 So you can actually see what people are saying. The agenda today, just gonna plug some cables into some modules and chat, so we're gonna drink rum. Actually, cheers to you. Blamantico, which is a Venezuelan rum, and it's delicious. Probably my favorite rum, actually. This patch resistance is not a lot going on here. I don't really want much, I'm making any noise, well, too, I suppose. So this is, wings is making the noise. And the vault's proactive, so the pitch is coming from Pamela. It's just one of the random, stepped-quantized outputs. But then I guess the interesting bit is Plats, B-5, L-O-Plats, what do you wanna call it? It's set to the particle noise, and it's on the bandpass version, with the big spread on the harmonics, off some kind of crystal lake. It's rather lovely. I suspect it's one of those classic patches. Who's the clock? Well, it's weird, because it's not clocked, really, what it is. So, Pamela's is doing a random-stepped pitch. So the random-stepped mode, it quantizes with a high skip percentage, so it's not going every cycle. And that's going into the vault's proactive. Trigger into the strum input on rings. It will just wait for a change in pitch to strum. But the tinkles, if you like, Plats in particle dust mode, so it's, let me put up a patch in what the excitation is, hang on. So if you just wanna hear what actually is, it's what's actually exciting rings. It's this dust mode, there's reverb and delay on that as well, hang on. So that's what's exciting rings. So on the particle noise, the density of the particles, so when you turn the number up but turn down, you get individual randomized little hits. And then the harmonic arm changes the deviation from a pitch, applies a filter to pass, which then gives you some length to it. And we are patching that into the inputs of rings to excite the string. So this is in harmonic string mode. And the cool thing is, and the cool thing is that because you've got those different pitches happening in the particle noise, it's kind of exciting or accentuating different parts of the harmonics in the string. It's a lovely, lovely little thing. Very pleasant. And then, because it's in the four voice polyphonic mode, every time the pitch changes, it switches side, but because I've got a delay on it, which is the flashback today. You're still getting some of those previous hits sort of happening so that they sort of ring out. It's nice. Hello from France, hello from England to France. Thank you for coming. Call what I was live. Ah, I'm glad that you made it. I don't really have a schedule much, probably what it's hard for me. I love you to catch. I have this rack on modular grid. Yeah. And I think it's public. If you just search for, so they to sync, I think it's just called current rack. There's a private version of it as well. Plans in it. And yes, the rack is filling up. We're nearly there. Once it's full, I don't have to buy any more modules, right? That's how much it works. So the cool thing with this patch, with the particle dust is sparse. You just occasionally get those other little, like barely any extra excitations. If you turn the tumble all the way up, it becomes noise. It's hammer and knob. And if we turn harmed, everything's bouncing on the same bit of the string if you like. So we don't get that same spread. So between those two parameters, a lot you've got in terms of this. You crank the harmonica, but you hear the difference. I don't think we'll get so much pitch stuff, but let's try and bring them all through the way into the, that's nice as well. Actually, to be on rings, I've got to believe that Emily had this in mind because it seems so perfect. So perhaps that's, let's stick with this patch just for a bit and look at it for a position, a bit of a wobble as well. Just using stages for LFOs is completely underselling it. Yeah, I suppose it can do. So here's an interesting thing. Nothing to do with the module now. To do with flashback. If you haven't seen my video on it yet, I don't necessarily blame you because it's incredibly long. Nevertheless, if we go over to the digital mode on flashback, which is nice, do short stuff, but what's quite interesting is when we set it really long and we bring that feedback up. So the feedback on this will never run over and self-oscillate. But the feedback, the maximum delay time is really, really long. So you do feed lots and lots of stuff into the delay buffer. So I'm just going to get a second just to fill up the delay for a little bit and we're starting to get a bit more intense. Now, if you change the delay time in this mode, rather than trying to to time-bend like it would on tape or unlock, it just smashes the buffer. Drag the time up. You get these granular things happening. If I turn down, so you're now only hearing what's happening in the pedal, so this is just the pedal. You can hear that nothing's dying down because we're on feedback full. So it's unity feedback. It's just going to create a loop. It's also going to the reverb as well. Okay, so listen once when I turn the delay time down. Here it's stretching the buffer out almost like a granular effect. It's just such a cool way to create. And my rack is set to prior. Let's bring, I'll just quickly set my rack to public. Okay, it should be, it should be a public module now and it should be up to date. The distinct was missing because I've only just got that. So if you go back now, you should be able to find it. Let's try the crystal mode for a second. What modules do I recommend for the 2S? That's a good question. And it depends what you're looking to achieve. I would say that the most obvious thing to add to the 2S is another voice. And to that end, Plats would be an obvious way to get a bunch of different types of voices all at once. And you would still have, because of the way that it works, you don't have to send it a trigger. You can just change the pitch so you could still feel, still sequence it from one of the spare tracks. Actually, one of the first things that I added, the first thing that I added about two things, three things. The first things I actually added were the panors, the stomachs and out because I wanted to be able to do things in stereo because that's really, really important to me. Obviously the output on the 2S is mono. There's no way to, where you can take the output of the VCA perhaps, but it's a FAF. I wanted to be able to control the panning with CV. Yes, that's where I started. And then rings was the next thing I got because I just really wanted rings. It's been lovely. And you have to have it, you have to have rings, you have to have pans. And really you should probably have clouds as well. Those are the rules I think. Okay, let's voice. I haven't really played with this thing yet. I only got it this week. And it only went in the rack last night. I didn't have any time to play with it. So I don't really know what I'm doing with it. Try and use it in a bit. So let's do, what do I feel like? Let's try adding something else into this, maybe like a drone or something. Let's take the whole amp output. So this is essentially the whole of the mini-brook. Let's see, at a Euro rack level. But of course we can split things off if we want to. I wanted it faster because it had high notes, you know, I'm not gonna take the high note on this. It's good. So you can get pams to do arpeggios basically now. Quantize modes. And then depending on what your wave form and your, or you can change, they can change the shape of the arpeggio. Which is kind of cool. That's just the sine wave. What's in the glass it is. Rum Diplomatico Reserva Speciale. Which is pretty much my favorite rum. I thought I would treat myself this evening. Yeah, let's take this arpeggio entry and do something. So I think maybe we can do some panning. A little while ago, I bought the greatest thing in the world which was a hundred pack of these cable ties for seven quid for a hundred. And yeah, best gear purchase of the year frankly. Let's do this challenge so we don't need to use. So these modules here are the ADAC 805s. Which are, that's two of them. Looks like one big module but it's two such modules. They're crossfaders and panners. So you can either use a pan or to crossfake. So I'm gonna use them to crossfake. That's a pan. Question in the chat. Mordek is asking, learning about all of this, me too. I am very much still learning about this. Where are the patterns coming from? Well it depends on what I do. It's kind of the point of modular. So you can configure different things. And tell you at the moment that all of the sequences and arpeggios, anything that sounds melodic is actually coming from Pamela's new workout. Which is in a very basic sense, it's a clock source actually. But it can do a lot of different things with those clock sources. So it can do LFOs. So what we'll listen to now, with this sounds like an arpeggio, is actually a clocked LFO, a triangle, which has been skewed. So it rises faster and then comes down slow. I'm sure you're hearing. And then the output of that is being quantized to pitches, I just think, the tonic and the fifth. So it's not a traditional sequencer. Of course I have got traditional sequencers on the mini-brook. I'm just not using it. In this case. Anyway, I was going to do some panning. So let's take another output here of Pam's. There is no good reason not to own. There's no good reason not to own Pam's. It's just an amazing module. So what I'm going to do is set Pam's to step to random. Send the step to random CV and up this channel. Change it from step to random. Should, if you're now listening on headphones or with monitors. Arpeggio should now be swimming around your head. No rather pleasant way to get my stereo wired backwards. It's nifty case of good stuff in modular. People seem to think so. I've got one. Arpeggio is nice enough, but it's quite sort of regimented. So let's hear anything because the low pass gate is currently closed, so we need to ping it with something. Unsurprised to hear is Pam's again. Pample changes as well. We can set as a percentage. The sequencers on the MS are not using it at all. The sequencers on the, it goes up to 64 steps. But you can set it to any actually do something else. Let's un-patch a bunch of stuff. So let's un-patch all this and let's do something crazy with Plats, I think. Just checking the chat. Yeah, let's go crazy. Let's just mash. Let's mash Plats with just a ton of CV, shall we? I think that's fun. So out of Plats into here. We've got that, that's still nice, isn't it? So we've got that thing on Pam's. Let's turn it on to any. Shall we make Plats do drums or something? So let's go down to pattern. Again, changing the out of space mixer. Actually, I've got the orcs in behavior that I don't have. This here is why I was scared to get into modular big cars. The creative problem solving is absolutely my favorite thing to do. And I knew that the moment I got into modular, like that aspect of it in particular, was to do this kind of problem solving logic puzzle. So it's actually, the easier way to get the hi-hats is just to turn up the noise. Not everything I just said, because there's a nice bit of random filter stuff happening with the general sequence, I can just turn up the noise to get hi-hat. That's such a cliche thing to do at Plats, but it's incredibly good fun. Right, I'm just gonna need to choose rings because when frequencies turn all the way down, on rings, let's get some everything. Sorry, just checking on the chat. Biring piece of kit. I thought I'd keep it simple. We're just the two pedal this evening, but it's just superb, so inspiring. As am I. This is my dirty little secret. The modular world. Some viewers in Romania, I'm sorry that I wasn't interested in. So I think I do all this stuff off the desk first. See you soon, everyone. Take care.