 All right, ladies and gents, I think we're going to kick off the Open AV workshop now talking about Fabla 2.0 so I'll just wait a few minutes and See if there's anyone from outside still walking in but apart from that I can kind of talk a little bit about yeah, what's going on what we're going to be doing in this workshop. So My name is Harry Harry VanHaren. I'm lead developer of the Open AV project for the last year and year and a bit I've been working on a drum sampler So what I mean with drum sampler is we're not talking melodic sampling in that you know You pitch one like audio sample up and down to create an instrument But instead we're talking more about you know having a collection of samples and triggering them to form drum loops So each sample isn't necessarily melodic content, but it's more like a certain drum hit like a kick drum or a hi-hat So that's what Fabla 2.0 is aimed for And particularly for a live performance scenario, so I have on the table here in front of me a machine micro It's a drum sampler kind of a hardware piece of kit And I have a little keyboard as well that we might get to using towards the end of the workshop Apart from that what I'd like to talk through is yes, I'm Harry from Open AV. I have that covered Essentially, there's a lot of features in the Fabla 2.0 sampler that did not exist in Fabla 1.0 So Fabla 1.0 is the currently released drum sampler and Fabla 2.0 has these new features So we have pads, live view, we have multi-sample support, so like multi-layers of samples We have per sample controls so we can do a lot more flexibility and do a lot more processing of the samples And there's per pad controls, so it's a little more complicated to say a little It's a lot more complicated But that that complication and those features actually let you do a lot more interesting things particularly from a live performance point of view Add on to that something that Open AV is working on called the aux bus or auxiliary bus It's a way of thinking about effects processing. It's a way of doing things like side chaining, reverb sends And it's particularly that to try and yeah improve the way on On stage you can work with these because a lot of the like in Ardor for example There's really complex and amazing routing things you can set up But they're not really workable in a live context in my opinion And the nice thing there is if like about aux bus that we think about like effects processing in a much more limited But also manageable way that really gives the efficiency of the workflow That you'll have live. So I'm gonna first show wait. Am I skipping ahead? Yes So I'm gonna do two little demos That's essentially gonna be the main content of this workshop first I'm gonna run JAL so it's a standalone Lv2 host so fabla 2 is an Lv2 plugin So it'll work in most of your your favorite DAWs But first I'm gonna run it in JAL which is like a very minimal run it as if it's a standalone program And I can show you just the features of like that are contained in fabla 2 itself Then we'll bring in some extra parts and I can show you how to do the routing or what what this aux bus feature is about and then in the last bit of time what I'm gonna do is load up an Ardor session that I've prepared with a little drum loop and some some other little Side things with sidechains and some effects to show how I see this aux bus feature being used in a in a professional DAW for actual music production as opposed to live performance so moving on from there what I have at the moment is Apologies for those on the stream who can might find it hard to see it's a dark theme. I'm afraid and So what I have is fabla 2 here. Basically, this is the main interface I call it the pads view because here in the center. We have some pads If I play pads here on the hardware piece in front of me, then we can see the pads are playing I've loaded up five samples these five samples are from the AV Linux AVL drum kits So that's Glenn MacArthur's sampling project. He has some really nice velocity layer drums there and there are open content So for this workshop, I thought it'd be nice to at least introduce how to work with multi-layer samples in this drum sampler and Some of the yet to introduce these samples or to use these samples to introduce them so at the moment the way this is set up is Fabla's running and we've loaded some different samples here. So you can hear the kick drums and This is essentially doing taking five samples of individual Velocities so the top one here is the softest and if you listen carefully each time It's like a more powerful stroke on a kick drum. I can turn it up here a little maybe for in the room So these velocity levels essentially give you when you're doing your drum programming in a DAW or if you're doing live performance by actually Like playing on a piece of hardware. It gives you that kind of human feel the realistic drum sound to some degree Now there's another project called drum gizmo and they really take this to a whole new level and they do studio grade drums with like really high Like they use up lots of resources of the CPU and things like this and they get this amazing drum sound Really respect their project fabla 2 is taking a different angle on drum sampling. This is more geared towards either You know your quick and easy good enough sounding drum kit or electronic music production, which is personally my own area so fabla 2 isn't You know your replacement for the drum gizmo basically drum gizmo does amazing quality drum sounds into the studio and then fabla 2 is more a lightweight approach to doing Drum sampling and trying to achieve reasonable results with reasonable amounts of CPU usage for live performance more so than for studio grade work So with that in mind what I'll do now is I'll kind of just talk through What I Envision most people will want to do with fabla 2 which is load a few samples and play a little drum beat So the next thing up that I'll start is basically if we go here to this pad There's nothing actually currently loaded on it So if I click it we see just a blank UI, but if we right-click it shows us a File browser and we can basically choose the sample that we want to choose. So let's get a Snare drum perhaps the pearl snare. I like this one. So I've loaded that now We can see on the hardware. I don't know if the people on the stream can see but I'll describe it So on the hardware the the button lights up when there's a sample loaded And then we can trigger it with the hardware still pretty simple stuff So there is something a little funky going on, but that's okay So if we load another sample, I've loaded layer 2 just now. So I'll load layer 3 this time. So now we have two samples That's one of the samples and we have a switch mode here on the user interface Which allows us to change how the samples are actually going to be chosen and What I'll do is I'll switch to There's the different modes the first sample We're going to change the velocity map to just be from 0 to about 0.5 So these are flow point numbers basically what range of velocity do you want this to be on? So now we can see if I press this hard it'll choose the other sample So this is like the harder. I press the button here the different sample It's going to choose based on velocity mapping. There's four types of mappings here. So it's flexible enough There's round robin. That's the one on the kick drum here then there's the Different velocities. So if I press it hard or if I press it very soft, it'll pick a different sample And there's also Some some others that I'm still kind of prototyping a little there's one It just plays the same sample every time I deal from music production like real electronic music production Take a kick drum and just leave that kick drum sounding the exact same But then for more Yeah, humanistic or human kind of feels or just more dynamic music that you're not really looking for The exact same kick drum all the time. You can do some things like weighted random and these kind of other Scheduling I guess sample scheduling things Um, just to continue on let's load up a little hi-hat somewhere as well. There's uh, I'm sure there's hi-hat here somewhere I don't see it just yet Where is it? There we go rock hat closed sounds good to me so then you can Just play really simple drum beats nothing fancy there, but it's enough to kind of have a bit of fun if you're playing with your bandmates Okay, that's the basics of loading samples in fabla and playing them So the other fun thing is live view. So you'll see here on the left We have a little label called views and then we can trigger pads So that's the one that we're currently on But if I switch to live view, then you can see three of the faders here are up So there the samples that are loaded And what this gives you is essentially just like the analog mixer here in front of me A view of everything in the 16 pads that we were just looking at So the the information is the same. It's just a different point of view on that same information Where am I trying to go with this? So if we go back to pad view I can see here that we have for example a fader and that fader is the same fader as the one that's actually here So there's there's multiple ways of looking at the same data But depending on what you're currently doing you want to be able to see other information Here you can really easily balance this drum kit. So say that hi-hat is a little quiet What we can do is just bring the fader up And that one's quite okay, but maybe the clap needs to come down just a touch. So Maybe that's better. Who knows the point being if we have a lot of samples Then you need an easy way to be able to mix these right Now there's some more complex issues, which is that every one of these kick drum samples Has its own like you might have not sampled them at exactly the same Gain so if we click this pad here or this sample rather we can individually adjust the gain Of each of these layers But because we need to be able to balance the layers and actually mix the whole all of those layers Afterwards you need two volume controls one per sample and also one per pad And the pad here being just this bottom left one for all the different kick drums So in live view you don't see the the each individual samples volume anymore You only get the fader which is actually the whole kick drum So this is kind of like you need to abstract away the lower level details as we move through the views And that's exactly what this live view does So it takes um these pads and Presents you with faders just like an analog mixing desk like what you'd be used to if you're a sound engineer And you have a kick drum microphone here. You have a snare drum microphone and then you mix those Now some of the more advanced features, um, will I go straight to them? Yes, I suppose I will um So we've loaded some samples. We've mixed them roughly according to this Now what we want to do is to apply some reverb And we want to apply reverb to the hi-hat and the snare drum So a little bit on the hi-hat a bit more on the snare drum give it a nice tail But we do not want any reverb on the kick drum This is quite a common thing because kick drums are loud and they make reverb sound really muddy particularly in a live context So that's not what we want How do you do this with fabla one? So the previous generation this just wasn't possible Because internally the drum sampler would mix those samples together output one stereo And there's no way to retrieve the kick drum without the snare and the hi-hat signal anymore. They're all mixed together So what does this aux bus feature that i've been ranting about for the last year actually do? It presents more outputs. It's pretty simple on anyone familiar with analog mixing desks You usually have your master faders and then you have one or two group faders or buses um And what those do is they essentially take the signal from a range of other tracks and mix it into one Similarly here what we have is 16 pads. So 16 tracks shall we say And we have four auxiliary buses So an auxiliary bus is just somewhere where audio gets rooted to gets processed and then gets sent to the master Now in the case of fabla 2 this is a little different because we have this fantastic thing called jack So I thought why would I leave the internal routing of the reverb or delay or the compression? Just inside fabla 2. Why don't we expose it to jack and let people choose their own effects to actually process this with Okay, enough talking. I'll get to actually doing something useful I'm going to load up another of the open avi plugins. This one is roomy. It's a reverb. Yeah, you can see that. Okay So what are we actually trying to do again? We're trying to apply some reverb to the hi-hat and snare drum But not the kick drum. How do we do this? We're going to turn up the top dial here. So it's a little difficult to see perhaps There we go Um So we can see that there's a dial at the very top The first dial along the across here at the top is they're all orange colored and this slider is colored orange too So they represent the same thing Essentially everything along the top the first dial gets sent to this first auxiliary bus And that's the one that I've labeled as reverb or delay Now, of course people are free to abuse this to whatever they like But I think it's a pretty use case a pretty useful use case or pretty normal use case even to work with that as a reverb send So you'll see that I turned up the snare quite a lot and I turned up the hi-hat to about halfway And what that's going to do is it's going to take the signal that is output on that pad and it's going to mix it into this auxiliary bus What we're going to do now in jack is root from the output from that auxiliary bus to this roomy effects Which is a a reverb And we're going to turn the reverb 100 wet So if we turn up the reverb send here, it's not going to increase the actual Volume of the sample itself You're not going to hear the input audio coming into that aux bus at all that just gets discarded The reverb that results from this actual audio coming in is going to be heard however So it's like a crossfader between wet and dry. That's literally what it says on the dial there We're turning it to 100 wet Which means that the the dry sound won't be there That's kind of important for mixing because you don't want to you want to be able to increase the volume of a snare drum With the reverb being proportionally louder, but not if you increase the amount of reverb You don't want the snare to get louder. Um, anyway away from the the sound sound engineering topics um I'll showcase very quickly what's actually happening right now So we see that phabla exports quite a few output ports There's two master left master right. They're fairly obvious and then there's auxiliary one left auxiliary one right auxiliary two auxiliary three auxiliary four So we were using auxiliary one earlier. Let's connect that To the roomy input on the left and let's take the one for the right to the right At the same time what we can do is take the output of roomy and connect it to the system So essentially the playback Now remember that the output of roomy is purely wet reverb. There's no dry sample there at all Okay, what i'll do is i'll turn down the reverb here We'll play the snare and i'll gradually turn this up And then you can see okay, there's a bit of a bit of a reverb coming in there as well What i'll do is just turn those up But the kick drum is still dry. There's no reverb now And that's the feature that has essentially in my opinion been missing from Well, at least the the fabla 2 sampler, but perhaps even more of the general linux audio system that we can't Achieve this mix of certain notes get reverb and other notes don't Within one instrument because if you have a stereo output, you've mixed them all together and it's too late For workflow reasons, that's a really really important thing that like as open av and as the software that i'm working on It this is the type of workflow that musicians want to use live on stage This is something like it's it's kind of like okay. I have a sampler I need to be able to send things to reverb and other things not it's a very basic feature and it's possible using this as Yeah using fabla to do use this aux plus feature Now it is also possible to do this in order already with fabla one You load two instances of the same sampler and then depending on which samples you want to have reverb or not You can switch between two different tracks. This means you're editing two tracks of media You have to copy paste snare notes across your hi-hat kick drums are on one track and your snares are on the other track because Come on. That's not a workflow. It doesn't work. It's like i've tried i've tried and it just doesn't work So that was the the motivation behind fabla two and this aux plus feature which essentially takes Your tracks has these four auxiliary sends and lets you do the same thing that this analog mixing desk does And mix down your samples in a way that's much more musically inclined So That's the the main kind of use case right now I'll cover it a bit more when I load the ardor demo later because I actually have a sidechain set up there as well From the kick drum to a baseline But what I'll focus on first is a little more of the features of fabla two because it has a couple of tricks up at sleeve I don't know where to start because I basically I coded this stuff in the last two weeks And it's almost certainly going to go wrong at some point, but it'll be fun. So let's go um What what plans do I have for fabla two? So these are things that probably won't be in the 2.0 release But hopefully in 2.1 2.2 when it's actually became stable and done So we have something called the sequencer. I presume most people are fairly fairly familiar with how this works You have essentially 16 steps or 32 steps. You program in your beat and then it goes and plays it So this should work And it probably won't Okay, let's have luck I need to set this. Ah, yes. Okay. No, so I can demo this graphically shall we say or for anyone particularly interested in this feature Um, talk to me after the workshop. I'll be around. I'll have this stuff set up somewhere on a table And we can do that The reason it's not working now is I have two versions of fabla one with the fancy features with some other things disabled Um, I'll show you the sequencer after the workshop. What I can show you now though is some other Um, kind of use cases that I've been thinking about for fabla So right now if I if I play these what we've done is we've loaded audio samples into these pads But why not be able to sample midi notes in there as well? because There's a lot of scope to being able to trigger like specific chords or something like this just purely in midi So what I'll go is jump back to here. I'll grab the asa midi port Lpk goes to this might be a little difficult Two seconds a to j a midi D All right And there we go All right, we'll connect this to To Okay, let's see if this works And of course we'll need something to generate some audio. So I'll grab the nuts of effects Here we go. We'll take the advanced one Is All right, we'll grab a preset close now a little more rooting and we're almost there So we see that fabla 2 has a midi output port. This looks a little bit suspect Because it's a drum sampler. Why would it have an output port exactly this use case? So we can sample midi notes from for example this keyboard in front of me into one of the pads and then have that pad When we play it rather than outputting audio have an output midi notes Which we can send to any synthesizers in ad sub effects in this case Which allows us to basically build a kind of a chord sequence in some pads And then we can take the output of z in ad sub for example and add that to the system So hopefully If I get this all right Let's bring this one back. Okay, things are starting to get a little more complicated. But let's try keep on top of it Can we see all of that? Yeah, okay So, uh, first we'll test z in ad sub with a little keyboard Okay, that's working Now what I'd like to do is play some notes here You can see that currently the the keyboard is actually lighting up the the drum notes on the The user interface of fabla 2 However, what we wanted to do was actually um Have these midi notes be recorded into fabla. So Fabla has a recording feature it can record both audio and midi So what I showed currently was loading drum samples as wav loops from The hard disk essentially If I had a microphone on things I didn't bring them I didn't have enough space in my bag But it can be done and I will show it in a future open av video That if we have a sound card or a microphone plugged in that we can basically beatbox or record samples into each pad in fabla and then it will And then it'll um play back whatever samples you have Now some really important features there are if we have samples that have been recorded on the fly We need to be able to change the start point of that sample because chances are if I press this button and go To beatbox something at the same time. I'm not going to quite sync them up So what you do is you record it like you you beatbox you press record you go And then you stop recording and then afterwards You just adjust the start point of that sample to where you want the actual kick to start And that means if I'm drumming the moment I hit the pad is actually the same moment the sound starts Not a lead in of silence and then the kick So these are the kind of workflow items that need to be for for live performance These need to be very much streamlined and that's kind of the workflow that I've been working on here With these things like changing your start points pretty easily and it takes a little requirement, you know if you'll You can record those three hits individually But then you do need to kind of tweak them for you know, five to ten seconds before you can Do something with that and that's something I haven't seen how to fix that problem yet of having to edit those samples In theory, it's possible to do onset detection of the Recording and then like choose a sample point or a sample start point Automatically and that is something that I'd like to look into and try and really make this totally life-proof So that I literally press these three buttons while beatboxing and it's sampled and automatically adjusted the parameters of sample playback To be like the most live and intuitive way of performing Okay, moving on from here. What I was talking about was recording things so I won't demo the audio recording because it's pretty self-explanatory if we makes in outputs an audio and record it to a pad the pad will play it back Just like it's playing back the wav loops, but the midi sampling is a bit more fun Um, so I'm going to attempt that right about now um If I press a button here on the hardware you see it light up and that will automatically record into that pad next when you're playing So I press this one then there's a record button on the hardware here I'll sync up three notes And then it doesn't work Um, let's have a look so I think I have some uh Debug output here of fabla somewhere. Okay, so we can see that Essentially if I press this pad it is writing midi notes. Yes, they're printfs in a real-time callback. I should not be doing that um There are some other things here that I shouldn't be doing but let's have a look. Um Yes, there's a weird little one that is in ads to um Connecting to the that one doesn't work, but if I connected to a to j Yeah, so what just happened is we sampled some notes. I'll sample three different notes all right So they're sampled into this pad right now if I switch to a different pad what I can do is sample three different notes Okay, that's reasonable now keep going we'll sample maybe this And then we'll sample something else again. All right So there's a really really basic chord sequence on four pads, but that means you can go Two seconds I don't have a kick drum anymore by the sense I wonder what happened there I probably over-recorded it with something all right Ah, thank you very much That was it indeed. Um, except for that. I just recorded silence over all of them. So I'll load up a sample here. Um There we go Okay Yeah, okay That one Okay, something's gone weird here. This is a good example of vice fab la two is not released yet And I have maybe a different solution So you can see that it becomes relatively okay ish to uh Get get these things, you know live performance with these tools working Some cooler features of fab la two and I'm a little conscious of time. Okay. I have about 10 minutes left Um, so what you saw here is relatively basic things going on What we would probably like to do is if we press one pad and we let go of it It will play these notes and send note-off events as well And then if we play the next pad it will play note or send note-ons and then send note-offs But sometimes you want to basically stop the previous chord playing a little sooner than expected Even though you're still holding the note down essentially mute the older playing ones and start a new set This is particularly relevant with kick drums for electronic music anyone who has familiarity with 808 kick drums There can be very very long samples, you know the real heavy punch one and then there's the short 808 kick And if you play the short kick you want to first mute the or at least at the same time Mute the the long punch like the really drone 808 kick So you can do this and it's using these two features here. We have empty and o f So empty is mute and o f is your off trigger A mute group is essentially a group of samples that if one plays it's going to stop the other ones in the same group as it But rather than having that tied just to you know, if you play a sample in this group It will automatically mute all the other ones in the same group There's a concept here of having split that in two So you can put all these samples in one mute group, but you can also have kind of a trigger group to turn all the other ones off Okay, hard to explain. What am I trying to say? I'm going to grab this chord for example, and I'm going to put it on the mute group of one If I can There we go and I'm going to change the off group to one similarly for this sample I'm going to do the same thing So what should happen now is if I press one of these buttons and then press the other It's going to mute the previous chord Or at least send the note off events corresponding to the note-ons that had sent earlier So the synthesizer should react and mute the other notes So what this gives us is a situation where Essentially, if you're doing live live performance with chords It'll kind of clean up the previous chords and keep it should keep a more, you know, well defined chord progression So I'm still holding the first chord I played just there, but it's been muted because I played a second chord afterwards It's And a few note off messages were missed Um, so you can see see the the use case of it there kick drums being one very primary use case Another being drum loops Actually, if there's a drum loop playing that you can switch between them using a fairly primitive way of sending mute groups The other being this midi sampling so that you can turn notes off on a synthesizer when you're triggering different things It allows also really fast kind of beat programming and doing kind of fancy tricks and automatically all these samples being cleaned up Why would we split the offset and the mute is basically if you want A symbol to also be the end of your chord sequence or the end of your baseline Then you want to press the symbol and have the baseline automatically be muted every time you press that symbol Or some sound effects and that's exactly what this allows. So it allows the offset or the off trigger Which is currently number one here To be different than the mute group. Um, if anyone has questions about this, I won't go on about it now But do come talk to me later I can try and load up an 808 example and try and make it more clear as to why I think this is actually really An awesome feature for live beat programming in particular So what have we covered? We have the pads view. We have the live view covered We have the auxiliary buses being sent. We have external effects including a magic rooting in jack Or q jack control as the case may be um We've covered sampling sampling audio sampling midi notes And the next step is to kind of think about okay. What else can we use this aux bus feature for? So there's a side chain auxiliary bus as well, which is ideal for if you have a kick drum and a baseline beside each other and Quite often in a live context when there's a kick drum You want to mute the bass because they'll interfere in frequencies usually and when the kick drum dies away Usually a pretty short envelope on an acoustic set at least Then you want to bring the baseline back up another use case minimal house music where you have that That's all side chaining Envelope of the kick drum then take away the bass if there's no kick drum bring back up the bass So there the kind of use cases that this can be used for as well Because we can for instance root this kick drum using the the third auxiliary bus here As the side chain key, which is the signal that's going to take everything away Now i'm going to like hack away here for a couple of seconds and set up an arder session I'm going to first kill all of these um And this is the little impromptu part of oh no wait the whole workshop is impromptu my bad. Um So we have jack running and i'll currently load up arder So There we go And there should be something there All right, all right, all right We're getting there So what I have is a an arder session here This or arder session contains a couple of different tracks. So there's fabla 2 is on one track Uh, that's this track here the highlighted red one currently Um, I'm trying to change that. Yes, there we go So some interesting to note is that arder on the left. Can you see that? I'll move it a little bit in two seconds Okay, so Arder has amazing rooting capabilities Most people are probably familiar with at least the basics of them What fabla 2 does is exposes one stereo master output with the lv2 port group flags It's a flagged as a master. So arder can actually in theory start getting very smart about how to expose these and how to root them automatically What it does is the first two outputs So the two on the very far left in the the view here are essentially the the master outputs Like we saw in the previous jack rooting diagram And then each stereo pair after that is one of the four aux buses So there's 10 stereo or like 10 10 mono audio outputs in total, but they're grouped Why does this matter because in arder's rooting diagrams or rooting dialogues What we can do is start rooting these auxiliary buses to different actual arder buses And then we can do the processing in those So that's exactly what's happening here. We have fabla 2 it's taking midi input no audio input And then in the rooting diagram, which I can't currently see one moment I can open up the rooting grid And what we can do is We can see that we have arder buses and there's a bit of a weird and wonderful Root in bits of rooting going on here. Let me take this down to the center Okay, so we have essentially the output one and two is going to the master in And then we have three and four, which is the first auxiliary bus going to the reverb in And then we have some other sidechain inputs going on here So I won't delve too much into the rooting details right now And what I'll talk through first is the the other tracks that are currently available And so there's a reverb bus that has the roomy plug-in just like the one I showed you earlier You can see that we have a X amount of Reverb it's 100 wet So I'll just send that away. We have some midi strings I recorded the strings just so I wouldn't have to load a synthesizer right now in the process as well And so that's that's a bounce of the four chords that I showed you earlier Which were actually sampled from the midi track into arder And then at the bottom I have a bass synth, which is actually Robin Garious's reasonable synth that comes bundled with arder Playing some really nice low notes and I was going to try to use a lead synth, but I didn't get around to that part So the fun parts are essentially we have fablatou, which is going to do the drum the actual drum beat It's a really simple drum beat We have a reverb bus. We have strings bounce and then there's a sidechain bus here So, okay, I'll break it down a little fablatou reverb to the Certain the snares and the hats so they're being triggered in the fablatou track They're being sent to the reverb just like we had in the last example We have fablatou again The kick drums are routed to the sidechain The sidechain bus has duck out one of the open av envelope plugins sidechain compressor essentially The bass synth is being routed to that compressor as well And that's going to give us the sidechaining action that we're actually been looking for all along Okay, I'll play this first Then what I'll do is start muting individual parts and kind of talk through what happens when we do certain things I'll just turn this down two seconds So I may have lost the main arder interface I think I I think it's here somewhere, but it also seems to have disappeared. Okay There's a different solution. Hopefully which is try and find us All right Right, I do apologize for this guys And what I'm going to do is I'm going to reload this arder session because With the dual screen something's gone funky on my my laptop setup. So give me two minutes We're going to just run through that again very very quickly this time. Hopefully I will manage to keep the interface There we are. Okay So that's that's the little four bar loop that we're going to have a kind of inspect a little and see what what the details are And if we open the fabla track here, we can see a really really simple drum loop happening with kick drum hi hat snare hi hat kick drum Those are rooted as follows in the fabla 2 interface now There's some little bugs remaining here, which include that certain things don't show up when the midi notes trigger them and such But we can see approximately what I demonstrated earlier in just the jalf demo The same thing occurs here that we have a hi hat and a snare being sent to a reverb bus The reverb bus despite that it's way down there. It is actually turned up bugs for our remaining work to do in fabla 2 But we also see that right here. There's a dial which is the kick drum being sent to the third auxiliary bus The third one is the one I've labeled as the the sidechain key The important thing here is for those not too familiar with sidechaining is you have one Signal that you want to be affected the baseline in this case and you have a key signal Which is when to take the other signal down So that's what's happening there um Then let me leave that over there um The other fun part is actually on the sidechain bus itself So this is dukkah. Basically what it does is takes the Key signal analyzes the volume if it's over a certain threshold. It's going to dip the other audio So it's a very simple envelope gate essentially Um, what I'll do is I'll just play this again and we can actually see That if we set the threshold correctly So what you see is that the screen actually indicates when the volume reduction is happening and we can change exactly when it's doing this Now if I was to for instance mute fabla 2 We can hear the bass drum is now no longer coming up after the beat But it's actually being triggered on the beat each time. I can try and turn that up a little in the mixer because it's actually very quiet So it's still not particularly loud, but it's a bit more obvious. I hope What I'll do now is unmute the fabla and then you'll start to hear that the bass drum actually comes up Mute the strings good plan. Thank you Uh, let me find the strings first mute. All right Let's try that again. So the other thing that's actually happening right now is that the I changed the delay time of the dukkah plugin, which is here somewhere else, oh There spotted it Um, so there's a time parameter Which allows changing how long the delay is after an envelope before it comes back up Now in theory or if not in theory in practice too, I suppose And that's synced to the jack or to the the host bpm of the lv2 host or such So currently it should be running at 128 divided by one two three or four Which gives you the like your time essentially how long it takes before the kick drum comes back Um, all right, I'll jump back to the mixer one for one moment As far as the demo goes, I suppose that that's as good as it's going to get right now I'll I'll reload the session in a while on offline and uh, kind of Yeah, that was that it's side chaining. It's not particularly done yet. It still needs some work There's a reason that fabla hasn't been released yet. So that's what I'm hoping to get to hear Uh somewhere Okay, two seconds And send and send mini lack, okay Yes So I've been through all of these fabla 2.0. Is it released? No, it is not unfortunately And the source code is available in its current state on github. It's relatively stable It's not totally there yet relatively. I mean it works for me works on my machine There's a bit of user testing remaining and such So, uh, I do hope to release it soon. I have also been saying that for about three or four months So take that with a pinch of salt at the same time. There is actually quite a bit of development went on in the last couple of weeks months Um So that's currently where we're at. Hopefully soon. Um, thanks I'll take any like pressing questions now. Otherwise, uh, guys, if you want to set up then, uh, that's that's cool I'll kind of talk for a while with any questions or anything And then, uh, so the super bushel is the the next presentation up I didn't check irc if there's any questions Uh, oh cool. So, uh, robin gary has commented That ardor's upcoming plug-in pin management is going to be awesome with fabla 2 I have never heard of ardor's plug-in pin management functionality before but i'll definitely be looking into it after this I'm sure somebody here knows. Um There's no audience microphone that I can see for questions as bruno. I think there was a question there All right. Thanks robin for chipping in on that one And there's a question coming here Well, you wanted to explain it afterwards, but maybe it's good to have on video as well What is the thing with the the start and stop mute groups? Like I No one understand normal music group mute groups. Let's assume Other people do too, but where Where's the difference? Okay, so I'm I'm just gonna unpack while I do this. I hope I'm not being rude by not looking at you guys um So what's the difference is that this allows you to mute a group of samples Without actually the sample itself getting muted by the others in that group It provides a kind of a piece of flexibility Which allows you to do much more like dynamic mapping of on and off groups than you could possibly do if Any sample in a group would mute all the others. It's essentially kind of like sending someone. Hmm. What's a good analogy? um Was there a suggestion there? No, uh Um, I I it's it's a hard one to explain and actually I didn't think of this feature It was a user's feature request. They said no, you're doing it the stupid old way Do it this way instead have two sets of groups One to trigger other mute groups to turn off and want to actually be in a certain mute group And it it makes a lot of sense. It's it's a really nice way of working because it decouples essentially A sample from being muted. So the thing being acted on and the thing that does the acting So it's kind of like orchestrating. It's like me saying to if there was a choir here in front of me my lovely audience You're the bass guys tenors altos sopranos that I can say like, okay, you guys all stop But I don't have to stop singing myself at the same time And I don't sing by the way So so that's kind of the the use case in that you can control other things that are going on without being influenced yourself By that mute group. Does that answer the question kind of or? Yeah Yes, or I can repeat the question but yeah microphone So if I got it right you have the ability to have like one clip or sample Mute some other group of samples, but like if the others are like they're not a Group as a whole as a mute group, but the one that mutes the others doesn't necessarily have to be muted itself While the others are so you're in that sense independent thing go exactly this. Yes. Thanks. Yeah No, it's it's a nice feature and particularly for live usage. I really like the fact it's very interesting because we're very much like We'll see that in a couple of seconds when we're talking We're we're thinking about very much related things fantastic. Great. Great to have you guys next up as well I'm gonna switch off here. Thanks very much guys been a pleasure talking about all the features. Appreciate it