 Hey, it's Anfa and you're watching a live stream. Something that I've been waiting for for a long time has finally happened. The vital synthesizer has been announced. The release date is 24th of November. So exactly one month before Christmas. And it's funny because it's like I think it was like almost precisely one year ago when I given my presentation on Sonoy 2019 about vital. If you don't know, I've given a live presentation, an hour long live presentation of vital at that time. And we were expecting it to premiere earlier, but Matt has spent all this time polishing his synthesizer and making sure it's absolutely stunning. And yep, the pricing has also been announced and there's basically three tiers. The lowest tier is completely free. And the next tiers give you extra factory presets and skins and some other additional benefits. And there's also a $5 subscription, which gives you most stuff. So it's like you pay $5 amount of to use it and you have like everything. There is no official information about the source code license or source code release at this point. So I can't say anything about that. And I guess if you've seen the trailer, the release trailer, if you haven't seen it, go check it out. And if you've seen it, you probably want to, you're probably dying to see what's in the synth, like take a closer look at the oscillators of the filters and the effects, the modulation, et cetera. So that's what I'm going to do. Yep. Alrighty. Let me shrink myself a little bit. So here is Vital, I've got to route it to a MIDI keyboard so I can play it. Vital has three oscillators, one, two, and three, and also a sampler, which doubles as a noise source. The noise is sampled, but you can do much more because it's a sample player, so pretty much you can use whatever here. And the amazing thing is that you can design your own wavetables. So of course you can open up some presets, like a preset that has a pulse width modulation thing, but you can edit these and make your own. And you do it by creating sources, for example here's a line source, where you have a bunch of points, and you can basically animate these points on a timeline. And Vital is going to interpolate these points to create a waveform at each part of this thing. So what you get is a very arbitrary sound, and there's, now it seems like my voice is too quiet. All right. Is that better? I can also view this in a 3D version, but there's way more stuff you can do because you have modifiers. For example, you can add a filter, and you can make it a low pass, and cut off the harmonics, and you can also animate this filter, change its cutoff, et cetera, at any point. And like these modifiers layer on top of each other, so this is one thing. Another thing is you can have different sources. For example, a wave source, which is like the most basic one, let's remove this group. And a wave source lets you basically draw either a harmonic series, so this is like reminiscent of a saw wave, or you can draw the waveform itself. So maybe it's a little bit buggy in this version, I don't know. Yeah, it seems to not work properly. Yeah. Basically, I should be able to just draw a line here. Oh, I can. Yeah, it's a little bit slow. I think something's not perfect yet. Maybe it's... Yeah. Now we can like have various keyframes again, like we're animating it. And it's going to interpolate between these. So it's super easy to create very rich harmonic movement because you can pretty much just draw your own harmonics series and then make them move. You can offset this two octaves down, and then we have a bass, which is already kind of growling. But Vital goes way beyond this. That's like the most basic thing in Vital, which is already pretty complex. Thinking about what else you can do on top of that, like all the modifiers. There is two things we can do on top of the wavetables, which are also completely dynamic. So we can modulate with our envelopes and LFOs or with macros or automate the wavetable position. But we can also independently automate these modifiers. And there are two groups of them. One we have here, these are things that operate on the harmonic content of the wavetable. And there's some really funky stuff in here. Of course we have unison, we can have 16 voices, we can also tweak what is the balance between the, what is the proportion of the voices detuning and its velocity. Yes, so for example here, no sorry, this is just the distribution of the voices. They are either closer or more spread out. And the width, of course. And this is just an oscillator, we haven't touched anything else yet and we already have this sound. So you can imagine that there is really a lot of things we can do in Vital. Because well, it has lots of layers. Let me maybe make it monophonic, so let's turn down the voices to one and up glide. And what I'm going to do is I'm going to... Just these two and I'm already having tons of fun with this sound. Okay, there's more. We have also various modifiers here which affect the waveform. So I think these are based on the harmonics. So I think these work in the spectral domain while these work in the time domain. So they operate on the waveform, not on the harmonic content. I really like this band one. So we already have three dimensions of modulation of the sound. The wavetable position and two of these modifiers warping effects. And we have frequency modulation. Each of the oscillators and the sampler can act as an operator in the FM graph. So for example, if I make, is there a sine wave? Like a very, very basic sine wave. Give me a sine wave, just a sine wave. I wonder if my presets are here somewhere. Oh, there it is. Is it? Yay, got a sine wave. Cool. You can also copy and paste between oscillator wavetables. I'm going to turn down the level of these two. So we still hear just the first one. And now we can modulate our oscillator one with oscillator two as frequency modulation. And this now becomes the amount of frequency modulation we are having. Pretty, it's a lot. It's a lot. I think maybe if we removed unison for a while. Now the cool thing is we can also do all the things we've done with the first oscillator with the second one. We can come in and create a new frame. And for example, on this state add a bunch of harmonics. Maybe not as much high harmonics and a few here and maybe remove this one and introduce some motion in this way so that we can now modulate the wavetable position of the second oscillator which isn't directly being heard. It's only modulating oscillator one. Actually the 2D view. Oh, that's a spectral view. Ha! So this one shows us the harmonic makeup of our waveform. So this is the first harmonic. Interesting. I haven't seen that one before. Not to brag but I was the first beta tester of this synthesizer. And it's really amazing to see what Matt made with it, how far he has taken it. And again we can FM modulate our oscillator 2 with oscillator 3 or with the sample. It's enabled the sample and I'm going to turn down the level so and this is white noise. So but because it's a sample we can transpose it to change the harmonic makeup of that white noise. And you know what? We can use oscillator 3 as a sub oscillator and just pitch it down by two octaves. Maybe turn it down a bit. Maybe even we could try and enable unison our oscillator 2. Phil Riposta says isn't this the first time that ANFA has shown closed source software? This is a very special case. I can't say more. And then the crowd. Plus one. You know what? Let's talk about the envelopes maybe. These are pretty straightforward so you can tweak them by either dragging the points or by dragging the knobs. You can also zoom in and out in this graph. And you assign modulation sources simply by clicking and dragging them onto something. For example the wavetable position. This is my neutral position. And this little pie dial is my modulation amount. I can click and drag this onto other wavetables and now it's going in two separate in two opposite directions on two oscillators. So this seems pretty basic. Chateau Robinette asks is this for Linux as well? I'm running this on Linux. What else would I be doing? I'm running on Linux. Manjaro Linux KDE edition. This is the standalone version of Vital 1.0 running in Jack Audio. I'm using the standalone because I wanted to show the user interface in full screen. And if I use the LV2 plugin that wouldn't be hard. I think we should play and modulate some FM amount. Changing our envelope. I think we can also enable Legato. And now the envelopes will not restart between notes so I can play a passage. And as long as I don't let go of the notes and the envelope will continue. And we have also LFOs which are really cool. I can modulate the amount of noise in this thing. So I'm going to change the amount of modulation. The envelopes are very cool. I'm reading the chat and there's lots of fun stuff in there. Thiel Reposta says it's because it's the first wavetable sent from Linux. Cat eyes. It's actually not. Surge is also wavetable capable. Actually there is even a synthesizer called KALF wavetable which is super limited and I don't think anybody uses it but it exists. Also Odin has wavetables too, Odin 2 has wavetables. So these only have like four frames. And the vital oscillators wavetables have I don't think in the 120, 256 frames. I think they have 256 frames. So quite a lot more resolution and motion possible to do there. Plus you can't edit the wavetables in Surge or Odin 2. In theory you can import wavetables to Surge but I wasn't able to do that at least. Yeah, it like never worked for me, it just crashed or hung. We can also go to advanced settings and up the oversampling. By default it runs on two times oversampling. You can go higher up to eight times. Honestly for such a noisy patch I'm not hearing any difference. Let's make a new patch. I'm gonna save this by the way. Hey, test zero one. As if I've never used this still before. Alrighty initialize preset. Let's play with the filters. Then drop this by two octaves down and enable the filter. The filters are really cool and I love the sound of them. First thing is there's really warm and soft and they sound so analog man. And we can enable overdrive or drive. We could test out two things at once and our alphos can double as step sequencers. If we change the like use this thing as a step we can paint a step sequence. We can also change the amount of divisions. Maybe let's go with eight. Yeah, I think eight is okay. I can draw a pattern and I'm going to assign that to the filter cut-up. Wow, and we can also smoothen this out. Oh, that's so cool. So instead of a sample and hold style wave shape we can also have like a smooth out oscillation noisy thingy. And there's also a thing that Vital has a completely separate left and right channel processing signal chain signal processing chain and you can pretty much modulate anything to be different in stereo. For example here we are modulating the phase of the LFO between left and right. We can do things like get the stereo thingy and you can just offset the oh I think I did something modulation at one amount. Oh, okay. I think what I've done is I assigned this to not what I wanted. I was signed it to an assignment. I want I've been modulating a modulation. Crazy. So, you know, create stereo widths in really unusual ways. For example, just offset the filter by a tiny amount. I wonder if I can get precise, okay, with control I get precise mouse action and it does sound wider. So it's very subtle and interesting, delicate. So that's the analog 12 decibels per octave Lopez filter. Using this thing we can go to a band pass to a high pass, of course. And with this thing we can select different types of filters, 24 decibels per octave. There's also various ways of going through notches. So this thing blends between low pass to a notch to a high pass, but there is also something called notch spread, which goes from a band pass to a notch. Through being two notches in a band pass, which is really interesting. A really interesting thing is that we also have random modulation sources. Wee-wee-woe. Yes, that's the sound. Maybe I'll disable this LFO modulation on my filter. There's also band pass, peak, or notch, so you can also have a peak filter, which doesn't remove anything, it just emphasizes the band of frequencies. I gotta love the sound of these filters. And we have different classes of them. There's the analog, which is the default one, there is a dirty filter. It does sound like having a lot more distortion in it. There's also ladder, which I believe is the emulation of a Mog filter. Mog? Or Moog? This sounds so cool. Oh my goodness. I could sweep these filters all day. And digital. Oh, that sounds so insanely different. And there's diode filter. I think this one is an emulation of a Korg filter. Maybe I'm mistaken. Low shelf. How interesting. It goes to a band pass. I can also make a key track. I don't know what I'm doing. And I don't know why this sounds like an electric piano, because it's a subtractive patch. I learned that electric piano is done with FM. What's going on? Yes, filters are fun, but this is not the end with filters. There is also a formant filter, actually two of these, because, like, why not? Another type. Yeah, this sounds just like me in the morning. I don't want to get out of the bed. And there's also a comp filter. It's disabled key tracking, maybe. It's very interesting. Look how much weird sounds I can get just with a sawtooth and one filter. It's insane. Oh, I'm sorry, that was too loud. And there's also phaser filter, because why not? I guess this is actually like there's so much interesting sounds in these filters, and it's just like one block in the synthesizer. And you, of course, have more than one filter, you have two filters. And if you need more, you can also have another one in the effects, or you can use one, which is included in the distortion effect, or you can use an EQ effect if you need more filters. Yeah. And one very nice thing is you also have a compressor effect, which is actually OTT. So it's like instant EDM goodness, basically, because it's a downward and upward multi-band compressor. Of course, you can use it in single-band mode, but where's the fan? And you can control the ratios of the downwards compressors and the upwards compressors and the attack and release times. I'm going to make it monophonic, because that's not going to sound good with a harmonic. And you could also throw some reverb at it. I'm jamming. Whittle, willdle, willdle house asks, ANFA, is vital open source or closed source? There is no information about it being open source at the moment. No official information. I like this reverb. It sounds surprisingly good. I think Matt tweaked it. I don't remember the high sounding so nice, or maybe it's just because they are dampened. They are nice. Wow. That's some smooth highs for a reverb. That's so hard to do. Wow. Reverbs are notorious for sounding really bad on high frequencies. Okay. We could use some macros to control the sound. I can right-click and learn a media assignment. I can move an knob on my controller. And now I can just drag and drop this onto the pitch. Oh, I should have dropped the info about this stream on vital discord. I forgot about that. A really interesting thing is also that the modulations are not just the amount and the fact that the influence is positive or negative. We have this modulation matrix and you can see there's this huge graph in here. What we can do with it is pretty much take any of the inputs and create a function that will transform what's going to happen. So now if I move my knob, now you can see that this is a single movement of my MIDI controller, but it's being transformed through this function graph. And the result is we can have a single knob create very complex shapes and movements all over our patch. Aggressive gas asks, does it work on Windows 95? You're free to try. Maybe I'll save this patch. Test 02. Wow. Let's initialize it again. You could try this, yeah, text to wavetable. Check internet connection. Oh, I have an internet connection. What you can also do is use an audio file as the wavetable source. I don't have any audio files at hand, but what we can also do is resample the patch into a wavetable. So let's do it. Let's create an envelope that's going to sweep this filter. And now right click here and resynthesize preset to wavetable. Oh. Oh, now I can do it twice. Let's just start mute this and resample it now to the second oscillator. I'm going to mute the filter, mute this first oscillator and listen. How does this sound, huh? Oh, I muted this. Let's use the LFO to ... Oh, that's weird. Ah, seems not much stuff has been sampled here, resampled. Let's edit this. And you can see it's basically an audio file that Vital has itself rendered in the background. Change the position. Let's maybe initialize this. Oh, yeah. Another cool thing I wanted to show you is physical modeling with the filter and noise. If we enable the white noise and give ourselves a very short, percussive envelope to modulate the volume, so we have just a click, right, a tiny click, can make it louder. Now if we give ourselves a filter and route this sampler through the filter, we do it with these buttons. Now because the filter is self-oscillating, we have a tone. And if we have more of these peaks, then it could even be a harmonic series. And that's what the comp filter does, only if we could somehow tune it with the pitch of what you're playing. Oh, there's this key track knob. Hmm, I think it's not resonating enough. Let's turn this up. Maybe if you modulate the volume of our white noise with the key stroke and velocity, then we can have dynamic velocity. Here is velocity, but we would need to modulate the amount of modulation. Oh, we can, of course. Let's just drop this onto the modulation itself. That sounds like a harp to me. Of course we're missing the resonant cavity characteristics. I think I will turn up the volume because this is quiet. I think I'll add a compressor and a reverb. I think the high is a little bit too high. Yeah, and we can still tweak this. Can anything else? Eric Lundestand asks, is this in the Debian repo? I don't think so. Not yet. It's not released yet. Having fun with the comp filter. It's amazing how many different sounds we can get just with a bit of white noise and a comp filter and some compression reverb to taste. Vital is a lot of things and certainly a lot of fun. I think I will maybe do one more thing. If we make this not a pluck but a sustained sound, of course we need to reduce the velocity and now filter this, we have a pipe organ. Also we can randomize the start position with this table here. We could have a second set of pipes if we enabled another filter. What is this thing? We can change the display of the filter's pitch from Hertz to semitones and this will give us a relative position. Zero semitones is exactly the same as what we play, but we can here enter 12 semitones and this is going to be an octave higher. If I now route the sample here and enable key track and enable drive. Oh, it's too loud. I need to compress. Maybe this time single bend and give me more reverb. Let's make this a cathedral. I'm clipping. I'm limited by 8 voices. If I made the resonance a bit more, we wouldn't hear this raspy noise, but it's still there and it's still physical modeling. How do I resolve this? I can't! Sorry, I was very anti-climactic. Okay, so this is vital. The premiere is 24th of November. Get excited, I guess. I'll keep you up to date on any news regarding it. Thanks for watching. Also, huge thanks to everybody who is supporting me on Patreon and LibraPay. These people really helped me spend more time on making videos and streaming and keeping up to date on open source and Linux audio production, music production, etc. And we're living in difficult times right now. So the support is especially appreciated even though I understand that many of us are in difficult positions, so don't feel obligated to support me. I'm okay. But if you can and you want me to make more, go ahead. I can't tell you to grab vital because it's not out yet, but I tell you to grab it as soon as it's out. And we'll see what happens next. Bye.