 All right, that's it for the intro. Hey, it's Anfa, and you're watching AnfaVlog. Today I wanna talk about Helm 0.9 because there was an update, there's some great fixes and some great new features. But before I do this, I want to talk about a little trick that I found today to work around the stereo imaging limitations of Helm. This is specific to Ardor, so it won't help you if you're running Qtractor unless Qtractor can do something similar. So, as an example, I'm gonna use this track that I made today using entirely Helm, and we have the kick drum, we have the snare drum, and the snare is using that trick. But it was most important for saws, saw, super saw for this. Now, before it sounded more like this. When we do this trick, it sounds like this. Hear the difference? There was virtually no stereo image because Helm's current biggest limitation is the lack of any way to create a stereo image apart from the reverb unit. So if you take a look, we don't have anything that allows us to pan the oscillators. If we could pan the oscillators, I could use the two oscillators, pan them left and right, and that should do it. Funny thing is, right now, like this isn't passed to the other instance. So right now I'm only playing on the left channel because now Ardor is internally running two instances of Helm plugin for this particular instrument and it's fitting them the same MIDI data and using the same presets. So whatever I change, like if I change this to a square wave, like you can hear that both instances react to this, right? But if I play on the keyboard here, only one reacts because if I turn a knob, that sends an information to Ardor, oh, the plugin patch has changed and Ardor says, all right, we have to update the other instance. But this just sends information through the GUI directly to the plugin and it's not passed through Ardor so it can't send the same information back to the plugin. But the same MIDI data from Sequencer is fed here. So the oscillators, even with unison voices, like here we have 15 voices and 100 cents detuned so it's the maximum, like it can't go higher. I kind of wish it could go even higher because sometimes I would like to have the option to go to 1,000 cents or 1,012, like a whole octave and then use an envelope to go from that to no detune, for example, that could create some pretty interesting effects. Matt, if you're watching, think about this. I might file an issue on GitHub, so yeah. Anyway, it's still very narrow, it's perfectly mono. All the unison voices are panned in the center. Also, the noise generator is using one noise generator and it's, again, panned in the center. I kind of wish I could have two for left and right but you can't do this inside hell and even the delay is mono, it's perfectly mono. Only the reverb unit can create any stereo image at all and that's nice but that's a big limitation. But we can now, using our door, override this and to do this, I'm gonna make a new patch just to show you and if I change this to a saw oscillator, disable the second one, increase the unison voices, increase detune. You can see, that's pretty noisy in the high spectrum but it's perfectly mono. Now, we can make this stereo by going to pin connections. I'm right clicking on the instrument plugin, pin connections and here we have pin configuration. We need to go to manual config and now we can add another instance of Helm. And we have to connect the MIDI input so it's fed to both instances and then just grab one of the two in outputs and feed this to the output and we have wide stereo image now. And the same will work for noise. The noise in its basis is mono. With this, we have a stereo noise. It's pretty cool. Another interesting thing is that it's like this no detune so it's mono again but everything that is random, for example, a random LFO because the LFOs have random, the sample and hold style random and a smooth random and you can see what is generated. We can speed this up, it's gonna make changes faster. And now if I use some noise, enable the filter and route the LFO to the filter cutoff. Something's not perfectly, yeah. The left instance got it right but the right instance didn't. So let's try, no, not that. Let's try pin connections and remove one instance, create another instance and redo our trick. Oh yeah, now we have it. That's a problem. Maybe I'll file a bug or maybe this could be done with helm like on the helm side. Anyway, the point is the randomness is independent between the two helm instances. So the left channel is wandering with the LFO completely independently from the right channel. So it creates some interesting effects. However, you need to apply the trick of creating another instance in the manual config in the pin configuration and connecting the MIDI, input and audio output after you do the routing because that's not conveyed properly. All right, that's it for the intro. If there's one takeaway you won't gonna have from this video, let it be it. Like that you can override the unison mono and noise mono ishness problem in the helm until Matt solves it. Matt solve it. I mean, thanks man, your synth is great. Really, I made this track, I really enjoy it. But now I have something to do and that is open a coke can or soda as you call it in, I don't know, UK. Can you hear the bubbles? All right, transition. Okay, I've got my order set up. I've created eight tracks with new helm but before we start making music, I want to talk about installing helm 0.9 because it's not as simple as you might think. All right, to get helm, go to the website tittle.org slash helm and there there's a big download helm beta button. You press it and here you can pay something or you can click in this box and press remind me. But if you type here five bucks and buy, you're eligible for a cool sticker. I got mine and I highly recommend you do that. If not necessarily like when you start, you can just start using it, learn it and then when you have some spare change, just drop it, Matt's way. Open source is free, but it's not free to make. These people spend a lot of their lives making the software, which is great. So I think it's very important to support them financially. Drop them two bucks or 50 cents, I don't know. Drop them 50 cents, yo. Once you download it, you will get a deb package that is a Debian installer. So you can open it with G-debi. For example, if you have it installed or you can use DPKG, but the problem with it is that it's misleadingly identified as an older version. So to actually be able to install this package, you have to first remove your old existing one. So you have to type sudo apt get remove helm. And then you can go, oh, then you hit enter, you type your password, blah, blah, blah, blah. And then you get asked. And then you get asked if you really wanna do this. I don't, so I press N. After you remove that package, you will be able to install this new one. You might need to open your downloads and click on it again, because there should be a menu to refresh, but I can't see it. And then it will install and it will run. Then you can load it in the Ardor, and there you go. This is it. All right, on to the features. So the first feature I wanna talk about is the one that like shouts at you when you open helm. And that is a much more responsive waveform preview and a master level peak meter. So that's great, because you can see what you're doing. This isn't actually a slider. This just marks the zero decibel level. So you know that if something crosses this brighter line, it's above zero decibels. And that's not good. Second feature I wanna talk about is the changes to the filter. The filter can now be disabled entirely before there was an all pass mode that actually did something and it changed the relative phase of different frequencies. And people were confused about this and it produced strangely looking waveforms that sounded okay because our ears are not too sensitive to phase changes. So you can have two waveforms that look very different that sound completely identical unless you mix them and then phase cancellation comes into play. But that's a different topic. So the new filter has much more controls. The first thing you'll notice is that we have this little slide here and what it does, it can mix between low pass, band pass and high pass modes. And the cool thing is that you can modulate this with an LFO or an envelope. So, well, that gets, that makes me inspired to make some reasy, weird, wobbly basis. The second thing you'll notice is that we have a sharper, a steeper filter type because this is 12 decibels per octave and this is 24, so more stages. And we also have a shell type which is low or high shell filter, more like in any cue, but also a peak filter. So we can make a notch with this, which is very useful for some, you know, newer, funky basis. Another great thing about the filter is that now it has a drive option and it has some non-linearity is modeled, so it will distort like a real physical unit, which is really cool. And, you know, it sounds a little bit different than the distortion unit, so I really like this. Good job on that filter, lad. Another quick change I wanna talk about is that the sub oscillator can now go one octave lower than before. There's just, you know, this little switch that you can hit and it will make sounds lower than before. You can see how our notch filter is making weird things to our waveform, huh? Awesome. Another cool thing, and this is really big, is that the polyphonic modulation sources can now drive monophonic destinations. That might sound confusing, but before when you hit poly LFO, for example, or filter envelope, you were unable to drive the formant, the stutter, the arpeggiator, the beats per minute, the volume, the distortion, delay parameters or the reverb, because all of that is monophonic. That means you have one control and that processor operates on all the notes mixed together. So it didn't quite make sense to assign a polyphonic modulation source to a monophonic destination because you can hit a chord and you have five notes playing and each one has the envelope in a different place and the LFO in a different place and has a different note number or different velocity and different after touch and stuff. But now, simply the last pressed note is used so you can do very cool stuff. Like, for example, use the amplitude envelope to drive the reverb amount, which you have to enable it. Of course, we have to have the reverb at zero. And now you can hear that we have something that has a reverb that is immediately cut off when the note ends. And, you know, to do something like this without this functionality, well, first you could have tried using monophonic LFO but it's not synced to notes so you could do manual automation, but that sucks. So this opens up a whole new world of possibilities of making cool sounds that incorporate all the effects. You can use a distortion with LFO for each note and, you know, it's gonna sync. You can wobble this. It's fantastic. I made three little tracks during the holidays and after and this rocks, really. And our small one is that now there has a random keyboard modulation source and that will produce a single random value for each pressed note. So, for example, if I plug this to the tune and switch to our solos later. Each pressed note will have a slightly different tuning or not so slightly different. Okay, I have my MIDI keyboard hooked up. So let's make this very, very delicate because now it's horrendous. All right, let's disable this and I'm gonna play a chord. Now let's enable it. I'm gonna play it again. Every time I hit it, every note is slightly detuned differently. So, well, in small amounts, this can give amazing amount of life into the sound, make it feel more analog because the old analog electronic physical synthesizers, they wasn't very stable with the tuning. Like, you know, people are so nostalgic about the old school synthesizers, but to keep this thing in tune throughout a whole gig with hot lights on the stage, that was a horrible thing, you know? Really, you don't want that. Like, because the resistors and the capacitors inside heat up, they change their parameters and the tuning of the synth goes off the freaking window. So people then developed analog synthesizers with digital brains to keep this tuning stable, but that's kind of like a hybrid. Some people say it's the best thing ever. Didn't play with it. Anyway, but you can dial in some of that analog warmth and that is imperfections, you know? The perfect thing is digital and it's sterile. Like, some people don't like it, but for example, that's why we like saturation so much. Also, because it makes things sound louder without them being louder, you know? We assign saturation, we assign distortion to be a integral part of loud sounds like explosions, loud rock guitars and stuff. So if stuff is distorted, we think that it's loud, even if it's actually quiet in the mix. Anyway, that was supposed to be a short one, but it wasn't. So back to the distortion. The distortion unit now has a dry, wet control and that is great because you can distort your sound and mix back the original on distorted one. Also, we have now four different distortion functions which is really cool. The default one is the soft clipping which is generally what we need to get this tube-like drive effect. I'm gonna actually use a sine wave so we can better assess what it's doing. And I'm gonna make it quieter so we can see the whole waveform. That's important. We could also have some spectral view of what we're doing. So without distortion, like, okay, we still have the filter. And you can see that the filter adds a little bit of distortion and we have the notch which is actually, which is of course, non-neutral. Now we have a true sine wave, a pure tone. Now if I distort this, watch the waveform in the spectrum. You get something that looks very much like a square wave and has all the odd harmonics. Oh, I think I didn't disable my random tuning all the way. So now let's just dial this down and go to hard clipping and see what that does. So we have our sine wave. And you can see out the waveform. And the spectrum of the haves and sounds much different, much more harsh. So that is basically like a digital clipping. Soft clip is like analog clipping, hard clip is like digital clipping. There's also two types of folding distortion. And you can think of the linear as the hard and sine as the soft folding. Just watch the waveform because that's gonna tell you what's happening better. You can see that our waveform gets reflected at certain ceiling back down. Then the reflection gets reflected again. And again, and again. That's really cool. And for example, if I use an LFO to drive the drive, we get something, let's tune this down. We get something that sounds like FM, like frequency modulation. Even the waveform looks like that. So that's cool. But there's also, you know, the, but there is also the sine fold, which is more gentle. Let's take a look at that. You can see that the reflection is like gently bent. It's not sharply just mirrored. It's gently bent. So we get a similar quality of FMness, but without the super harsh high frequencies. And again, let's just have fun with the LFO. Pretty cool. You might think that this is frequency modulation. It's not. Actually, I would like to try if I can do the same thing with frequency modulation. Oh, sorry. Ah, I'm in modulation assignment mode. Let's use the cross modulation. I guess I should use something like. All right, this is not the same thing. Go free octaves. Yeah, so distortion types. Cool new things can be done. And the last two ones I wanna talk about is now in the about menu, we have some options. In the plugin version, there's just, you know, animated graphics and check for updates, but we have the window size. By default, Helm runs in 100 size, but can make it smaller if you have a smaller screen or bigger or much bigger. In the standalone version, which I have opened here, we have also more options for audio output. It can use Jack or ALSA. I don't know how it works on Windows. I didn't test it. Now we can select the output port for Jack and we can also test it easily without pressing a note, which is really cool. Also we have the sampling rate and the buffer and we have the MIDI input options. So that's it. This is the Helm standalone. That's it for the features. Let's put them to good use and make some music. I made Helm a little bit smaller. How can I initialize the patch? Can't. I wanna figure out a way to show to you guys what I'm pressing on my keyboard. Oh, great. That works. Oh, anyway, now I've just noticed. You can see it when I'm playing in Helm. In Helm as well, but well, now you can see it wherever you look. Good, bad, annoying, crappy, fabulous, happy now. Let's just drop some reverb on this. And that reverb trick with the amplitude envelope driving the reverb is pretty nice. Funny stuff. Not too much. I can also add a second oscillator. Let's make it a stepped saw wave. Oh, it's tuned way too high. Let's give it some unison. Tune it. Maybe pitch it up a bit. Oh dear. Okay, because now we have the patch practically done, I'm gonna use the fantastic dual instance stereo trick to get our saws nice and wide. And I'm also gonna drop some reverb up to this. Let's get Rumi. Where's Rumi? I should have it in the favorites. Why do I have it? Rumi, come here, Rumi. Rumi is a nice little reverb. That sounds very, very smooth. Awesome. You could also do something else to make this a little bit nicer. And that is use the polylopho to drive the pitch of the notes. But very, very slightly. Let's drive it a lot to see if it's doing anything. It is. Let's use the random control to change the speed of the LFO. Make it slower. Sorry, I'm gonna change this to seconds. So now every note not only has, let's also make it random. A different random LFO detuning it slightly. Slightly, I said. Yeah, let's go eight and four. You know, it's always just a tiny little bit of extra life in this sound, some non-regularities. Let's try to write some chords. I actually wanted to make this, I don't know. I'm missing the button, but it's about 126. I have a melody in my head, like this. Could this work? Oh, funny, we're just having the same note. This doesn't sound nice. Yeah, it has to be major. And this has to be major too. Or we can add what do we have here? Let's go with, no, bad. We can make this kind of house bouncy house track. Let's call this saw chords. And let's make them, let's make a kick because what would be house music without a kick? Nothing, I say, nothing. Let's have just one C note. I'm gonna just loop over this region. I'm gonna solo this, change my sound to sine wave. Hello. Okay, I got it looped, looped, so I can work on the patch easily. So, first thing, it's silent, it's quiet. Then it's a bit high. Then it's a bit slowly starting, and it's not fading out like a drum should. And then I'm gonna use the amplitude envelope to change the pitch. We have our kick, dude. Let's now use the high best filter, emphasize the low end a bit. Can also maybe add a little bit of an envelope to that, to not this envelope depth. Yeah, that's good because it should be there, but it's resonating. I'm gonna use the mod envelope. It's kind of additional envelope to add a little bit of noise just to make a little bit tentative. And some soft clipping, that should be it. Now we can add a compressor or first rather, an equalizer. I'm gonna go with EQ 10Q stereo. Let's loop our kick and see the spectrum here. Emphasize the high end a bit. So it will cut through the mix nicely. So that's why it might get lost. And then let's add a compressor. What the fuck? YouTube videos start playing in the background randomly. Okay, never mind. Well, that's much sharper. I know it's a little bit painful. So I'm gonna back it off a bit but we need a thumping kick. And we actually need this four on the floor beat. So I'm going to expand this track, draw some more notes. Oh, it's too fast. It's too fast for house. Let's go with 115 maybe. Yeah, let's duplicate, shift D, three duplicates. Now we have the kicks all over the chords. Now let's do some side-chain compression on the chords. So I'm gonna add a calf, side-chain compressor and go for the pinout. Enable the side-chain input, pick my kick, route it to the side-chain input, close this and enable the side-chain input because otherwise it's gonna be work just like a normal compressor. That should do. We could have an iteration with more shift D, enter with more notes on the top to just open up these chords, make this brighter. Oh, what happened? Ah, I know. I probably have, let's try it. I put a note here. No, I don't have. I don't have MIDI notes linked by default but something didn't quite hit. Something didn't quite hit. Why? Alrighty, well, basically I'm just adding octaves. I might try something different and then a slight alteration at the end. Okay, now it's very boring. So let's add a filter. You could use the Helms filter. Maybe let's do this. I'm also going to consolidate this range so we have just one. Let's show off another feature, which is very cool. Let's use the modulation wheel to drive the filter cutoff but in reverse. And now let's make this a low-pass filter. Non-resonant, yeah. I don't really want to have distortion on this. And now we can do A for automation. Controllers, controller 015, modulation wheel or lever, channel one. This will open up the automation lane for MIDI data for CC control one, which is the mod wheel for channel one because we have 16 MIDI channels. And now, if I have this all the way down, it should leave our filter. Okay, maybe let's not make it in reverse because we're gonna be confused. Let's gonna go up like this filter low by default. Let's see. Yeah, now I can use this to fade in. For some reason, the two instances don't follow it the same way. Interesting, very interesting. I'm gonna try and maybe go to pin connections, remove one instance and add it in again. Reconnect the inputs and outputs and see if it happens again. Now it's okay. So there's some little problem to report here with this. It starts a little bit too low or if you don't have any kind of a loop, you don't know. Alrighty, let's record. Now let's duplicate all these kicks there and let's make a hi-hat. I'm going to duplicate one kick pattern, select right square bracket to loop around the selected one and then go L. I'm going to make a hi-hat sound out of this. For now, I'm gonna use the noise. I'm going to use some feedback, make it short, change the feedback with the amplitude. Interesting sounds. This adds kind of a comp filter, which is nice because it sounds metallic and hi-hats are made of metal, so it makes sense. We can also use some reverb and we can also make it side chain-like by using an external envelope. Let's use this mod envelope. Okay, I'm going to also use a hapless filter. I'm going to change the notes for the hi-hat, something like this, see if it will work. Should. Yeah, so now I'm going to duplicate this three times, select this region, consolidate it into one and now duplicate this, I don't know, seven times. Yeah, oh, I messed something up. I know what. With consolidating ranges of midi, it's gonna truncate it to the, it's gonna make it shorter, which is a little bit annoying because often I just want to have a bar-long thing and I need to correct this afterwards, so I'm gonna report an error. It's not high-pitched and it's not short enough. Yeah, I want something like this. And then let's make a bass, which is gonna be a funky, electro-funky actually. We're gonna need a one-bar pause and we definitely need to take care of the notes. No, that's supposed to be delayed. Oh yeah, but that patch isn't particularly what I want, so I'm gonna use just a hapless filter, make it duller. Oh, why so dull? Hello? Why this note isn't playing? A little bit of a progression. That could be our first bass line. Let's loop over it and, I changed it away from accidentally. Why did it change? Why did it stop to play? This thing should sound. What's going on? I'm gonna delete this helm instance because there's nothing too fancy. I'm gonna insert another one. So we have a brand new patch. That doesn't work. Let's use the mod wheel to control the filter. Let's try this up. It's there. It's doing its job. I want to try some. Applying modulation to a saw wave doesn't do very much interesting things because there's this high slope, it's same as with square waves. You need some in-between slopes to have interesting results with modulation. So I'm gonna try some in-between slopes to have interesting results with modulation. I could nicely work. Let's make this monophonic. Let's do some pitch bends. Actually portamento. This should bend. Auto. I want to apply the reverb only to mid and high frequencies without the bass because it's gonna muddy the sub-bass in this instrument. So I'm going to use KALF reverb because it has a low and high-cass, high-cut filters. And we can listen to it. And we can listen to just the reverb. You see we can cut off the bass so that reverberated bass doesn't mess up our bass. I just want just a very subtle hint of reverb because without it, we can try also to compress this. Maybe with reverb. Just tighten it up a bit. Let's duplicate it three times. And now let's consolidate the regions. Consolidate the range. And make sure it ends on a bar line. And now we're gonna use controllers or polyphonic pressure. Controllers. One modulation wheel. Channel 1. And here is our awesome, fantastic, low-pass filter control. A lecture funky, isn't it? That happens a little bit too quickly. I think I need to lower the bass level of the reverb. Sorry, up the... If you put the last point on the bar line, it often just disappears. So I just put it there and press Alt to disable grid and just move it slightly to the left so it's not here. Oh dear. I'm not what I wanted. Interesting sound, anyway. I think I actually need to make this much, much slower fade-in. Let's go to 32. Then let's duplicate this. The cool thing about CC automation is that it's embedded into the MIDI regions. It's saved with them on the disk. And when you duplicate a MIDI region, the CC automation is also duplicated. If you move it, it's also moved, so that's very convenient. The plugin automation, if I automated these things, it would be just there and I would have to move it manually unless you know a way to glue it to the regions, but I don't know of any. I think I knew it, but I don't know, they removed the option, I just lost it. Alright, so now the second part. I wanted to start at the 32. I wanted to end at 64. With shift, I can lock myself to one axis. If you press shift and start moving left, you're locked to time translation. If you press shift and then drag up, you're locked to vertical, the value translation. That's very cool, because it makes it easier to not just mess up something. I'm gonna save this session, by the way. And here, I want to add more variation. Whoa, that's fast. And then some high note. Shift right-click to the lead note in the edit mode, which is what I'm at in. Okay, let's listen. Okay, I want just to duplicate this latter part. So I'm going to shift D. I'm going to drag the region, consolidate it again. Make sure my region ends at the bar line. And there's a problem. The automation gets sampled, for some reason, at grid intervals, I guess. And it's switched to discrete mode, which is weird. And this is especially weird, because I don't know if I can change this per clip. So you can just right-click here and go Mode Linear or Discrete. Discrete will apply an immediate change, but hold the previous value right until that point. So that's not what I want. Shift and drag and 64. Or maybe I'll insert another point here. Go E, Ctrl. How do I add a point here? Dude. D for draw. Press. Done. Okay, let's go 48 and just... I don't know. I'll draw another two points and make a ramp to go to the full thingy. Ah, the point disappeared. Make sure it's not touching that bar line. Let's play the whole thing and listen. Actually, let's listen from the chords. This is very short. Yeah. Alrighty, I want to add some percussion. So let's make another hi-hat. Ah, hi-hat 2. So, before, previously, I was making all this fancy, media-rooting. But that was when I was using Resonance of FX. Hit Off Beat sometimes. I don't know how it's going to sound. Let's check it out. I think that's nice. Let's make this a ringing hi-hat. So I'm going to try making some triangle waves. Tune them vastly different and then modulate them. Automate pitch. Change the pitch with envelope. Add feedback. Change feedback pitch. Ah, not so much. Oh, that sounds like a wooden stick. Nice. Alright, nice balance. Let's add a high-pass filter. Ah, maybe with some wooden sticky resonance to give some weight to this thing. Try distorting it. Because we're not. And some reverb, of course. No, reverb. I'm going to add roomy to this. I will introduce the sound here. The latter part. Duplicate three times. It's a little bit too low. Too much of the... Let's select these. Right-score bracket. Look around. Now the main thing is, that's to provide a feeling of increased energy in the music. Because that's what it's for. To give the feeling of progress. Chords are super cheesy actually. Actually very, very cheesy. Now let's shorten this pattern. Noise. I'm calling this type of sound pre-noise. It's going to be kind of a noise sweep. To emphasize the change of... The change in the song arrangement. Or like transition to a next theme. Ah, sorry. What noise? Let's use the bandpass. Just give it some nice and simple. But we can make it more interesting. LFO in random mode. Make it faster. And give it some wiggle. Less wiggle and more speed. If it's possible please. Looks like it isn't. I'm going to try to use another LFO. Do the same thing. But tune it slightly differently. Ah, a little bit too much. Four. This is twelve. Okay, let's go. Five and five. Alright. It's done. Now let's duplicate. Make it two instances. To get these nice stereo less. This nice stereo whiteness of the noise. And also the random LFOs. Okay. Listen. Sweet, but very quiet. Let's just pump this up. Later and listen. A very nice transition actually. I would filter out the low, but there actually isn't any bass playing here. So it doesn't interfere with any low. But if we filter out the bass, we're going to improve the, you know, the thump of this transition because there was no bass at all. And then the bass hits. There is actually too much happening at once. Whoa! I shift-deleted the whole thing. Shift-right-clicked. I also think I need to introduce some changes in this first part. Can actually duplicate this. See what happens. Yeah, but it should be much quieter here. So we need to enable velocity tracking because by default Helm ignores no velocity. So I'm just going to ramp it up to 100%. Let's verify that R could be louder. And this, I'm going to make it quieter. So it's 64 velocity. Let's go to 32 and see what happens. I'm not sure if it was a plan. Right, I think we should stop here. There are two more Helm instances in this project and they are waiting for you to program them. This patch, the whole R or 5 session will be available for download. The link will be in the description of this video. So you can check it out, dissect it, make some changes. If you do, upload it somewhere and drop a link in the comment. And if you have any questions or suggestions about what I should do in the future episodes or just want to say hi, I like your videos. Do so in the comment section below. Thanks for watching and I will see you in the next video. Bye.