? Okay, so the melody here needs to go quarter step down. We don't have quarter steps in this keyboard, so... Wait, I can just stay on this and do that. So this is a whole note or like a half tone. So let's be like someone in the middle. And then we reset to... Then we reset to eight, one, nine, two. The magic number. Everybody needs to remember. That'll be cool. A little pitch bend up a little bit. Let's... Is that gonna work? Yeah, it's a microtonal melody. Let's move it above three octaves up. Oh, it didn't play now. What the... Are the notes overlapping? Maybe it doesn't work at this locked pitch. Oh, it doesn't work now. Interesting. It digs though. Yeah, I think the notes might be a little... It might be overlapping. Unless I'm fooling myself and it didn't work ever. No, I don't hear any change now, but... You could also just hold the key. Yeah. The last note. You don't actually have to repress it. We're gonna lose an envelope, but... I think, you know, this is too short and it's just not triggering the events. I've had Ardor skip these before, so it's like, give me more. I'm not sure if it does do anything. Now it does something. Yay! It doesn't sound in tune on that pitch, but... It's a tiny difference. But it's the melody I had in my head. We've done it. Cool. Wee! Savage. Wanna be my bro? Let's see if that can work. Oh, and we can, like, introduce... Huh. Do this. I don't know. Extremely advanced arrangement here. A-B-A-B. I think after this we should go back to this, and that's like one... This is one phrase. Maybe we could even move to a different note here for your last one. I don't know if A is gonna fit here, Tony. I'm not sure it's even... I think it's arbitrarily pitched, though. I think it's pitch tracking. But I don't think it's to the key. Yeah, I don't think it's a melodic instrument, really, either. I'd put some delay on it, though. Maybe we can try something in cardinal. Yeah, I was gonna say, Serge has a delay. Yay! We even have the delay time calculator. Also, we still have one channel left in the mixer. Perfect. Wait a minute. Delay. Tune the delay. Yeah, that's really cool. Whoa! We'll have to mess with that in a second. I'll demonstrate it in a minute. Ah, we can do the shimmer with it, right? No, it's for car plus stuff. It's tuned to simple per-active timing. And then it's gotten offset for module delay. Although the newest surge update actually gets rid of the one sample delay for a lot of routing. So things actually have proper latency. So it's like no latency at all with feedback? Yeah, so it's hard now to know how many samples of delay you need because it's now compensating internally. So that's a tough question I'll have to figure out later, how to know what to do. Nobody knows. I'm gonna take the filter output. All right, this is what we feed directly into the... And we can feed it back into the mixer. Because why not? All right, the volume is none. Yeah, yeah. It's interesting. It sounds like digital audio compression, like, you know, spectral thresholding. Yeah, yeah. But it's this filter. Very strange. Very interesting. Well, and the alias. Because the alias thing is literally, I think, referring to digital aliasing and synthesizers. So like if you have a poorly designed digital synth, it'll create harmonics that aren't in the harmonic series and they'll move opposite. No, only if they're reflected, but they don't move correctly and they don't sound harmonic. And so alias is intentionally creating those digital artifacts from what I understand. So if you like loop the whole thing, then it becomes harmonic either way. Yeah. Which I think is something that it does. That's why you get such a digital tone out of it. That's so cool. I just want to time this. We have our thing here. I'm gonna try time one to 500. I can type. Why am I in one to one point? Oh, that's a dotted. Okay. Just one second. Oh, yeah. What a cross feed. Yes. And we get to filter it too. Interesting. Ah, we definitely should. We should sidechain this with the kick, I think. Yeah. Whoa. Ardor is becoming slow. Or maybe it's crashing now. We'll find out. I can still hear you. I usually use a sidechain bus and then just have one sidechain and just route literally everything but the kick to it. It makes life simple. Oh man, it's creeping up. Oh, it's a delay. Oh man. I was worried about that. We might have to put it on an envelope. We're... It's not gonna shut up, no. Yeah, we're gonna have to put it on the... Yeah, because there's a feedback loop. Yeah, yeah. Oh, we need to dampen it. Ah, hmm. If I modulate the mix or I can modulate the filter and just cut it off. Let's control shift D. Yes, control shift D, nice. So I will use that to... No, I'm gonna do this. No, I'm gonna do this. Right. So is that the high pass or the high pass? This is a high pass. Sorry, a low pass. Yeah, yeah. So then... I don't know if that'll work. We'll find it. It might be the opposite direction, I think. Yeah. I think I muted something because I hear not... Yeah, you muted the track because of the... How? Ah, because of the feedback. Because of the feedback, yeah, yeah. Right. I think it is work... No. Wait, that's a reverb. Oh, no. Oh, it is modulated. Okay. So I want my envelope to modulate it that way. I actually want it to be unipolar. Wait, that's not it? Or is it... That should be it. Yeah. But the assignment is still bipolar, maybe I need to... Yeah, the assignment's always bipolar. Because it'll go... It just shows the negative. Okay, it cuts off now, I think. Yeah, it does cut off. Okay, so we are safe from the infinite feedback now. Now to sidechain it. Wow, Ardor is really slow. I'm like clicking and nothing happens. It's interesting because rack isn't struggling. Only Ardor is. Right click? Hello? Right click? Follow what happened. You can see that I'm clicking. I mean, there's this indicator. I am clicking. Nothing happens. Wonder if I can click. Try. The real question. Oh, wow, how did you click? That just works. What? Now it's frozen at this. Yeah. Okay, we're gonna hold... Maybe we should close all... Maybe we have like Cardinal UIs open in the background and Ardor gets really bucked down with that. I think Ardor doesn't close plug-in GUIs when you close them. I swear Robert was complaining about that in chat one day forever ago. Okay. Well, sorry, I grabbed something. That's all right. I'll let me get my mouse off the screen. All right, you're up. Okay, thanks. Ace. Oh, typing is as fast as ever. I like how instead of any other solution, we just keep trying. Not restart the software, not... Just keep trying, they'll throw more at it. That would destroy our crash statistics because I would have to reset. It wouldn't be fair to count it as a crash. And my software doesn't recognize closing from crashing. Okay, maybe we can do it. Will it load the UI of Ace Compressor? There it is. Now, sidechain input. Let's go. We can do this. It only takes eight minutes to open a window. Luckily, we only need one more window. Yes. Now, drop down. Drop down for the cake. Now, a sidechain bus is useful, but it also gives you less control. For example, I want the base to have a long release, so it swells up. But this, I would like to just cut off for a short while and not have it pulsate in this manner. Yeah, the solution there, usually I actually have three sidechain buses. I have a sub-base bus. I have a long sidechain and a short sidechain for the short bus. The short for high hats and things like that. And then the long for... Did it work? It shows me an option to disconnect as if it was connected, but it doesn't show anything. I assume it's connected. Let's just pray. Let's do it like it's connected. We'll just pretend. Imagine that this works. It's like when you spend two hours tweaking a compressor that's bypassed. Chat says close all cardinals. Those animations are expensive. Yeah, if I understand, you have to close and reopen our door in order to unload UIs. Maybe you can disable and re-enable a track. But that involves opening our door menus, and we know how that's going to go. Not great. Oh no, the threshold, it's too low. I think I'll try though, because this is pain. It's the embodiment of what the hell. This is what producing music was like in the 90s. Only you didn't have all the cool things, and it still ran like this, I guess. Yeah, exactly. Okay, I've right clicked. I'm waiting for yes. I'm gonna... But how am I gonna test my sidechain? No! Maybe we do need to restart it. Maybe it's gonna help. I think we have to do that. Are there any outdoor features that are guaranteed to crash? They could solve our problem. The VST version of Cardinal? Oh, there we go. Oh, good god. Them will struggle recovering the project. Let's just play it and see. Oh no, the loop is not contained. Let's play without looping. I think that's side chaining. Yeah. All right. It makes it fit in. It's kind of... It's quite janky, but it's interesting. It has a very specific mood. Let's try and close this. Also, it could be a good time to end here and move on to music submissions. I think... What do you think, John? Yeah, sure. I'm thinking if there's anything else to show. Yeah, we can't really run stuff, so... Yeah, but we can... Alt F4. Does Cardinal inside Cardinal still crash? That's a good question. I have no idea. I've joked about doing that, but never try. Oh, I think it's gonna go. Look how long Alt F4 takes. Alt F4. I'm gonna open Cardinal in Karla and see what happens then. Yeah. That's probably a good idea. Oh, Karla can't load it. It takes like five seconds to generate MIDI. Karla probably needs to re-scan VST. Oh, yeah, yeah, it does. It does, and then you need to restart Karla. You could load a new Karla instance. I think... I think I'm gonna just P-kill Ardor. It's Ardor GUI. Oh, snap. Oh no, I'm in Python, dude. P-kill. There we go. And now we have Karla. Woo! There it is. I think it counts. It's close enough. Well, let me ask Paul on IRC. Does hanging count as crashing? If it's froze so much that you can do anything, I guess. So, oh, I think Karla... Oh, Falk... Speaking of, in the Cardinal IRC, Falk says surge is now in main. So there we go. It's actually out. You all can experience what we have today. Awesome. Nice, I'm looking forward to that. Hopefully more stable, too. I think Karla doesn't want us to use Cardinal anymore. It is decided that I cannot show off the tune delay. Yeah, I think... I think that's just, yeah. The dream is dead, long live the dream. Well, I think it's time to end the educational portion of the stream or... So, I'll see you next. We'll see you in a little bit on the next live stream, which is the viewer submission live stream, which is going to start in a couple of minutes. I think I'll give ourselves time to 10 p.m. So, nine minutes or eight minutes, everybody can grab something or drop something. And during this time... I can run mix. Someone wants to know if there's a DAW for Windows XP? Good heavens, I don't know. Ableton 5? Multiplug tracker? Yeah, yeah. I don't know, I don't know what... Do any of the open source DAWs support that old Windows builds? I don't know. Anyway, someone might have advice for you in our Discord. There's some people in there who are into old computers. They might know, but... Yep. Alrighty, thank you so much for coming to this live stream. Huge thanks, John, for being my co-host. Anytime. And we'll see you in the next one. I'm going to drop a link in the chat. To the music submissions live stream, just in case the automatic redirection doesn't work or I didn't set it up, because that's probably how it went. Yeah, I think so. No, I did. I did set it up. Nice. Noise. All right, see you in a bit.