 It's ANFA. Can you hear me? Sure you can. Welcome to another monthly live stream. This one is actually the sync. I mean, the audio and video is not in sync. That would be not great. Yeah. So welcome to another monthly live stream. This time it's from a temporary location. So you might notice that the lighting and the coffee making sequence look different. It's because I'm not at my usual place right now because of a makeover. And that's also partially the reason why there was no live stream last month. I had to cancel that, unfortunately. And because of that, this month or rather today, I'm starting one hour early. Usually we'd be starting this live stream in another hour, but we're starting already. And that is to make it three hours long, not two hours long. So hopefully we can make up for the time we lost last month when the live stream didn't happen. Welcome everyone. I can see 47 people watching right now. Oh no, 54. Well, YouTube doesn't, like, can't agree with itself about this number. So somewhere between 54 and 47 people are watching. If you're watching me for the first time, I'm Anfa. I make electronic music and also sound effects. I work in the video game industry as a general artist. Audio and video and graphics and 3D and all different kinds of stuff. And I work using Linux. And I make videos about making music and sounds on Linux using nothing but free and open source software, which I also call Libre software to distinguish it from freeware, because free software and freeware are very confusing terms. And Libre software kind of helps distinguish that, that there's more than just no cost of getting the binaries. There's also the fact that you can view, modify, and we learn from the source code. And you can even publish your own version of the piece of software, which is free software. And that's what I'm using. And I'm teaching how to do music with that. So we can all make music without being slaves to corporations as much as possible and have fun, enjoy our creativity, develop as people and artists, and help the software grow too, because we are the people who make the software and we are the people who use it. And it's a very, very nice thing to be here. That was an extensively loud sentence before taking a sip. Alrighty, so I've got the intros out. Yesterday I published a video with a piece of music that was stochastic or randomized. And that was for the Libre Music Challenge, number six. And I should have the, I should have the link for you. But I don't. Give me a second. There's a big lag between audio and video. Hmm. The problem is I can't even preview this with audio. I don't hear anything. So I can't even figure that out. I could try and just stop OBS and restart it. But it's really given me help today. So I'm not sure if I can do something about this. This is really bad. Like I've done so much work to make sure that today we're going to have everything is going to work all right. I've been testing for the past week and making sure nothing breaks. But again, everything broke in the last second. OBS, STAD. No, I'm just going to seg fold every time you run me because I wanted to have my phone being a secondary camera. And finally I managed to do it. But how I did it is I'm opening the image from the phone in the Firefox instance and I'm taking image of that because if I do that directly in OBS, it just seg folds. And it's really, I can't, I don't know why can't I preview the stream. Basically what I can do is add an audio track in Ardor and basically I'm gonna give it a bunch of gain and I can clap. It seems in sync in my on my side. So obviously it's not in sync on your side. The stupid thing is I don't I can't even preview this like the live stream won't play for me. I'm wondering if anything will play for me. Maybe I just messed up Pulsario. Wait a minute. Okay, so it looks like we're still having some technical difficulties. Webcom and Ardor are in sync, but Mike is behind. Oh, that's bad. There might be an answer to that. I might know. Whoa, what did I do? Ah, okay, still everything works. Hopefully. Well, well, well, where is that? Oh, yeah. Maybe it is because I must say that even though Carla is looking nice, its functionality regarding managing nodes is really low. Okay, does that make it less delay? Faster now, I hope. Live debugging. Yeah, I, I, I wished I could just go on with the show, not debug it. You know what? I don't know. Still a bit out of sync. Okay, I could try and delay, but this is totally like, I'm, I can't verify this at all. So this is pretty like crazy because I might be just screwing myself up right now and I don't even know what is that. Okay, so now I've delayed everything else instead of my voice. Is that better? What I'm doing to do it again? Is it in sync? I think the only, unfortunately, the only way I can test what's going on is view this on my phone because my, my desktop somehow doesn't want to cooperate at all. And I'm just going to look myself up on YouTube. Clap is before the video. All right. Let me assess the situation right there. Give me sound, please. What the hell then? That's a lot. That's half a second. Wow. Let's test this now. Oh, that's way better now. Okay, I think that's going to be, that's going to be usable. All right, shall we restart? All right. So after this short debugging session, I hope we can move on with the show. Hey, it's Anfa and you're watching another monthly live stream. Yesterday I published a video where I made a piece of music or rather a video of a piece of music that was using Stockass, which is an open source probabilistic sequencer plugin from the makers of Surge. And what's really interesting is that it lets you make a piece of music that has some probabilities of notes being played or sequences of notes. And then it's going to spew out a midi stream that's going to randomly pick a chance and hopefully that can let you create music that is less boring and has a bit of a chance in it. And it always sounds a bit different. And of course, like this is not computer generated music because the computer didn't make up the melodies or didn't pick the notes, the key, or didn't make the synth patches, but just choosing between what I input as an artist. And I was thinking about maybe using this today to make something. I also wanted to make some music using Surge. And I'm using a beta version of it, which is, oh, that's so weird. When I enable sound playback on my YouTube preview, it immediately starts like hangs up. If I disable sound, it just plays normally. Wow, that's that's really amazing. Nothing works. Nothing works normally today. Oh, well. In case something really screws up, I'm recording this whole thing in high quality video so I can publish it afterwards. If like something explodes in the middle. Yep. Okay, this can go. We don't need it anymore. Let's maybe add a midi track with stock s's on this list. Probably not. Let's just insert surge. Wow, I wish this list like would Oh, I can't find surge here even. I wish there was like, you know, let's screw it. I'm just going to insert nothing and just search manually. Well, not LV2. We need VST3. What version of order is this? It's 6.5. Why doesn't it show me VST3 plugins? VST2, VST3. Okay, let's clear the blacklist, clear the cache. Lib user VST, VST additional. But the base patch should be user lib VST3. Oh, man. No, that's not correct. Okay, never mind. Let's rescan for new plugins then. I guess. Well, it seems like this stream is just going to be solving problems, unexpected issues. By the way, let's switch to this view. I've recently updated air windows plugins. If you don't know, there is an AUR PKG build script for them, which will pull all the source code from GitHub and build it for you. And these are Linux VST plugins. No one ported them to LV2 yet. What is interesting about that is the new version of surge. Well, it's going to take a while. The new version of surge actually has a bunch of air windows plugins in them in it. Like, you can use a selected slew of the air windows plugins as effects inside the surge, which is pretty interesting, like that they chose this. And yeah, there's some really useful stuff in there. All right, we found some plugins. Okay, I can see it. There it is. I also wonder if StoCast is now. Oh, it is there. Fabulous. Let's use surge first, though. Maybe insert surge and yay, this is surge. And this is version 1.8 nightly built two days, you know, four days ago. Well, should have updated before, but well, I could update now, but I just really don't want to like do any more of that maintenance stuff. Let me see if we can hear it. Oh my goodness. Why? What happened? That's not proper. Okay, but all right, that's good. Somehow this didn't wasn't connected properly. Oh, what's that? Thanks, honey. These are illegal! I want to make something. One thing I'm really happy about is that, let's see how big can I make this without clipping it, is that I've reported some, oh, I just undid my progress right there. I've reported some issues with the rendering of this plugin and they have fixed it. And right now, it's freaking pixel perfect. Like, there was all kind of weird jagged edges and glitches and none of that is there. Like, it's so good. It's so crisp. It looks perfect. And also it's anti alias, I think, which is kind of crazy. But it looks so good. And there's none of this weird blurring, which I've seen before, that like some fields were like rendered in lower resolution and blurry. Like, some people say that Serge needs a modern interface. I'm not super sold on that. I really like this interface, to be honest. Maybe if they say modern, they mean something more responsive, because it would be nice to see, like, what is happening more, because it's like you assign stuff and you can hear it happening, but you can't really see what's going on that well. So, yeah, maybe that would be best to tackle. Now, this version of Serge has a lot of different filters added also. I've recently heard someone said that Serge sounds distinctly digital and something like Odin 2 may not have as many options, but it's focused on sounding analog. I am not sure if this is really a limitation, because in Serge you can do things like, well, first in this nightly version, you have a bunch of very nice filter emulations, which I'm sure gonna sound pretty freaking analog. Let's enable the filter envelope. Oh, I could use some vibrato. And like, what it could do to make it sound a bit more analog. We could add a little bit of noise and maybe send it to make it not go through the filter. We could make it a noise a little bit darker. Now we can saturate this a little bit. However, I would like this noise to be added before the saturator, so let's see what can I do. Oh, that, that's better. Wait, it's like, it's very strong. Oh, okay. Right, my oscillator one was fed back both to filter one and filter two and made it sound too much. Meow. If we wanted to make it a meowing sound, we could add some attack. And we could also add some pitch envelope. Does it sound cat-like? Maybe if you make this filter steep, what am I doing? Let's disable the pitch envelope. Okay, what I wanted to do also is use another LFO and affect the pitch, but make the rate much faster. Make it a random wonder and make that very delicate. So, also we can do the same with the filter. So we can have a little bit of instability in there. We can reduce the amplitude of everything, of all the modulation ones. B-Music says, Anfa is, YouTube is full of cat videos and Anfa participates. What if we enable unison? And make it stir. It's a cat chorus. Cat choir. Okay, this is a very silly patch. I don't know what I'm doing. Why am I doing this? Let's maybe make a kick drum, okay? Oh, I wish this list would respond to hitting a key like S and it would jump to the first plugin with S in its name at the first position. That would be so useful. Let us make a kick drum. What about that? Let's snap to quarter notes. We can see how much time is a bar already. I'm gonna call this kick, make the subwoof, subwoof. Okay, so for a drum, oh, the sign is a reset to whatever it was before. Now it's bigger. So to make a kick drum, I'm going to switch to a sign oscillator. I'm going to disable key track. So whichever note I play, it's always the same. I'm also going to move it down to octaves. So it's bass, bass. Actually, I should do it like that. Bass. I'm sorry, that was loud and obnoxious, but that was the point. So this is the kick. Now I'm also going to enable this trigger, which means that it's gonna start the cycle every time I hit a note. Excuse me for a while. Pick crisis averted again. Yes, so I was taught by viewers that if you enable this retrigger function, every note is going to make sure that the cycle of the waveform starts at the very beginning, which gives us repeatable drum hits, which is what we want. I'm also going to make this a monophonic sound. So we can't play chords because who would want to play chords on the kick drum? Well, someone probably somewhere would want. That is a sign of a sick man or a genius. Never know. Can never tell the two apart. Okay, so that's our kick now. I'm going to use this LFO 1, but I'm going to switch it to an envelope now. It's called ENV 1 because it's an envelope. I'm going to assign it to the pitch. As you can see, the envelope just holds the top value all the time. So I'm going to drug the slider of the sustain value and now it's falling, but it's too slow. I'm going to reduce the decay time. Okay, the problem is we need way more pitch change. And this is already like the full scale almost and nothing really happens that dramatic. So I'm going to right click and select Extend Range. And that's going to basically multiply everything by 10, which gives us this. I'm going to reduce this time. Let's move it one octave down again. Whoo! Also what we can do is use this deform parameter. I'm going to make this longer so you can see if I slide this right, it's going to bend our envelope a little bit to the center, creating making it more parabolic than a straight line. And that's great. The other way around bends it upwards, but I want this. That's a pretty hard hitting kick, laser kick, as Outer Mind says. Oh, I like this one. Okay, what else can we do? We can add a little bit of noise to this kick drum. So I'm going to unmute the noise channel, the mixer, and I'm going to turn it way down because by default it's as loud as it can be, which is loud. Alrighty, now I want it to only happen during the first part, so I'm going to enable, click on this ENV1 button. It's going green, that means I can assign it as a modulation source to different parameters. And now it's modulating my noise amount. If I click again, it disables that assigning, and I can just lower the bass level. So now we have a little bit of noise, which is great. We can also change the noise color, make it brighter or darker. This is more towards blue noise, this is more towards pink or brown noise, and also we need the distortion. And I think we could maybe use the same envelope to app the distortion gain and then back it off. So it's only distorting on that particular transient. We can also extend this range, wow. Now this sounds like a kick bass, but I don't want to make it as a kick bass, I don't want to play melodies with that. So let's use this amplitude envelope generator, reduce the sustain value to zero, so it just dies off, and reduce the decay time, okay. If we click here, we can also change the character of the envelope. And I think this is fitting pretty nicely. Now we can use a filter, I'm going to use a hypers filter, hypers 24 decibels per octave. And we need to lower the frequency, I can use some resonance, metal. Alrighty, what else we can do? I think, just maybe add a little bit of EQ, let's go with EQ. Nah, I think one problem of this surge interface is that it's a bit laggy. I mean, it's not like redrawing 60 frames per second, as not always at least. Okay, we want frequency, yay, these are highs, bandwidth, a bit more highs, yay. All right, that's our kick. This is too slow, I'm going to up the tempo to 140. I think we need some bass to this, huh? I'm gonna just copy this pattern to make our bass. I'm gonna immediately move it an octave down, maybe try and write some melody. Okay, that's weird, I mean, okay, let's continue with that melody. Ah, that was nasty. Okay, I need to shorten this part. Why can't I move the notes left and right? What the hell is that? That arduous MIDI break even worse when I was looking? Oh no, that's my fault. I have lock edit mode. I must have misclicked something. Okay, now I can move it. Good. Oh my goodness. Let's listen to that again. I'm gonna duplicate this kick pattern. That wasn't a key. Something's not great about this. Okay, this kind of kind of works, I guess. Now we can maybe make a patch for that, so it's not just a bland nothingness of sort of... I'm gonna go with an FM sound, excuse me. So maybe let's switch this oscillator type from classic to FM2. Maybe we can make it a bit... I'm not sure why, but why not? Ah, yeah. It's really cool that I can change any modulation source from being an LFO, to being an envelope, to being noise. Like, I don't need to like copy and paste my modulation assignments. I can just change the type if I want to change the type. I think that's a bit too extreme. What about making this an envelope, actually? Rob van den Berg asks, do we have any official statements on the license of vital? I highly doubt that becoming FOSS. I haven't seen an official statement yet. But I have seen that in the official Debian package from Matt, if you dig in, actually we can do this if you want. That... nope. No, maybe let's not. I don't want to screw something up again. I've already had too many technical issues today. But if you download the vital's official Debian file and open it up as an archive and dig in and find a file named Copping, All Capitals, you can read that there is a GPL3 and GPL2 license like mentioned for different parts of this piece of software. So I'm pretty sure that Matt is going to release the source code. Because why would he put GPL license there if he didn't plan on doing it? But I... Actually, that's not my secret CSS. There was some CSS I tried to find to make the live stream chat show up in the warm up. Because somehow we just stopped working. I don't know. Something broke in OBS, I think. Or maybe YouTube changed its... nah, I don't know. Maybe YouTube broke it. I don't know. Lots of things broke. What was I talking about? Oh, yeah. I guess Matt is now very busy fixing bugs for people who paid for vital. Because there's a lot of them mentioned in the forum. And I'm pretty sure once he's over the most important things, he's going to publish the source. But it's not yet, so I'm not making vital videos yet. I'm going to wait for the source release. We're using it and we're covering it any further. Because I think it was not the best idea to cover it so early. Because of the secrecy and no information about the license, etc. It's problematic. If it turned out to not be open source at all, that would mean I have wasted a lot of my own time. And more importantly, a lot of other people's time on Sonor Convention, on YouTube. And I've invested myself in something that turned out to be not what I wanted. So I'd have to throw out a bunch of tracks I made with vital. Or just throw out vital and make the sounds with something else. Which I probably still will have to do because the patch is broke. Because I was using beta versions. And well, that's what you get for using unstable software in production. Well, that's really cool that we can mix envelopes and LFOs in this way. What does it sound like in the context of the song though? I'm going to loop these two. Weird, extremely weird. Outer Mind says vital is on AUR, free version, so it may become open source. Well, that's really, that is not a proof of anything. Because you will find substance painter and substance designer on AUR as well. Like there's all kinds of proprietary programs being packaged there to let people install them easily. But the fact that you can find the GPL license listed as the license vital is released in the official Debian package kind of says something to me. And I know Matt haven't said anything officially. Like he didn't say, yeah, it's going to be GPL. Which I really wish he would do. Because the fast communities kind of hang on the thread. Like really not knowing what's going on. And I'm not sure if the rest of the world really gives a frick about what's the license. They don't even understand what GPL means. All they understand is it's free. And it also kind of made me unhappy that a lot of people said nice sounds for a free synth. No, it's nice sounds for a synth. And like I'm not sure if that's what Matt wanted to achieve regarding marketing. Because everybody in the proprietary world is talking about it as a free synthesizer. And I'm not sure but I'm afraid people are like labelling things with something saying it's free then it can be that good. Can it? And I think it's really extremely nice. And I hope that's not going to hurt it. Because even if it stays proprietary, well, that's great news to have such a fantastic synthesizer being available on Linux day one, having an LV2 version, etc. Even though it doesn't work in order currently on arch based distributions. For some reason, I can't use it right now, even if I would want to. So I'm waiting anyway. Yeah, even if it's not going to be open source, that's still a good thing for Linux audio. So I would not be covering it if that was all like I've been talking about it only because I believe it's going to be open source. And I had strong reasons to do that. Yep, still no info. No, I think I don't like this. I think I'm going to make this a pluck. Or donk. I think we need a sub bass for this. Oh, what about this? Hey, let's combine the two and then low pass them together. What about it'll come filter in? What if I do this stereo thing? Arathra says open source music production is great. We just don't have an open source serum or vital like VST besides surge. But surge isn't near the level of serum or vital. Yeah, like until and unless vital finally releases as open source, we don't. So I think surge is very powerful. And yeah, it doesn't it's it doesn't have an a wavetable editor. And so far I wasn't able to use the wavetables, like make my own custom wavetables, which is a big bummer because that's a very powerful thing. And if but I know they're working on it to make it easier to import different things. And there's a lot of cool stuff coming in to surge, as I've seen on the GitHub of this project. So I think even if it's not the same or not, like having the same functionality or equivalent functionality as serum or vital, surge is still an excellent instrument. And I think I think we're going to be able to do some really cool stuff with it. I want to tune this comp filter to my playing. So I'm enabling key track. Now this is the reference note. So if I lower that, that's interesting. Like this. I'd like to add some distorted swell and the tail. So I'm going to do that with an envelope. Some attack. Also, I could add a little bit of a reverb verb. We could use the air windows stuff. So if I go air windows in it, you see we have a list of effects from air windows. And there is a pocket verbs, which are a synthetic reverbs. And gating is like fading out the sound when the input is not playing, which is really cool. I just wished it was in stereo, because it's distinctly mono sounding. I wonder what will happen if I apply a little bit unison. Oh, there's our stereoness. Oh, it's way too much. Okay, we can also use another extremely popular air windows effect, which is to tape. I don't know if this is version. I think this is version five. Let's smash it. You can hear a little bit of phasing. And that's because we have flatter on. If I disable it or drop it to zero. You know what? I think this bass, this melody is not going to fit our bass. I think we need lower, longer notes. I'm going to shift this to a different track and make a... Also, maybe this shouldn't be like... Maybe we need a rhythm like... Oh, I don't have... Oh, look at all that. Everything is so hard or is like very slow to refresh. I wonder if it's because of the surge interface underneath, or is it because I'm recording this as a backup? No, because OBS shows pretty smooth thingy. Well, I think we're going to need a snare at some point. Oh my goodness. Why is Ardor so slow? Yeah, we'll need a snare definitely. Ah, the melody isn't readable. Are there a hardware acceleration in action? I don't know. The session is so incredibly small. I don't see a reason why Ardor is so unresponsive. Maybe I should disable quirks. Okay, I don't even possibly improve slow graphical performance. I don't know. Do I want to do that? Well, we can try. It may crash everything and we'll both die, you and me, but let's try. We can always restart. The whole stream, right? Okay, nothing crashed. Oh, what is that white bar? Oh, it's the non-existent... What the frick? It's the non-existent YouTube chat widget. You punk. All right. Hey, let's start it again and see what happens. What work? Will it be better? Unpopular streamer says, anyone else mess around with magnetic tape? I actually don't have mine in possession. It's getting a little work, but it's in a full working order. Hey, is it faster now? It is faster, but is that because I changed something or just restarted it? Because I'm feeling like just maybe because I restarted it. Yeah, it's back to being choppy. If you just open the search, use our interface, it gets choppy. Okay. Well, tough luck. One of many issues we need to live with. Oh, where did the kick go? Ah, disappeared. Ah, okay, yeah, that's usual. We definitely need a snare. Let's make one. We need two hits of the snare along these few. Oh, that's very bad. Like, that's sort of... Okay. You know the drill. Retrigger key track. Let's make an envelope. Actually, we can switch it to the multi-stage envelope, which means we can do this. Also, we can make it in disabled looping, so it's just once. And we can assign it to pitch. I think we need to shorten that. Hey. Ah, that's the thing. Okay, that's the control point. Let's extend the range. Holy snap, that's a lot. Oh my goodness. Wow. That is a lot of pitch. But we're making a snare now. We don't need such deep. I'm going to offset the... I think this sounds okay. We need noise. Quite a lot of this. Add a resonant hypers filter. Add 200 hertz. Oh, it's too low. Let's make it stereo. Actually, let's lower it a bit. I don't like the... Oh yeah. Oh, I forgot saturation. Ho-ho. Maybe let's use another envelope, which is going to be a little bit simpler. Ah, that's a bit too much. Let's use the air windows stuff again. Why not? Ambience. Pocket verbs. Wow. All right. Adds a little bit of character. Let's add something to... Maybe air windows surge inside of surge. I don't know what's the... Oh, drum slam. I don't know. What is it? That's the job, I guess. I think I would like to use DS. So if it's contained in this set, or D-Bass. It's not very responsive. Dynamics. Clipping. Oh, yes. There's D-Bass. Ho-ho. All right. Shouldn't it be at zero? Okay. Ah, yes, yes. This is like dry wet. Yep. It is removing some of the annoying stuff. All right. Here's a snare. Let's see how it sounds together. I'm going to save this session. Okay. Something breaks. How about... Whoa. How about... Would we make this bass patch? Monophonic. Maybe make it monophonic. Oh, no. That's the mode I don't want to use. Mono ST. Okay. What does it stand for? And now you can add the portamento. So it's going to swing or slide. Or you can do things like that. I think this is pretty interesting now. Makes me want to add some screeching sawtooth or super sauce. Super sauce. So funny. Let's see what we can do with this. Super sauce with tremolo. Strange animals. Are you saying that this is a good thing or a bad thing to have super sauce with tremolo? Because I'm not sure about this emoji you sent. Lifeline says, how about b.plugins plugs? I'm not sure. I don't have an idea right now what I could do with them. But we can try them. But this... Give ourselves free voices. Yay. This is a super annoying sound. Also, let's give ourselves another voice. Quite our one with mohoho. We can also enable retrigger. All the voices start in the same phase, which gives us this interesting retro effect. And a very clean transient. Not necessarily for what we would do. I'm going to fade it in a bit, so it's not as attacking, as painful. But I think what really is going to make this annoying as all Frick is if we add the pitch. Yeah. Classic. What else can we do? Well, we can ring mod this. Or can we? There was a ring modulation filter at some point. I don't think it's now. It's there now, or maybe. Oh, I think they removed it. You can comment. It's an era rape class sound. Okay. I'm not sure if it's conveying the melody properly. Maybe I will have to rewrite this part. Oh my goodness. Arthur is so laggy with this surge plugin. I think I will split this. Oh yeah. Nice. Thanks for the snow disappearing. I wonder if I... Whoa whoa. If I quantize them, will that stop it from... Oh, they moved a little bit. If let's stop it from disappearing. Oh, it did. Wow. Amazing. Okay, so I'm going to move this to a different part. Maybe let's give every... Every... Let's duplicate this a bunch of times. Let's give every bar its own... Its own sound. Let's try to make it as annoying as possible. Because, I don't know. Dope, stop. Dope, stop. Oh my sweet. That's loud. Loud and ugly. Hold that growly. That is growly. I'm a gonna live for that. Let's make this... Let's make this a growl, Babais. We still have M3. But M3 is... Huh, but we can key track M3 if we do... Oh, I don't know if we can actually do that. Key track. Okay, I don't... Is that gonna work? The weird thing is I don't hear any effect. All right, let's omit it then. This is still pretty gnarly sounding. And you know what? We can still do better. Let's turn this into a sine wave. Or no. Let's maybe make it a triangle. Oh, we don't have a triangle? Let's go with wavetable and pick triangle. So that's a triangle. And if we now enable this, we can FM it. Our triangle with what we've had before. That's not clean at all. What is going on? Okay, I'm trying to get a nice growly sound. It's a bit difficult, you see. I'm gonna make this tempo sync. And this also, but to a different... What about this window thing? That sounds better. So this window thing is a different way of evaluating the wavetables. What I can now do is first band pass this. And well, maybe use an envelope this time. Or we could actually control this with a macro. Yes, let's use a macro. So I'm gonna click here twice. And now I'm going to assign it to the cutoff. Now we can preview the effect here. Then we wave shape it. Then we notch it. And maybe I could apply the same thing just in reverse. Yeah, pretty much. Now it will really solidify the sound. Well, of course we need a... We need a high pass to separate the sub and add a sub oscillator, a separate one. I wonder if Airwindows can help us with that. Pessiter. Yeah! Cool. Now we open up scene B, which is a completely blank plate. We can use dual. So both of them play at the same time. We can change this to a sine wave. And we have a sub. Maybe I'm gonna give this a some gain. Whoa! Loud! It is loud. Let's try. And I wonder if there is any multi-band compressor here. I don't think so. Compress saturator. Maybe you guys know the Airwindows plugins. Is any of these multi-band? Compress saturator maybe. Sounds good. Oh, that's painful! It's painful. I think we need a DSer after that. Jesse Huntley says, Hey, Anfa! Hey, Jesse! Let's go. Maybe this time I'm going to use DS. Oh my goodness! That's required. This is nasty stuff. Okay, this is our ground bass. And I'm going to automate macro one. Get something moving here. Let's make it play. And let's listen. Let's play the whole thing maybe, okay? Three, two, one, go! That's good. Wow. Ah, the filter pretty much overtook everything. I didn't hear anything else happening here. Just the filters. I also think the notes were too high for this. Our door just hang because the display froze. Oh my goodness. Wow. Oh, okay. We're back. Good. That's not bad. I want LSP multi-band compressor after that. What is going on with our door? Why is it so slow? Wow. LSP multi-band. What the hell? Stereo. Why is this in my favorites? I'm using this like every single time. What's going on? No crash yet? No crash yet. I'm going to get some new t-shirts for Christmas that I've designed myself. And I'm going to reference that. I mean something similar. It's going to be fun. Okay. Wow. Now I try to open the... Yes. You cannot believe the frame rates I'm here having here. Maybe I'll try to stop recording video as I'm doing this. Maybe that's going to help because it seems that streaming is quite stable, okay? No, that wasn't it. Oh well. I don't know. I haven't had such a hard time having a proper fluid display. Let's set the ratios. Actually maybe more than two to one. Slam it. Give it some input gain. I think I should turn this super sauce down and turn this thing up. Enough compared to the rest. I think we're getting a little interesting drop in here. What if this was a chord and we play it on organ? Or I don't know, clavichord? Something. Wow. Why so un... Oh yeah. Why can I cannot... I can't wait for Ardor to fix this whole mess. It's such a mess. Does it sit in the key at all? Let's save. Oh, saving just made it unresponsive. It's okay. Let's make some physical modeling. That's fun. I really like that. Let's mute the oscillator. We're not going to use it. Let's un-mute the noise source. Let's make it quieter though. And now we enable a calm filter. However, we can make it second in the chain. So we can insert something before it. And I'm going to enable key track for this filter too. App the resonance. And we're playing melodies with the calm filter. Now if we make this noise not constant, but just a little pluck. So let me give it a... We've got a plucked string model on our hands. We can even use this key track to pan it around to have it like feel like your your head is stuck inside of the clavichord. Let's use some reverb. I wanted to close that up with a major chord, but I couldn't figure it out. Zero Green asks, how is that staying in tune? Did they adjust the calm filter? Yes, I have reported the problem that the calm filter would not stay in tune if you use key track and the surge developers have quickly answered my issue on GitHub and they fixed this issue. But it's not in the stable version of surge, which is 1.7. So to have the calm filter usable, you need the nightly build so far. Oh, I could actually do the... I can use the amplitude envelope to modulate the reverb amount. So we pretty much have amp gating. Oh wait, I can't. What about us? Okay, the single or scene LFOs can do it because they are one per scene. Oh, we can have this. Isn't that wonderful? Wow. Maybe there's a little bit too much of this key track to panning. Also, I switched it to stereo. So the noise is stereo. So that also widens the... I'm not sure about this wiggle. It's a bit too much. I'm gonna make it an envelope. That's gonna be so cool. Painful, too loud. I think we need a bit of a different part for this. To show off the instrument. I'm gonna mute this thingy. And maybe I'm gonna quantize it. Wow, it's so slow. I don't know why. Maybe it's because I'm streaming. And let's make a second vo... Thank you. Let's make a second voice go the opposite direction and have a pedal note. I misclicked. That was a fellow mistake. Zero green says right click a slider related to time and then should be a tempo sync option. Yes, I did that before. You must have missed it before in this stream. All right, so we have one more patch to make for this drop. Oh, wait. What is going on? I'm... I don't know why. Can you step doing that, please? What is clav? What should this be? That book looking for the third time. Okay. Or maybe I just did something wrong. I'm gonna move the keys. Whoa, whoa, whoa. Oh, no, actually, I can just move this here up. Yep. And the keys are visible. Oh, so I thought zero green was talking to me and he was talking to someone else. All right. I didn't notice. What could we do? What... What interesting thing we can do? We could maybe try some weave table stuff. See what is there? Wow, that is severe aliasing. That is quite bad. Yeah. Not terribly great. Is there an all-pass filter here? I don't see one. There's sample and hold. Well, that's pretty crazy. Let's try and do something useful with it. What does resonance do? Oh, it does have resonance. Okay. Let's sync them to tempo. Oh, we can select something out of the menu. Quarter note, please. I think I'm clicking. My goodness. It's so terrible when it's not fast enough to get my clicks. Let's use a low-pass. What is the low-pass? It's an envelope. Or a multi-stage envelope generator. Am I gonna tempo sync it? Excuse me. No. Oh, yeah. I can double-click now. Oh, yeah. What the hell? It's so slow. I think I will restart our door just to get a few frames per second more. Can I change the loop point? How about how? That's what we need. If I could have this play an audio rate, for example, it's one hertz. If I do this, what was the default for 532 hertz? Divided by four. All right. 532 divided by eight is 66.5. I don't think that's gonna go in. Yeah, that's still too much. 33 point. Can I, I can't type in a point. Okay, whatever. Enter? Does it go in? It did not. Okay, let's do it like Manila. Oh, that's per- Almost perfect. Now use the key track. Oh, I can't modulate the LFO speed. That's the problem. Can I do it with... Okay, I can't do it with the SLFO, but I can't do it with the key track. Huh. Okay, that's a little bummer. Well, looks like our fun is limited. But well, we can still make some really nasty fart noises. And you know what? Making stereo and that feedback. What could make this noise nastier? Oh ring modulator, of course. Is there like feedback? Can we modulate this with that? Holy snap, that's a lot. Too much. I'm gonna lower the release time. Also going to make this thingy. Wait, are we using this for something? Maybe not. I'm gonna do... It turned into laser farts. Exactly. Laser farts. Laser farts. Let's record that as a sample and process it and do something with it. What I wanted to do, I wanted to make this an envelope. Give it a zero release. Slightly attack. And assign it as the mix for this. So it shuts up as soon as I release the key. I'm playing different octaves. There's some interesting stuff in here. It's not tonal. I can't tune it to pit key because I can't tune the LFO rate to key, unfortunately. Which is something that Vital can do. But we can still get some really nasty weird sounds. So let's see what can happen with this. I think we need to make this a single note. Because anything else would be an overkill. Does it start with a delay? Or is it me? Alrighty. I guess if we just copy and paste our sweet LSP multiband compressor to slap it on it. It's gonna be way better. It is a bit better. I think what would really help this would be a pitch slide. So I am going to make this a mono ST. Which I think retains all the envelopes. And portamento. Does it work? I think it does. I wanted to offset the note and functionally depending on where you hover your mouse it changes colors. What if I make this portamento shorter? Okay I'm not sure if we're getting... That almost sounded like vinyl scratch says J Falcon. Well that's weird. I'm not sure this sound is really like nice. I want to add a little bit of stereo nest to it. So I'm gonna insert a chorus or a flanger. What about a flanger? Oh yeah. Also now maybe saturate a bit. There's also frequency shifter. What could we do? Oh haha. We can do some robotic stuff. Okay let's use another LFO. And modulate this time. It's too short. It doesn't have time to shine. Also it is starting out with a little delay. I wonder why is that? It is there like latency? You know what? We could record this to audio and then just chop it up as sound. By the way we've got an hour and 12 minutes to go. So in like 20 minutes probably I'm going to... No, 30 minutes. I'm gonna move to playing music submissions. Well looks like Ardor really doesn't want to add any more tracks to this project. Like really? It says Nelma. Let me be. Wow. I think I'm gonna kill it. Doesn't seem to be doing anything right now. P kill Ardor. P kill dash 9 Ardor. Okay. Can I use my secret bullshit? Ah! Are you there? Oh okay. For a moment I thought that we also lost my voice to stream pseudo p kill dash 9 system D. Nah that's not the issue I think. We have sound. That's good. Let's see if we have sound from Ardor. We do. Ah of course. Snare. My goodness please get this MIDI together. This is embarrassing. Let's add a little bit more reverb to this. Recently I've been using Zeta reverb one because it doesn't crash too often. I'll just be gate. Gate stereo. Let's gate that reverb. Let's give it a little faster attack and longer release. Okay let's try that. Okay this is way too loud. Oh the UI is in proper scale. Didn't scale back. Maybe a bit more or less. A bit less. I want to, it doesn't. Okay I think that's gonna work better. Ah what do we want it to record? We want it to record. Laser farts. Let's do it. Oh laser farts. Laser farts. Let the hate flow through you laser farts. You want to record laser farts? Do it. And now you can, we can process this audio through surge. Let's try it. Pin connection. No we can't. Why doesn't this version have audio inputs? Why? Surge. What the hell? Surge. VST free. Audio inputs. No audio inputs. Why? When I load the same plugin in Carla I do have inputs. Okay I don't know. I don't know what's going on. Let's mess this sound up. Just do something weird with it. Laser farts. Laser farts. Laser farts. Laser farts. Let's pitch it down. May pitch shift is nice because you can tune a lot of things. Laser farts. Laser farts. Oh I changed not the. Laser farts. Maybe we can swap this around. Laser farts. Yeah. What else? Oh we could use cough, phasor maybe. Because the cough modulation. Modulation effects have a nice thing that you can manually actuate the modulation. So you can override the center frequency of this one. You can override the LFO or just disable it. And manually so you can do a bunch of things. A hand basically. Make this two things. Very descriptive isn't it? I would never think about laser farts. Laser farts. I think we need more motion. Laser farts. Cool. What else? Con filter. Con filter. Let's automate it too. Band separation hurts. Let's go from high. To low. Laser farts. Yay. Can also add feedback. Laser farts. Laser farts. Can also add some reverb. There's also zeta reverb. In Lad Spa I am not sure if that's a good idea. I haven't used DROW audio reverb in a long time. Let's see what it does. And if it works looks like it doesn't. Oh it does. Hey wait it's uh it's also early decay time. Five seconds. What? What is that? It has these weird reverberations or delay. What's going on? Okay so these are. That's weird. Oh that's cool. I like that. Multiband compression. Why do I do that? I have it in the come my favorites list. LSP Multiband Compressor Stereo BAM. Let's maybe give it all the bands. Because why not? And just smash the input. Lower the output for safety. And now we just click on the top of these to give it a ratio. I think I should save some presets because I use it a lot. And you know what I'm gonna give it some compression to ACE compressor. ACE or Ardor Community Effects. Is the new name for the stock Ardor plugins. This short okay. I think this is pretty cool. And it's pretty difficult to understand the speech but it's still intelligible. LSP Parametric EQ. I want to cut off some lows because it's very very deep. Let's go with LRX and make it steep. Actually maybe not as steep. Okay we could use the de-esser too. Because that's always a problem. Debass. That's a very good de-esser. And I think we should insert it early in the chain. Base new farot. Base new farot. I'm not sure if it's better actually. I know this should be the text that plays right before the drop. So we need to encapsulate this drop and make a build up. And then, so okay, I'm going to select a range control T to select all the tracks. Now I'm going to manually control and select the automation lanes that I need if I need them. There's just one. Let's control X. And now how much time do we need for a build up? Let's paste it here. Okay, make sure we're snapping to bars. Okay, and let's copy it. Let's paste it twice already. Now let's go with this thing. Let's select these, control X, I am going to paste them right here. Oh, what the hell? Why does it sound different? Oh, this played. Why did it play? Where did it come from? I don't know. I think it's going to be like laser farts or something like that. Ah, now I'm snapping to bars. Wow. Let's make this twice as fast. And this twice as fast as that. And now we should be good. Let's make this single snare hit there. And maybe I will need an extra bar for this. I think it works. Crush underscore seven says, I wish there was an open source DAW with a piano roll that isn't LMMS. Zero rhythm, but it's not stable yet. I think zero rhythm is our best hope before Ardor fixes its midi mess. I'm going to truncate that. That's not bad actually. You know what we could have? We could have a very cheap tuning intro. We could also automate a high pass for this kick. Let's use the stock Ardors plugin. So no low pass, actually, you know, well, let's have both. And I am going to high pass cutoff frequency. I don't know why they spell cutoff separate words because I believe it's spelled cutoff together, not cutoff. All right. So what we're going to do is make that play. Whoa, not right play. Okay, so after our drop, we want this to be completely neutral. Before the drop, we want it to be widening, still not fully developed. Let's listen. I also think we need to side chain our basses because the kick isn't cutting through and it should. So what I'm going to do is create a bus, audio buses, stereo side chain. And I am going to put it below the drums. Yay. And now I'm just going to root, reroute all the bass drop sounds to that particular bus, like everything, automatic mess. But also, let's us do is apply some overall compression on to that, as we never can have too much of that. So LSP compressor, no, let's go side chain this first and worry about bus processing later. LSP side chain compressor stereo, please give it to me. Now pin connections, let's enable side chain and select kick as the input. There is, ah, we need to enable the external input. Something weird is going on. Oh, I know why, because Ardor has this bug that if you copy and paste media regions, all the mutes are removed. So if you copied and muted media region and pasted it, it's not longer muted. I believe I reported this already probably years ago. I think it works. I'm not entirely sure if it holds up harmonically and tonally, but it sounds pretty usable so far for my ears. I think this sound needs some work. I think it needs some compression, LSP, yay, let's multi-band, multi-banding is always good for EDM, can never go wrong, multi-banding it to death. Guess it's some nice heat. What I'm going to do is add a little bit of, ah, what is that, two vinyl? Two vinyl four, oh it didn't, okay there it is, mid-high pass, side-high pass, okay so this is making our bass mono highs limit, yeah so I'm like doing this for the highs limiter because it rounds off the painfulness of this sound. What do you say? Lifeline says I want more of that harp honestly. I think it's more of a clavichord than a harp. A harp has a much softer sound, not as many harmonics, but yeah we could have more of that. We could have it in the intro, but you know what I think I'm gonna need to take a short break because yep that's to be expected, a short break is needed in a three hour stream so I am going to leave you for a few short minutes and we'll resume after the break. I just need to, oh yeah, I'm back, Lifeline says what is Sia album? It's one of my long plays, I believe it was right before suppressed, I'm not sure so there's been a couple of them, let me see what you're writing, more coffee, want me to make more coffee like second coffee I already drank one today, this is the second one. I wouldn't taste good at all, I haven't even finished this one. Nimpius says Sia album is a classic, always come back to it, thanks. I'm coming back to it at times myself and I feel really happy that I was able to capture this stuff and like release these albums, it's really hard to release the next one right now because due to other various stuff happening I hope, but I hope to finally do it and maybe in January, February I think I'll need to take some time off my day work to be able to finish my album and also maybe Vital's gonna release as FOSS, yeah I think I'll need to wait for that, there's 66 people watching, nice and actually YouTube agrees on that number, well to a certain degree. Sahadeva asks, Anfa did you talk about the Linux music challenge, actually this liberal music challenge, I have actually to some extent so I don't have this little link to the forum thread, if you could post it I can approve it in the chat because I can't find it, I wanna like spend time searching for it, yeah I can't find it if someone can find the link to the liberal music challenge number six on the Linux musicians forum please post it in the chat and tag me maybe and then I will approve of that, okay let's maybe make some part for this clavinet, clav, clavinet? clavinet, clavinet chord what is the note here, it's G we are in G maybe we can, oh why is this, oh right, maybe I can play something and then like quantize it, you know what I think I would duplicate this track, make a new playlist for it and the duplicate would be different in that regard, the reverb would not disappear so where is that, that's that's the thing okay, yeah, whoop, I think I will also assign a macro to this, oh yay we can control it with the macro, so I can automate the amount of reverb whoop, yay let's let's give it all the range we need, we can, oh yeah Rob Van Berg has posted a link to the liberal music challenge thread, no that's a, okay I'm jamming, ah wrong button wrong button, clicked, misclicked, okay let's try something, I think laser fart is a great name for a track, can I, I can't, okay so if I want to align the starts of these notes I need to manually resize every single one of them, there's, or I can quantize them, yeah probably be easier, yeah maybe I'll quantize them, oh didn't quantize the ends of notes or did it, oh can use a MIDI strum plugin to simulate strumming, wow does it work, oh I don't know why it, oh why suddenly no audio, what's going on, okay let's delete that, why inserting the MIDI strum plugin make this track output no audio, okay what the hell, why, it gets the MIDI data, does the MIDI strum, is the MIDI strum plugin broken, it seems like it is, no MIDI strum for us then, let's do it manually, I'm going to disable snap, well that's too fast that's inhuman, I mean some humans would play that, not me for sure, lifeline says lullaby right before a dubstep drop somehow, yay, oh error says Anfa could you move to the corner so we can see what you're doing, yes I'm sorry, thanks for telling me that, Sahativa asks what is MIDI strum, MIDI strum is an effect that analyzes the notes you play and it delays them according to the pitch, so if you press like you know a chord at once then it delays the notes so that you would, as if you would be pressing the keys one after the other creating a strumming effect and I've used this plugin before and it worked fine, I don't know why it doesn't work now, I think we need some lower notes in this, that reminds me of Savant a lot, we need some more musical progression in here and I'm going to put some markers, I'm holding control and clicking on this timeline to let me see where am I when I'm scrolled down and don't see this part of the way of this timeline, oh now I can tell what I'm looking at, what am I looking at, this passage is not in key, I think a tremolo would be nice, maybe I should start snapping to notes because I'm just off the grid, it's amazing how this comp filter sounds like a real clavichord, also it could automate the reverb amount in that sound, I'd like to start with more of that, slowly slowly go down and then like up it all the way and then cut it off, alrighty, I've been reading the, but this is in different key, I need to fix that, should start with G, okay that sounds now okay-ish, let's fix the other one, so I'm gonna snap this note to G and let's see if it works, maybe I'm gonna press F, oh Z, oh yeah, I'm having issues with this part, yep it seems like it's time to play your submissions, so let's maybe just play this thing one more time and of course the whole project will be available for download so you can download it and play it, that's it, a dubstep drop made with Surge, okay let's move on to your submissions and the first one is by Xaveri Treningovsky and it's titled Adagio Ghetto World, he's made it in Ardor, I like this, not what I usually listen to but this is beautiful, I heard this piano is, I guess it is a sampled instrument, that was a switch up and now this, he's a bass line here, yep so that was Adagio Ghetto World by Xaveri Treningovsky and now a track titled Contemplation by Mylofi, it's been made in Ardor, guitarics, Zinatsub FX, Helm, Surge, Sphys, Geon Kick, MDA plugins, a string machine, drum gizmo, set b3, Amson, Carl plugins, LSB plugins, X42 plugins, Dragonfly, TAP and ZAM plugins and he says enjoy the lyrics, I thought I want to open up with the more acoustic sounding submissions to change the mood a little, this is, whoa, we've got vocals in here, like the color change, Outer Mind says, Alpha is that you? I'm not singing this, enjoy the lyrics, na na na, so tasty, I feel like the drums are all swinging a little bit, I have this drunken feel, I'm not sure, I want to revolve as guitar tones were made with guitarics, like on a dry signal, sounds so good, that was amazing, that was Mylofi and a track titled Contemplation, awesome, now a track titled Midnight Pixel Adventure, we're shifting to Chiptune for a while, the artist's name is Zard and he says it's made with Ardor 6.3 and only Odin 2 instruments, only Odin 2, I only wish for a stereo delay for this lead, that would be so great, as you can see it's very narrow in the stereo field, it's swinging a little bit, very, very tiny, sounds completely mono when I listen to it and Zard writes, okay, this is my contribution to the Odin 2 test songs, it might not be pushing the synthesizer to limits, but I couldn't help myself to test the chip side of things, all presets are made by me as the existing ones were not old school enough for the job, I drew inspiration from various Commodore 64, NES and Atari ST songs, cover art was done using blender EV and color crashing and during the tour in 56 colors was done in GIMP, I don't have the cover art, hey we've got a key change, this really reminds me of Commodore 64 games I'm playing, cover should be included in the file, so that was Midnight Pixel Adventure by Zard and now a track titled Radio Chipsion by Eilin, let's read out the details, he says it's made when Zenyaumi and Ardor's tracker interface, initially with OpenMPT, I'm not sure what Zenyaumi is, I've heard about it, yeah this track sounds nice and wide as Roland Burns says, a bit of reverb there too, really helps it, I like the scale use here, it keeps developing, lifeline says I could be listening to this for 10 hours, it's interesting because I would say there's an ostinato, but it keeps changing so it's not really an ostinato, I'm not sure if there's a classical term for it, that's so cool, I love that, so that was Radio Chipsion by Eilin and now a track titled Only Odin 2, telling by SG75, I like the key drum, it sounds really acoustic, he says this is my first submission and my first work with Odin 2, nice, welcome, it's made with Ardor 6 and just Odin 2 as synth for all the tracks, for all the tracks, I like this part a lot, nice breakdown, a little confilter craziness happening in the background, I really like the shakers, dang Odin 2 can make some really cool sounds, very moody, alrighty, so that was Only Odin 2 by SG75 and now Wandering by Lifeline and the very interesting thing about this is it was made with VCV Rack with only free and open source modules, Q Tractor for recording, LMMS, Ardor, Zenatsub FX, a lot of it and a clip from Freesound Org licensed under CC0, he says I work in progress, I'm struggling with what to do in the next part of the song, if there will be any suggestions they would be highly welcome, thank you so much, thank you, asks is this livestream every Sunday, it's every first Sunday of the month, so once a month, really interesting, there's lots of weird stuff happening, I guess this piano was the sample from Freesound or something else, wow that was an experience, so that was Wandering by Lifeline, I really enjoyed that and now a track titled, a track given an unpronounceable name, Yagi Yagi Yagi, oh wait it was quite pronounceable, by ST, let me get the details, it was made with Ardor and that's all the information we have, wow that's a cool beat, it sounds wet, fluidy, there's this little foley sounds, quite a unique verb, vibe, house and some really wicked stuff, I don't know, it's both chill and bouncy and like disgusting and unsettling at the same time, this is how I find this tune, really cool, really unique sound, I'm not sure if these clicks are intentional, I assume they are, so I don't find them pleasant, but maybe that was the goal, I guess they were intentional because they went away, alrighty, so that was Yagi Yagi Yagi by ST and now a track by Steve Pixis, titled From the Mountain and he made it sound like it was ripped from a cassette tape, I love that, so cool, he says it was made with LMS and ZenutsubFX, he writes, try to make a Gigi D'Agostino type beat but couldn't regulate myself putting some put your hands up in it, tune to 432 hertz just because I can, okay so I guess we're gonna hear some classic trans vibe in this, Sativa says 432 alert, yes, alert, so that kick is ZenutsubFX, is it synthesized or were there some samples used, I want to know, I really like this pad in the background, Outer Mind says Steve Pixis I think we might need to collab, oh my goodness I can see the crowds, it's a really classic trans, so that was From the Mountain by Steve Pixis and now a track by Outer Mind titled BASICER PREVIEW and I believe that's my voice sampled, this is very bass heavy, I think it lacks a little bit of highs right now, like it's really over based, I love, I like these distorted sounds in the background, metallic, Outer Mind says, Outer Mind says yes that's Anfa's voice, Rob van der Berg says, oh no not the same kick, oh that vocal chops, wow, oh we're getting a sweet lead line, aren't we, Rob van der Berg says kick memes intensifies, Outer Mind says tall noisemaker lead, ooh nice, I really like this pumping, the sound that's just pumping against the kick, some really nice party music in this live stream, Takaman says music for the quiet hour slash the drawbar organ EPs Alrighty, so that was BASICER by Outer Mind and now a track titled APSOLUTION by Villnier for dance tunes, this track was made with LMS and he says hello, Villnier here, I made this track using a zen mostly and drum samples, enjoy, I like the melody and that is developing, Rob van der Berg says drunk beat and Sahadeva adds late snare, interesting, the interplay of the two instruments rhythmically, a little pad in the background swelling, I think it's out of key though, right now it's not, but I think some of the notes didn't fit, I think you could automate some pipest filters for these buildups to emphasize them more, I like the bass sound here, really cool stuff, so that was APSOLUTION by Villnier and now a track titled CHALC BEAT by Kilgore and it's freaking awesome classic drone bass, ah reminds me of the time when I was used to, I used to listen to mixes of these tracks like these all the time, awesome memories, so it was made with LMS and no more information about it, I won't have to chop the beats, I really hope these records sampled records are already in public domain, Lifeline says I know these breaks, it could use some sirwits though, it's very narrow, hi-hats could use a little bit of width in my opinion, press samples add a lot of width, but Rob von der Berg says I wish there was a plugin to cut beats, if you didn't know Rob made one, it's called Ninjas 2 and it's awesome, but it's an LV2 plugin so you can't use it in LMS yet, hopefully you will be able to do that one day, but this is one of the reasons why I run Ardor even though the MIDI is not perfect far from it, awesome, I love these tunes drum and bass with jazz samples, all righty so that was CHALC BEAT by Kilgore and the next one is RAIN AND SHINE by PAKE, writes was made with Ardor, nothing more, wish I knew something more different, he's watching, step right up, also this sounds like a sample, here the stereo balance right here or imbalance I would say, so that was RAIN AND SHINE by PAKE and now a truck titled ambientish by Nimbius who hasn't submitted in a while but this one is lovely, he says it's not finished yet, it was made with Let Me Make Salami or ALMMS and he writes finally back to music making, hope you enjoy, oh I will, thank you for submitting, that's so cool, love the lead line as usual tons of reverb, fantastic ambiances and deep atmosphere, lifeline says Mr. Nimbius way too much, oh yeah, Outer Mind says Nimbius is back, yep we missed your music, Steve Pixis says too nice, I want to make uplifting trends from this, is that healthy, yeah that's perfectly okay, Jesse Huntley asks made with Ardor, no this one was made with ALMMS, Zard says this would be perfect credit roll music and Nimbius writes to Steve Pixis you are free to remix this, remix this so that was ambientish by Nimbius and now a truck titled SHOTGUN PEDESTRIAN by CALX and it was also made with ALMMS, I wonder what plugins were used for this, I guess there's lots of samples, gotta love this vocal sample, Amadeus Falego says is there a place I can find CALX or SC music, I think I should start collecting links for public releases, oh that snare is too too bright, it's painful, I would de-ass that snare, on guitar, not to switch up, nice sounds right here, I wonder, these are samples of a hang drum or what, so that was SHOTGUN PEDESTRIAN by CALX and the last track of today is MELODIC TAX by Sahativa and we're a little bit over time, unfortunately, that melody sounds familiar, is it like a known cannon or something else and it drops into trap, it's such a weird Jackson position because I hear this classical melody with chiptune sounds and trap beat and bass underneath, that's so cool, oh Martin Bannon Bangans says Commodore Trap, oh I need to pick up the details for this track, what did he write? oh it was made with ARDAR and he says, glad to send another track for the stream, here is three minutes of moan colic synths, drums are samples from, with LSB12 and the other sounds are from FLOSS synths, mainly hell, all right, CRUSH7 says, this is a very familiar melody, yeah I think this is a classical piece, oh and Sahativa says LSB multi sampler 12, well this concludes this livestream, thank you all for coming, thank you for waiting two months, yeah I hope there was be no issues going forward, yeah thank you all so much for submitting your music, huge thanks to all the people who support my work financially because that allows me to take the time and do this stuff and it's a lot of work, even a livestream is a lot of work, yeah I'm still working on the complete ARDAR MIDI tutorial, four parts have been released to Patreon supporters as an early access and I'm gonna publish it all once I'm done with editing so I'm afraid it's gonna take another month or two because life really gets in the way recently, anyway if you, dear viewer, would like to support me and help me make more videos about open source music production and Linux and make these do these livestreams every month, please go to patreon.com slash anafa or liberapay.com slash anafa or can give me a buck or two every month and I'll say goodbye now