 Today I'm talking about laser light synths, so laser light synths is a project I did where I made some, well I'll show you in a minute, but really the core idea behind it is that everyone I think can be a musician or at least if you can enjoy music then I think you understand music, right? In a way that isn't probably conscious. Yeah, like the stuff that's going on in your brain to hear music, to hear a melody, to understand it, to appreciate the harmony, the chord structure your brain is doing an insane amount of processing just for you to be able to enjoy it as music, right? And I think well you've got that amazing brain power going off in your brain, then you should be able to be a musician, right? Obviously there are a few practical issues with being a musician. First of all, let's see are there any musicians in the audience today? Yeah, a few of you. Okay, so let's see who's ever wanted to learn a musical instrument? Come on, let's have a look. Right, that's actually quite, you know, most of you I would say. So why didn't you? Atone down. Yes, go on then. Yeah, so I mean that's a really good point, isn't it? Because it gives any, even given adults a violin for the very first time, it's not going to sound good, right? And it's not just because of the horrible, awkward screeching of the bow passing along the string, because really that's what a violin does, right? That is a violin sound, is that screech? The reason it sounds horrible is because you're probably out of tune and I mean, violins are really hard. Not only do you have to get like the right notes, but there's an infinite number of notes in between where your fingers are meant to be as well. So there's an infinite number of wrong notes on a violin. A violin is a really good example. So that's the first reason you probably haven't learned an instrument is because there's a lot of notes and most of them are wrong, which is kind of annoying. And the second one is there's a sort of technical skill in playing an instrument in time. So anyway, I'll come to all of that later. Before that, I'm going to introduce some of my projects, a very brief overview to me. Who was there yesterday on the Festival Day? Okay, so probably over half once. That's fine. There isn't much over that, but there might be a tiny bit of overlap. So this is a project called Luna Trails, where I built a massive hanging plotter and also an arcade machine, a flat pack. You know, you can get arcades, cabinets, flat pack. It's great, like Ikea. So I made a version of Luna Lander from the 70s. And while you play the game, the path that you take in the game is plotted on the wall. Let me just turn this down a bit. Oh, I can't turn it down. What's going on? Oh, wrong output. Hold on, hold on. I don't know why it seems to be going to the HDMI output. That's what I want. Okay. Not that you need to hear that music, really. There you go. That's better. Okay. So you can see that I built this big-hanging drawing machine based on the open-source Polograph. I'm sure some of you probably know that project, right? It's a really great project, and I was totally inspired and built on that project, scaled it up to about three meters wide. Yeah. So as people come and play the game, and they move through the trajectory in the game, the idea is to land your craft on the moon. I'm sure lots of you have seen it. But as you take the trajectory, it's plotted on the wall, and over time, it builds up a really nice art project, a really beautiful work of art, so I say. But I can say that because I didn't make it. All the players made it, right? So it's really nice offloading the responsibility for your artwork onto the general public. I'd recommend it. Most of my work is like that. Another project that I briefly mentioned yesterday, now my clicker isn't working. I mean, so many technical problems today. Even my keyboard isn't working. Oh, there you go. So this is a project I mentioned briefly yesterday for a collaboration with Dominic Wilcox, a crazy, brilliant inventor, slash artist, and it was a robot spoon, and I worked on the electronics for that. So I've been doing more and more electronics over the past few years. Another big project of mine, I talked about a bit more in detail yesterday as a large interactive fireworks display called PixelPyrus, projected onto a 20-meter wide screen. There are orbs of lights, and as you wave your hand in front of them, it triggers the fireworks. So every single one of them, every single firework is triggered by a member of the public. Again, offloading the responsibility to produce a nice show onto the public. Again, highly recommended. So if you were there yesterday, you know that I love lasers, and recently one of my projects has kind of exploded on the internet. I talked about it in great detail yesterday, which is this NES laser gun. Yeah, it's kind of crazy all over the internet. I put a smoke machine in a Nintendo's Apple gun and made this cool animation when you fire it. Let's just... I can't fast-forward it. Can I get a can to here? Anyway, fast-forward to the end. Oh, damn it. No good technical issues today. Honestly, what an amateur. Oh, that's not it. It's there in the middle, isn't it? Right, there you go. So there you can see it in action there. Oh, I love these guys. These are my friends, and they're just losing their shit over this game. I absolutely love it. I didn't even pay them to look that excited. So you can see that as the laser's fired, it's tracked by my camera, and I'm projecting a laser asteroids game onto the projector. It's pretty fun, but yeah, I talked loads about that yesterday, so I'm not going to date. But instead, I'm going to talk a bit more in detail about how I work with lasers. These are scanning lasers with galvanometers. So one of the mirrors is... Two mirrors attached to galvanometers. Galvanometers are the things in the U needles, you know, the meter things, and they're essentially like a coil that, you know, move a needle in response to electricity. So two mirrors, one which rotates one way and moves the laser up and down, and the other one rotates another way and moves the laser left and right. So if you move those fast enough, you can draw shapes, and if you turn the laser off at times, then you can draw lots of separate shapes. So here, you can see I was just... This is the first time I bought my own laser, a one-watt laser, and I was just experimenting to see how many dots I could make. That's one laser making all of those dots, and then in the next one, you can see the path of the laser because I left it on, so you can see where that laser's going in between drawing all the dots. I love the aesthetic lasers, and this was the first time I tried a really big one at my laser suppliers' LAM in eSpawn. This is an 11-watt laser we're just projecting onto their office wall, and the sound is muted on this video because if it wasn't, you'd hear me going, oh my god, it's so bright, it's amazing. You can't really get an impression of it, trust me, it's retina blindingly, amazingly bright. So yeah, this is... Oh, I probably can't show you too much of this actually. This is PixelPyrus. I'm going to skip it and move to Laser Arcade, which is a game I did with Nerf guns and laser-projected targets. So you can kind of see the aesthetic of lasers. I really, really love it. It's a really beautiful, bright vector line. Yeah, and it's much brighter than standard projectors. Very difficult to control. I spent probably a year, and I'm still working on it, on laser control code. You can get open source libraries to make the signal that standard laser projectors need, called the EtherDream. Sorry, the EtherDream is the open source box that makes the standard, and there's some open source libraries to send data to the laser, but the difficult bit is working out the data, point by point, where that laser moves and the most optimal path to take to draw all the shapes that you're trying to draw. Oh, so this is another project I showed yesterday. So at a conference, I did a big opening animation, and often it's just on the screen, but a short way through, we decide to break out of the screen and project onto the whole building with our big 11 watt laser that we rented. So you can see that way, that with a single laser, you can just fill massive areas. I've showed this in more detail yesterday, but I don't have time today, so I'm going to skip it. Watch it on the internet. It's really fun. So laser light synths, musical instruments. I just wanted to make some musical instruments that anyone could play, but I just had this idea in my head that they should be completely covered in super bright LEDs. So this is what I did, but of course getting to that stage is a long, long journey. It took me probably three months in the summer of 2014. My first step was just figuring out what size and general shape should they be. So I just made a test one, and I knew I wanted to base them on Neopixels or WS2812B to this audience. So I bought some strips that were 74 pixels per meter, just to see the spacing. So I thought for each note, I could use one four pixels wide and one pixel in between each note. So I just tried that to see how many notes I get, how big the keyboard would be, what it felt like. And then I found loads of copper foiled tape, and I thought, well, it'd be touch sensitive. So let's start experimenting with capacitive touch. So I stuck down loads of copper tape and soldered. I couldn't figure out how to solder onto them. So I did it really messily the first two times there. And then later on, I think I got a bit neater. But I was just like, oh, it's the best way to do this. I didn't really know how capacitive touch worked that much at the time. So I was totally winging it. If you're interested, I used the CAP 1188 capacitive touch chips on the Adafruit breakout board. Really nice module. It has loads of little LEDs built in. So it's really good for debugging. Oh, there it is, a bit embarrassing. Terrible soldering. I'm much better at soldering now. Oh, so this was me testing it out. Is there sound? Oh, I'm sure there's. Oh, no, maybe I'm just testing the lights. That's probably it. Later on this sound, I expect. Let's see. So that's it. This was my prototype lump of very unattractive MDF with a load of copper tape and a single strip of LEDs just to test it out. But I tried it out like the first time down the hackspace just with a simple setup. It actually sounded all right. But let's just pause that there because I'm going to talk a bit about how I make sure that the synths always sound good. Yeah, so I'm using Ableton Live, which is a music program. It's quite popular amongst I suppose live electronic musicians. It's designed for electronic musicians to be able to do a live performance in a kind of meaningful way. So it's quite good for this sort of stuff. There's lots of, you know, there's lots of it's just designed for live performance. So it kind of works. Right. So for this, I'm going to need a willing volunteer from the audience. But I should specify that I need someone with zero musical talent whatsoever. So if I could, oh, yeah, are you up for that? Come on then. So come down to the front. Let's give him a round of applause. Come on. He's got to go all the way up there. So make it a long, keep it going. Keep it going. Keep it going. Come on. It'll be embarrassing otherwise. Come on. You could run. You could try a bit harder. Come on. Keep it going. Yes, excellent. Oh, it's you from earlier. I'm sorry. I've forgotten your name. Andrew. Andrew. Excellent. All right. Now, this is your musical instrument. And so this is the analog for the laser lights in today. Just hit a key. Make sure I've turned it on. Yeah. Okay. Right. Good. That's good. It's working. Okay. So this is the analog for the laser lights and it's obviously just a cheap MIDI keyboard. It's nothing too special. Now, um, sorry, what's your name? Andrew. I'm not having a good night day. I'm really sorry, Andrew. I didn't get enough sleep. Right. So, Andrew, your task, your challenge, should you choose to accept it, is to just play something that was quite shit. Oh, no. See, hang on. Whoa, whoa, wait. Andrew, Andrew, Andrew. I said zero musical talent. That's probably point one musical talent. Okay. Just, just mash some notes, right? Just, right. Okay. So it sounds kind of what I sounded quite cool, but it sort of also didn't sound very cool. So the first thing I can do to make it sound cooler is take away all the wrong notes. Right. Um, and obviously that, you know, that's a slightly flippant way to say it. But if you listen to like a guitar solo, someone's soloing on a guitar, they're often just going up and down a scale called the pentatonic scale, which is just all the notes kind of sound good. And if you hear wind chimes, they're often just tuned to a pentatonic scale. So that's five notes across the octave that always kind of sound good together. And there's a major one and there's a minor one. The minor one is slightly cooler sounding. And you'll know the minor pentatonic scale if you just play all the black notes on a keyboard, they always sound good. But what I can do is rather than make Andrew, I remember, just play the black notes, I can lock down. I wrote a custom sort of patch that locks it into the pentatonic scale. So now just play anything, Andrew. Yeah. Yeah, not bad. That's pretty good, isn't it? Okay. So that's step one. Now the other thing you can do, which is kind of fun, is, is called arpeggiation. So you probably, if you're a musician, you probably know about it, but there's lots of software that will do automatic arpeggiation, which is basically, if I turn it on and you play a single note, hold it down, right? So it stops second, right? So it goes up and down the octave. Now if you play like two or three notes at once, yeah, right? It can kind of play this nice chord. Sometimes arpeggiation steps from note to note if you play multiple chords. But this time I've got this sort of set up where it sort of bounces along the entire chord. And it's quite nice. And also the great thing about arpeggiation in this case is it locks it into time. So if I give Andrew a beat, and now you, if you play some notes, yeah, let's get into it now, guys. Go for it. Keep going. Play a few notes at once and see how that sounds. Yeah, right. Jean-Michel, all right, excellent. So let's, let's stop that. Now let's look at some of the other instruments because I also wanted a bass sound in my laser light synth set up because each, each keyboard was a different sound. Now bass is slightly different because I couldn't really do arpeggiation on a bass. I mean you could, but it's not really a bass line then. So all I could really do with the bass is, well, obviously I stuck against the pentatonic scale. Give it a go. Right? The notes sound good, but they're not in time yet. So what I had to do is actually live quantize the notes with another patch. So now hopefully, Andrew, when you play, right, let's turn the other one on as well. Keep going. I'm just going to leave this going for the rest of my talk. Big finish, Andrew. Come on, let's hear it. Let's hear it for Andrew out of the basin. Thank you so much. Thank you. So it just so happened that I kind of hit upon that cheeky technique quite early on. And you can see if we go back to my keynote here, that's the performance there. Pretty much working as I just showed you, but with my MDF keyboard setup. This is a much longer talk than I have time for. Let's skip it on. Right, so LEDs. So I talked about the WS2812B, 74 per meter. I think there are nine rows of them. This is me testing out some touch sensors. So I wanted really nice touch sensors, and I actually just tried some copper wire, and it's just going behind this sheet of what I'm just using for diffusion. You can see I'm testing it. I'm going to test it away from that as well. And it sort of seems to be working through that material. I wasn't 100% sure whether I wanted some sort of diffusion or not yet. I mean, I quite like the really blindness of bare neopixels. I really do like that. Although strictly speaking, you should be a bit careful. Just like everything. All my work can potentially cause retinal damage. That's just part of it. That's totally fine. So you can see here I've got some copper wires running along the top. So I was just testing that out. And you can see here on an early prototype, I'm just kind of trying that out and seeing how good it was. And it was quite good. But it wasn't 100% ... Oh, it's shish. Someone in my video talking. It wasn't 100% reliable because it was ... Sometimes you could put your finger in between two of the copper wires and it wouldn't trigger very well. There's lots of adjustments that you can do with the Kappa 1188. And for me, I wanted it to be very responsive because I wanted it to feel like you were playing the instrument because I'm a musician. I didn't want it to dumb down too much. So there's lots of adjustments I had to do to the Kappa 1188 to make it feel right and be the right sensitivity. So yeah, you can see that I think sometimes he puts it in between the copper wire and it doesn't always trigger. So I wanted to experiment with other kind of conductive layers. And here's some bare conductive paint, which is a fun experimental thing to do. But obviously, if you're trying to do something really nice looking, you can screen print it. Screen print it and it comes out quite well, but I was just sort of trying it. It sort of works kind of a bit, but it was pretty nasty. In the end, I decided to go completely for copper foil. So I did some tests just by cutting it out with a scalpel initially, just testing out. And the two on the end here are just like conductive film, which is quite nice because it's quite invisible, but it's also really expensive. So I didn't want to exactly use that. In the end, I found the copper foil works pretty well. Although there was quite a lot of interference. I made a sort of little capacitance oscilloscope just with an Arduino and processing. I don't have a proper scope. I must get one. And you can see the sort of noise levels, the interference. I think it was just from the electricity going through the LEDs quite strong. There's a lot of noise there. So I had to sort of experiment with different settings. But I found this one with the sort of zigzag going up and down to have the lowest noise. So it's quite a strong signal. I guess as long as there's enough difference between that and that, the Kappa 1188 sort of just handles it. That's quite good. Oh, the best thing was, I mean, I started using a vinyl cutter for this project. And a vinyl cutter, I just fell in love with it. Look at this. Oh, was that not a video? Was it meant to be a video? No. Yeah, it was. Look at this. I figured out you could cut copper foil on a vinyl cutter if you're careful about the settings. So I designed this sort of squiggly line. And I made it so it goes in and out kind of around the LEDs. Because when they're just straight lines, there's a chance you could put your finger in between some. But with this wiggly line, it's almost certain that you'll hit a bit of the copper wherever you touch. I just love that. I mean, that's so cool. It took ages to sort of unpick it to weed out all the bits you didn't want. And actually, it was really critical getting exactly the right position on the synth. Because if it was even slightly out, it would slightly obscure the LEDs. Like you can see this one, my first attempt is actually a little bit too high. Can you see? It's sort of just obscuring. Some of the LEDs are really frustrating. I think by these two, I'd kind of sussed it. But it was really millimeter precise. So LEDs. So I discovered, I wanted the LEDs to be spaced out as neatly as possible. So I was just using the vinyl cutter for everything, including cutting out these guides, right? Which I could just stick to the end of each end of my acrylic sheets, which was also cut to order. Yeah. So vinyl cut spaces were just really brilliant for me to get those in exactly the right places. Yeah. A lot of sticking down and hand soldering. Drilling. So this is, you know, you probably know this, right? Because sometimes you just have a tool that you really love, right? You know what I'm talking about, don't you? Like a screwdriver that's exactly the right weight or some wire cutters that are just perfectly springy. Like for me, this press drill, it's actually a jeweler's tool. I learned to make jewelry a few years ago. And it's just, and I don't make jewelry anymore, but I've still got this drill. It's a very, very beautiful drill. Really good for just drilling tiny little holes very precisely. I don't have a very big studio, so I can't have much big, you know, I can't have like a bench drill or anything. Yeah. Lots of wiring. I don't need to tell you about that necessarily. Oh, this is the first time that I turned on all the LEDs at once. I was working with some friends at Lighthouse in Brighton, and we just thought, okay, let's see what these LEDs look like. All right, can you just see how dark the camera goes, right? It's just like the sensors shutting down. It's kind of crazy. Yeah. So there's some terrible wiring. Let's skip past that. So this is the first time I set up all the LEDs. So building it together, the physical build, it was, so you could see I had some acrylic, three mil acrylic on the back, and I had some three mil acrylic edges. Can you just about see that there? So that's a sort of spacer that goes around the edge. I just sent it all. I do have access to a laser cutter, but these were quite long, so I sent it to a plastic laser cutter in Portslade near Brighton where I live. So yeah, those spacers were cut again, three mils on top of that glued them in with some acrylic cement, you know, stuff that melts the acrylic slightly and bonds it really well. Oh, that's my dremel. That's not my good job. But this is quite good because I had to drill holes to get the wires from the copper foil through to the back of the acrylic sheet. And again, using some vinyl cut spacers there for me to know where to put each little tiny hole. And then subsequently, that helped me kind of put the copper wire in the right place. But there are tiny holes there that I drilled through all the way through the plastic, through to the back, which is how I wired up all those classes. They're my favorite drill again. Bit of view of it at that time. That's nice. There you can see a close-up of the tiny little hole for the copper wire to go through to connect from the back to the front. So there's the copper foil stuck in place. Ah, yes, I was thinking for ages, how do I get them? I was just putting copper wire from the top through to the bottom and soldering it in, but it was really fragile. It was just kind of hanging onto the copper foil. And if you tugged it, it could tear the copper foil, right? Because it was so fragile. And I thought, I had in my mind copper pins. And I couldn't remember why. I think maybe from when my sister used to make lace or something like that. But I knew in crafting or beading or something like that, I'd seen copper pins that were very bendy. And of course, I googled it and discovered it was for making bead stuff. Second, of course, is that there were like two bead chops in Brighton, and one of which was like 100 meters away from where I was. So I went and bought these copper pins, which were perfect. And then some copper kind of sequins, which, so the copper pins were slightly recessed, sort of clung onto the foil really well, soldered that. And then from underneath, I put one of those sequins and soldered it on the bottom as well. So it was really locked in. So you could pull that pin around from underneath and it wouldn't damage the foil. So much geeky detail. You're the right audience for that though, right? But isn't it funny how sometimes the solutions to your problems aren't technological? They're just a vague recollection about lace making. Lots of crimp connectors. So these were the wires that connected all the touch-capacitant foil areas from the front to the back into the boxes, which held the cap 1188. So you can see they're quite finished. So as well as the acrylic boards that I showed you, the frames were just made out of extruded aluminium. So I should say at this point that I had some help from a mechanical engineer called Paul Strotton, who also worked with me on the Lunar Trails hanging plotter. And we've been collaborating for a few years now that he loves this extruded aluminium, very cheap and easy to buy, and they'll cut it to length. So really these parts of aluminium just arrived and I could just kind of screw them together and they're perfectly measured to fit the acrylic inside. So you can see there's the groove there and that's the back plate of acrylic 3 mils. And then these are the spaces that you saw. So all the LEDs go in this space here, that cavity there, and then some 5 mil clear acrylic on the top. So that was the top surface of the synth. This was done in Fusion 360, which I love by the way. So coming back to the electronics, I haven't really talked about the electronics, but it's a tinsy. Just like in my laser gun, it's a little tinsy there. I love tinsies. I had some help from my friend Jason Hodgkiss, who makes lots of midi things and they're all on tindi. You should definitely look at it, look it up. But he helped me figure out how to make midi interface, which is ridiculously easy. Absolutely so easy to make a midi interface out of an Arduino or a tinsy. So you can see midi inputs and outputs there. There's a logic level shifter there and an opto isolator for the midi input, which you kind of need, but you don't strictly need. It's fine, you should do it. So that was my prototype. And then there's some I2C, I2C lines coming out for the CAP 1188 chips. That was my first kind of strip board effort, but then subsequently, Paul helped me design a PCB. He's really good at CNC milling, so he milled me out of board. And yeah, subsequent revision. So that's the CAP 1188 breakout board as well. Wiring was the hardest thing with this. Our loads of really nice shots of all the components laid out. That's all the PCBs milled. I should say that now I design my own PCBs and I've just had my first PCB back from Ragworm, who are amazing, by the way. I really love them. But at that time, I was still milling them. Actually, there's something very beautiful about milled PCBs, aren't there? I really love them. So that's all of them for the four synths. So for each synth, we have one main board for the tinsy and two of these CAP 1188 breakouts. Each CAP 1188 can handle eight inputs. So there's 16 keys on the whole thing. There you go. There they are. Almost finished just being held together with tape. That's my original MDF prototype there. So boxes, of course, left to the last minute, but I just quickly designed some laser cut boxes to hold everything in and they kind of screwed in. Everything kind of screwed into the aluminium extrusion, which was quite nice. So you can see the bolt there at the end and there's this box at the end with all the midi interface connectors and the power switch and everything as a reset button as well at the front. So that went in that control panel. I don't have any pictures of that finish because the first time I installed it, none of that was really in it. I just kind of plugged wires in. But now I've finished them all properly. I should take some more pictures. So that's the finished lights synth. Again, I'm quite finished. The tape around the top on the edge, that's designed to be filled in with silicone just so it's a bit more waterproof because this is generally an outdoor event. There you go. There's the four synths in their mostly finished stage. Stage is pretty fun. And this is my friend Andre Michel. He's German and he's a brilliant programmer and he's also a kind of electronic musician. And he was really going for it. Let's see if we've got any audio. So it's quite nice to have an actual musician have a go because I wanted... Schiff said, I wanted actual musicians to enjoy it as well. That skill. That's kind of cool, isn't it? So you might have, if you saw my talk yesterday, you see that animation is really, really important to me. Particularly with the laser gun that I made. There's some super bright LEDs down the side that really animate and give that sense of energy and make the... It looks like the laser's coming from the gun. The LEDs sort of flash and then the laser comes out at the end and then another laser projects the thing. It's exactly the same for this project. You see the animation when you touch one of those keys, it immediately flashes full brightness. But you can't really maintain that full brightness because it's so bright, it will really hurt your eyes. But you don't need it to be there all time. You can just have it as a flash and then it just fades back a little because that's what your eyes would see if there was a sudden bright light anyway as your iris is closed. So I'm sort of recreating the effect of a really bright lingering light. But you can see it happen right there and then it sort of fades back to the pink background, to the magenta background behind. But it's that animation, that dynamism of animation that's critical. So this was my previous that I did. I had to do loads of press obviously. So I did the mock that up in Photoshop which is kind of fun. I just quickly drew some silhouettes of people. It kind of almost works. And this is actually what it looked like. So it's kind of close, isn't it? It's not too bad. And then you can see the finished machines like up close with their squiggly copper tracks. Oh, and some laser cut end plates. So we got those made by a company special. I can't remember who was saying earlier about, I think it was another Andrew McEwen. Is that your first name? Adrian. Sorry, Adrian. I was pretty close though. I wasn't bad, right? I was saying that you go to these big industrial places and they're set up to do like thousands and you're like, can I have five of these? Thankfully, they were super nice and managed to squeeze it in between jobs. So we got some nice laser cut end plates. They're really proper solid. I think aluminium, I can't remember. We got some nice close ups. And there's the laser that we used. That was an 11 watts. I always forget the name of that one. We often use an RTIP code but this is a different one. I forget the name. Laser geeks everywhere. Super disappointed in me. But it's a really, really, it's quite an old laser now. I say old. It's probably only five or eight years old. It's so heavy compared to new ones. It takes two people to carry that. It's insane. But that's kind of cooler in a way, right? Modern, really powerful lasers you can just sort of. It's like, well, that doesn't look very cool and powerful, does it? But no, it does. It is. But this one is so heavy and really bright. So that's double cool. So yeah, there we go. I run the project and there's the laser coming out. It's quite good because I don't need any projectors in this project. Pixel pyros is really expensive because the projectors are so expensive. With pixel pyros, I use two massive projectors and the lasers kind of pick out the bright points. But with laser license, just lasers. So what you see going up the building is just a single laser. And then of course, I mean, the expensive part in this was making sense, right? It took me months. And you know what it's like developing a project. You just buy all the parts and it's like, no, that's no good. That's no good. And then you order the wrong thing from RS. Every time I order the wrong thing from RS, I think probably 50% hit rate on my orders from RS. Just so confusing somehow. I always get the wrong thing, the wrong size or whatever. Anyway, they've got a good stock, I suppose. I'd give them that. I would really love some sponsorship. I love you RS. I just want better pictures. That's all. That's all. Apart from that, I love RS. So let's have a look at the video. So this is some fairly unedited footage that I just stuck on the internet. So you can see there people are playing. And as they play, the notes are represented by the laser lights flying up. Kids love it. Kids tend to love my projects. In a way, it's kind of easy to get kids to interact with your stuff. So I don't necessarily measure that as a measure of success because I sort of think, give kids something to touch and they're just going to love it anyway. So I always measure my success on whether the teenagers play with it. Because teenagers are way too cool. So if teenagers are into it, then you know you've done something right. Thankfully, teenagers and young adults have always been into it. At any age, really. It's completely, completely accessible. So I'd give people the odd solo. Here's someone who's an artist. Oh, you missed her now. An artist in Brian. She was doing some amazing solos. And I caught her afterwards and was like, wow, you must be a musician. I know. I've never played in my life. And then at one point, there was like a bass solo that just blew me away. I couldn't really see the people playing it from where I was running it in my control room. Control room. That sounds really grand. It was literally a cheap 10-quid gazebo from Argos, right? But yeah, I call it my control room. So I couldn't really see who it was playing the solo. And it was only later when I looked back at the footage, I realized it was a three-year-old girl, you know, playing this astonishing bass solo. And at the end, everyone applauded and she freaked out. I got really shy and went to hug her mum. So it was just, yeah, really sweet. So yeah, I guess, yeah, that's kind of it. So it's, it hasn't really, yeah, showmanship, right? Okay. Brilliant. Black screen. I suppose this is where you focus on me. Yeah, I meant for this to happen. Yeah, so that's kind of it. The project is all finished. I've brought it out a couple of times. So not that scale. I'm hoping to do it again next year. I've done a bit more work on them. But really, there's so much that I need to do still in terms of documenting and releasing plans and stuff. But I hope you've enjoyed it. I mean, it was a really nice project for me today. I really loved it. And actually, even more than, although PixelPyrus is probably bigger and grander and more expensive, laser license is a much more kind of sophisticated interaction. Like people really do kind of give it their full focus. And there's always cues as well. So by the time you get to the end, you sort of really energized and excited about it. I think you saw in the videos, some people were really excited about it. So for me, it was a really fun project and a kind of continuation of this work that I've been doing where the public are the project really, it's not about me, my skills, it's about giving that agency and, you know, power to an audience, ordinary members of the public. So yeah, you've enjoyed it. Thank you very much.