 Hi everybody. My name is, actually I'm excited to do this with Mike because it's my first song. So, I'm, yeah, I came here to do my music work. To do my music work, I just go up to Tommy and start out playing. I'm interested in rap audio and music programming in general. You have to be like a, you know, like a super awesome artist. And yes, today I'm actually going to talk about synthesizers, talking about synthesizing sounds using rap audio in general. I will definitely talk about synthesizers and pushing out these. And yes, let me start. So, this is just an animation that I did with cameras in rap audio. So, it's like the pedal world of your music. Yeah, just in balls and these sounds. So, don't... Hello balls? Yeah, hello balls. So, what is rap audio? I'm not going to really talk in depth about this because Chun-Ni had a presentation last year where he explained many things around. So, I'm just going to go through this. So, it's just a way for us to work with audio on the rap using JavaScript. We can do fun stuff like this. Yeah, I'm sorry. It's just that I have to show you things like that. I really love... This is like the pedal world of rap audio where you have an audio context and you have a source which can be an oscillator or a grid in the element of rap audio. You can just put everything in there. Then you go through effects, which I just choose the compressor because it's in the solution. You can also use an analyzing node to just get data and you can do some generalization you need and context estimation equals to your sweetness. And then in this, you draw the compressor box. You do when you first hear the sound because the default sound for an oscillator is the sine wave. So, when you move on, how do we actually make that sound like a drum or playing sound synthesis? Sound synthesis is just a technique where you generate some scratch. There's different types of sounds of synthesis. It's mostly used to just make unique sounds. If you love noise synthesis, you can use it for digital synthesis. We create real acoustic instrument sounds, which is what everybody does today. I'm going to create sounds on the AO8 drum kit and do a little thanks to the pitch for putting books for this introduction. I'm going to present this acoustic synthesis there. I mean, not all, but most of it. But today, I'm just going to be talking about subtractive synthesis in that volume. So, subtractive synthesis. You have an oscillator node running through filter and send to a gain staging and it gains some input. So, that was similar to what we did three hours in it. So, that was an oscillator node. We went to filter. Filter can be... Our compressor can be substituted for the bass and this. To tell where I'm looking from, Chris Lawrence is to me like Yoda. Chris, my Yoda. Must be Shifu. Which I'm... Great reference. Yes, great reference. So, today I'm going to synthesise the kick drum, the snare drum and the hi-hat. In the end, you can see how all of them are going to work together. The kick drum, before I start, I always have an outline of what I want to do. So, I don't know if... This looks very to me even when I'm here. So, we have two oscillator nodes, two gain nodes, and two a context association. Which is pretty simple. So, it can... It's very simple. So, one, two... And there is the oscillator node and the gain nodes. And we find it, like, for what's the difference between the names. So, I will be putting these slides online. So, you guys can just refer to it. But at the moment I'm just going to show, like, what I did to make, exactly to make some videos I can show. Like, what I want to explain is this is the waveform of the kick drum. And you can see, like, it starts with a higher flag and caves. So, what we're going to do is to aggregate them. So, we use this thing called set value at time, linear run to value at time, exponential run from the time. I just wanted to show no, actually a blog post that my brother Tommy did. What? How all of this would sound like. So, I just want you guys to hear. And then, you exponential run to value of time at 0.5. 0.5 is 0.5 seconds. So, it was slowly increasing values. And then, if we have audio, we always have to connect. This is the ideal way to connect it. What I will do is have the oscillators connect to these two gain nodes and then connect to a master gain node to all the protest presentation. Because with the master gain nodes, you make sure that you won't spoil your ears when you're listening to the press. So, we will start in some of our space with everything, no functions. Is it clicker? But you'll hear a bad compressor so it sounds more cracked. In fact, it's great. We just move on so you guys can see the edge of the code where it sounds nice. Not really that nice, but still. It's interesting to spend time. You know what's pretty easy? When you have the snare drum, when you hear the snare drum, there's that smell of things in the bottom. So, when you hear the snare drum, make sure you say, Timmy, don't lie. You know this. Anyways, there are things that can be synthesized using a burst of noise. So, how do you make noise with your audio? You have to use the random number generator. Which I took from this an article which I think she can find online or on the site. I should have written the noise generator. What he's doing is just putting random numbers into a buffer. This is how the mic sounds. Get down to a stand. So, this is the connection of our snare drums. We have an oscillator note to a gain note to a filter. Because we want to remove all the low frequencies then we have a filter gain note. Which is actually a gain note so we can automate the audio parameters. A filter note, we have a filter and gain note with a cap sound. And this is a bowman. A booster. You never mind. If you hear a sound or sound like a horn for this drum, this is the oscillator note but it's not. So, what it is, there's six square oscillators square wave oscillators going to a mixer. So, you just combine this together go to a filter then this whole bunch of stuff I really care. It goes to a high pass filter then you get them by a a speaker. So, this is my bow. So, what I just did, oscillator, back pass filter and the filter gain note and this is the sound of six oscillators. So, as you can see in different measures then you pass the fundamental between the oscillators. It wasn't clear in the end for the high cap. Did you use all the other stuff like the voltage control oscillator or what? No, I didn't use it. I really didn't like it. So, it was just six oscillators and then the filter was gone. Yeah, the six oscillators and then the filter was gone. Can we hear just the high cap? Oh, yeah, sure. Yeah, but I wish the speakers had to use ears. Is it possible to turn it up a little? So, would you play this first? You play a 40 hertz statement then those ratios, those multiples. That's actually a thousand percent of what you put in the code, right? It's a lot higher, but it's that same weird ratio pattern. So, do you use what fundamental did you use for the... It's 40, but... It's still not even 40, that's all there. But then you still have a... Yeah, very high. I'm not caring what the 40 is coming through. Well, I think because you would practice the fundamental... Yeah, I think... She said 240, I think it was a thousand. Sounds right. It was 40 times the ratio. Oh, but that was... Yeah. It's a lot easier code to support you than 5,000 or so. This is a filter. Wow, okay. 10,000. I can't remember where I put 10,000, but this is going to come out of my ears. So anyways, anybody can just play around and play with sounds best. Because it's part of the sound design anyways. Why are you... To be shown yet more. Why are you using for visual arts? No, for the... The balls? Some sequencer. Oh, sequencer, I just said. Do you still have CCS? To be stylish. So, having is... Web Audio. Last year's their first conference, Matt McCat. Everybody knows Matt McCat is a JavaScript developer, but he also plays Web Audio. So he has Ableton Push, he's a MIDI controller square one, then he played music on it. So he made music using Web Audio, like legit techno house music but what's his name? Probably I did not work with him. Mozilla... I'm sure the Google sequencer... Google sequencer? I choose a lot of like... Your sequencer is the best. No. He's a pro. I wish I could make... You can't? I can, but not there yet. Like someone made Web Audio. You can use Web Audio to use it. So you don't always have to synthesise sounds from scratch anymore. And Jimmy has a list actually of all Web Audio stuff. Actually there's two components. One is the sound generator and the other one is the sequencer that you have. For this Web Audio what is the... why is it... of that you have a sequencer or you have a synthesiser? Last time. Okay. Can I share your hardware sequence? I don't think it sounds as good as that to me. But the fact that I can show people my code and show how synthesise sounds is how you can do things and you can share it online like Mr. Lee, that is the beauty of it. That's how you do it. That's how you do it. And you can synthesise the sounds from there.