1 00:00:14,305 --> 00:00:15,105 [Nick] Sonic. 2 00:00:16,145 --> 00:00:16,865 [Nick] Ask. 3 00:00:18,545 --> 00:00:22,065 [Nick] Hello, everybody. Welcome to Sonic Talk episode 4 00:00:22,385 --> 00:00:23,665 [Nick] 905. 5 00:00:23,905 --> 00:00:31,940 [Nick] Again, I'm sure there is a Moog five v model module to fit that one. I didn't do any research on it because it wasn't one of the big ones. 6 00:00:32,260 --> 00:00:39,700 [Nick] And if anyone you can drop it in the chat room if there's one. It's gonna be something like a kind of a tenuverter or something really kind of basic, 7 00:00:39,940 --> 00:00:47,805 [Nick] I think, but I could be wrong. I'll leave that for you to find out. This is a music technology show. We're gonna be talking about things to do with synthesizers, drum machines, 8 00:00:48,045 --> 00:00:48,845 [Nick] software, 9 00:00:49,645 --> 00:00:52,285 [Nick] plug ins, DAWs, 10 00:00:52,685 --> 00:00:53,725 [Nick] manufacture, 11 00:00:53,805 --> 00:00:54,525 [Nick] production, 12 00:00:54,685 --> 00:01:01,170 [Nick] and recording, all the kind of stuff that surrounds modern music production and all of its sort of tentacles 13 00:01:01,170 --> 00:01:02,050 [Nick] that now 14 00:01:02,370 --> 00:01:12,365 [Nick] enter in society. We've got a bunch of guests with you here. I wanna say thanks very much to Wagyu. He's there in the chat room. It's not if you have any problems with the chat, do check it out. 15 00:01:12,845 --> 00:01:20,845 [Nick] We've just moved over to a new IC sir IRC server, so it may be that there's a few tweaks, but it's looking okay. And Wagyu, as ever, is mod moderating 16 00:01:21,565 --> 00:01:34,190 [Nick] and also being behind the scenes making sure it all works as good because I I'm the one who decided to change to change things up. So I do apologize for that in advance. Oh, I should say hello to a few of our friends. We've got Chris 4629, 17 00:01:34,990 --> 00:01:36,750 [Nick] Tess Maclin, mister Gumby. 18 00:01:37,625 --> 00:01:39,625 [Nick] Let's have a look. Tim Dale music. 19 00:01:39,865 --> 00:01:41,625 [Nick] Matt is there. Maths. 20 00:01:42,105 --> 00:01:43,465 [Nick] See Pitch Blend. 21 00:01:43,865 --> 00:01:47,305 [Nick] Let's have a look. Who else is there? Wagyu. Nice to see Wagyu. 22 00:01:47,385 --> 00:01:47,865 [Nick] And 23 00:01:49,145 --> 00:02:11,115 [Nick] well, it's not going through as fast, and I I I can't scroll it. Actually, didn't someone just say what was that? Moog nine zero five spring reverb. Yeah. Okay. I'll take that. I mean, maybe that's right. That feels like quite a momentous one. Sounds like it would be quite big, though. Perhaps bigger than five u unless the cabinet's very deep. Richard Nicola, one of our guests, will be able to tell us about that when I introduce him because he's got a spring reverb in his latest synth. 24 00:02:11,435 --> 00:02:12,315 [Nick] Before 25 00:02:12,315 --> 00:02:20,050 [Nick] we get there, though, I just wanna tell you what's coming up. If you haven't already entered, we've got an amazing prize this week's this month's giveaway. 26 00:02:20,210 --> 00:02:22,210 [Nick] You could win a sequential 27 00:02:22,210 --> 00:02:25,970 [Nick] form. That's right. We got one of those to give away. And there's also 28 00:02:26,130 --> 00:02:32,210 [Nick] the Decent Sampler for those of you who are members of Patreon and or or of YouTube, there's the 29 00:02:32,405 --> 00:02:38,325 [Nick] relevant term, a term made by Venus Theory. We got the Lambda Synthetics Polypulse 30 00:02:38,325 --> 00:02:40,085 [Nick] by Mass going out tomorrow. 31 00:02:40,325 --> 00:02:44,405 [Nick] I did a shot of thing with Fabius Beck for 32 00:02:44,565 --> 00:02:46,965 [Nick] Bitwig 6.1 release, which is coming up soon. 33 00:02:47,530 --> 00:02:56,170 [Nick] And we got 30% off Patreon for new members. Discounts available on Cherry Audio, SH Max, Music Hackspace, and TalkBack SE. Check sonicstate.com 34 00:02:56,170 --> 00:03:08,305 [Nick] forward slash members for that very reason. In fact, I'm going to reiterate that now by playing the video. So use there's no escape. You do not you just there's no point in in trying to resist. Anyway, back after this. 35 00:03:09,745 --> 00:03:14,145 [Nick] And now with all the crass commerciality out of the way, we can get on to introducing our guests. 36 00:03:14,545 --> 00:03:27,120 [Nick] I did mention Richard Nickel there from Pittsburgh Modular who's back for more. We can't keep him away. Last week, he was at the tail end of the release of his fabulous new Lifeforms s v two, which you can see in the background. In fact, I can see you've obviously got 37 00:03:27,360 --> 00:03:32,000 [Nick] you're in either you're mid filming or just finished filming, and 38 00:03:32,400 --> 00:03:41,955 [Nick] your family must be very tolerant of you. And you have to tell them to turn the tally off and shut them shut the curtains and turn the lights off so you could do your filming. How's everything going, Richard, 39 00:03:42,355 --> 00:03:49,235 [Richard] apart from the cops? Everything is going everything is going really well. It's it was last week was a lot of fun. It was a little crazy, 40 00:03:50,970 --> 00:03:55,450 [Richard] but things have started to settle down a little bit. I have been doing some filming 41 00:03:55,690 --> 00:04:02,650 [Richard] with the s v two back here, and I am gonna do a livestream tomorrow with that as well. So that's why I left the camera gear up. 42 00:04:03,495 --> 00:04:31,195 [Richard] As everybody either knows or doesn't know, my office is the dining room of my house. So it's right next to the kitchen and living room. So everyone sort of wanders through as I'm doing everything, and that that just makes it more fun. I'd rather be here than squirreled away in a in a room upstairs hidden from everybody. So it's alright. And I try to keep my office clean so it doesn't bother too many people. But it's amazing. I was working on the s v two so much last week, and then this week, immediately 43 00:04:31,195 --> 00:04:34,395 [Richard] is diving back into the next things. 44 00:04:34,715 --> 00:04:37,835 [Richard] So it's just busy, busy, busy here in Pittsburgh. But 45 00:04:38,475 --> 00:04:41,115 [Richard] since I have the camera set up, I'm ready to do today. 46 00:04:41,915 --> 00:04:52,470 [Nick] I was I did mention the spring reverb. So exactly how big is your spring in the s p two? Can you can you is it wrapped? I mean, give me a sort of rough idea in terms of length. 47 00:04:53,190 --> 00:04:53,830 [Richard] In 48 00:04:53,990 --> 00:04:59,030 [Richard] terms of length, it it's, you know, it's it's a standard spring reverb, the one that would be in, like, a 49 00:04:59,590 --> 00:05:13,825 [Richard] in a guitar amp. So here's my my empty cup here. It's probably about probably about that big. I don't know. Oh, so it's like a tank. Yeah. Yeah. It's it's a tank. Box, aren't they? Yeah. And it's screwed onto the bottom of the case, 50 00:05:14,240 --> 00:05:22,480 [Richard] so it's separate from the PCBs and all that. And I suspect they were talking about the the Moog spring reverb in the chat room. I suspect 51 00:05:23,120 --> 00:05:28,320 [Richard] that's how Moog did it as well, that the springs were attached either to the bottom of 52 00:05:28,935 --> 00:05:31,015 [Richard] the modular case or to the back, 53 00:05:31,415 --> 00:05:43,690 [Richard] and then you have RCA cables going to the actual So it's part of the case. Right. Ah, yeah. Yeah. I see what you mean. Yeah. Yeah. That makes sense. Because otherwise, it's just it's just too wide. It wouldn't you know, it's not gonna fit behind a module. Nowadays, 54 00:05:43,690 --> 00:05:48,170 [Richard] they have those really small spring reverbs that are maybe three inches or so, 55 00:05:48,970 --> 00:05:53,690 [Richard] but they just you know, they don't have the that sound the that big sound that you want. 56 00:05:54,570 --> 00:06:00,835 [Nick] No. I suppose not. And I guess it probably makes a difference. Can you get different this I'm I'm I'm digressing enormously. 57 00:06:00,835 --> 00:06:04,035 [Nick] I'm just curious. Can you get different metals 58 00:06:04,595 --> 00:06:07,235 [Nick] in springs, and do they have different characteristics? 59 00:06:07,235 --> 00:06:08,835 [Nick] Because I guess you could get zinc. 60 00:06:09,075 --> 00:06:12,115 [Nick] You get stainless. You could get sort of low grade alloys. 61 00:06:12,610 --> 00:06:19,810 [Nick] I wonder if there's you know, can you can you really go to town on your spring revert if you really want to if you were to up the cost of the unit? 62 00:06:20,610 --> 00:06:24,210 [Richard] Oh, absolutely. There's there's a lot of there's two 63 00:06:24,625 --> 00:06:27,825 [Richard] major variables when picking a spring tank. 64 00:06:28,225 --> 00:06:34,305 [Richard] There's the load on the tank, so whether it be 50 ohms or a 100 ohms. 65 00:06:34,545 --> 00:06:36,865 [Richard] And then there is the darkness 66 00:06:36,945 --> 00:06:38,385 [Richard] or sort of the color of the tank. 67 00:06:39,630 --> 00:06:42,190 [Richard] I think we with the medium dark 68 00:06:42,990 --> 00:06:43,950 [Richard] long 69 00:06:44,030 --> 00:06:45,310 [Richard] for the 70 00:06:45,630 --> 00:06:50,190 [Richard] s v two, but you can get long, you can get short, you can get bright, you can get dark, 71 00:06:50,510 --> 00:06:55,470 [Richard] and sort of combinations of those are what you decide. There's only a few companies that actual make 72 00:06:55,935 --> 00:06:57,935 [Richard] the spring tanks themselves. 73 00:06:57,935 --> 00:07:04,975 [Richard] So it's very easy to sort of pick. And then as, you know, someone that would have a spring tank, you can always if you want something 74 00:07:05,375 --> 00:07:12,840 [Richard] a little bit brighter or a little bit darker, you can swap out the tank for a different one. Some of the Eurorack modules out there, like, 75 00:07:13,720 --> 00:07:15,400 [Richard] I'm thinking, like, the spring 76 00:07:16,200 --> 00:07:17,400 [Richard] Spring Ray, 77 00:07:17,960 --> 00:07:21,560 [Richard] some of those Eurorack modules actually have multiple inputs 78 00:07:21,640 --> 00:07:29,565 [Richard] where you can have multiple tank setup so you can switch between the sounds. Because as you know, spring reverbs, there's not a whole lot you can adjust with them. 79 00:07:30,045 --> 00:07:36,045 [Nick] The length is sort of set The the the tension of the springs. Input and the output is not, I suppose. Yeah. Yeah. 80 00:07:36,045 --> 00:07:36,365 [Richard] So, 81 00:07:38,060 --> 00:07:41,900 [Richard] know, in your rack, they sort of found a creative way by just adding more springs, 82 00:07:42,140 --> 00:07:53,955 [Richard] more tanks to it. But we've try we've tried to work around it a little bit by putting a a custom feedback circuit in it that allows us to change the decay length of it and then putting in a tilt EQ 83 00:07:53,955 --> 00:08:01,955 [Richard] that allows us to shift the focus of it. But, ultimately, you know, a spring reverb sounds like a spring reverb, and that's why people kinda like them. 84 00:08:02,595 --> 00:08:14,590 [Nick] Yeah. No. Just quickly, I think I saw I think I saw Bo Beats in the chat room now. I think maybe his message has gone by. Hi, Bo. Nice to see you. Saw your s v two reverb s v two review as well. Nice work. 85 00:08:15,070 --> 00:08:15,630 [Nick] Yoad, 86 00:08:16,175 --> 00:08:23,695 [Nick] who's also here, Yoad Nivo, Nivo San, I would be somewhat disappointed if you haven't got in the basement of your basement 87 00:08:24,335 --> 00:08:26,415 [Nick] a massive spring reverb. 88 00:08:26,495 --> 00:08:29,375 [Nick] Am I disappointed, or have you actually got a physical one somewhere? 89 00:08:29,920 --> 00:08:31,360 [Yoad] You are disappointed. 90 00:08:31,360 --> 00:08:35,040 [Yoad] I have I have a few, but they're like I have one that was 91 00:08:35,280 --> 00:08:37,920 [Yoad] taken from a twin a fender twin 92 00:08:38,400 --> 00:08:44,000 [Yoad] reverb, which is the kind of standard. I don't know who made them, but it's the standard kind of, you know, 93 00:08:44,895 --> 00:08:46,015 [Yoad] rectangular 94 00:08:46,015 --> 00:08:46,895 [Yoad] kind of 95 00:08:47,375 --> 00:08:49,215 [Yoad] unit Yeah. Which 96 00:08:49,215 --> 00:08:50,335 [Yoad] I used to 97 00:08:50,975 --> 00:08:52,815 [Yoad] have connected at home 98 00:08:53,055 --> 00:08:55,535 [Yoad] at some point, and it sounds really good. 99 00:08:57,330 --> 00:09:08,770 [Yoad] But like Richard said, you know, you can't do much with it. So you the the I I'm not aware of any mechanism that works like on a plate reverb where you can 100 00:09:09,170 --> 00:09:11,570 [Yoad] kind of change the sort of, 101 00:09:12,915 --> 00:09:25,075 [Yoad] you know, the frame in order to to make the springs that hold the frames. In in this case, it's just the the actual spring, but I I think you could have a mechanism that will just change the length of the 102 00:09:25,730 --> 00:09:35,010 [Yoad] whatever brackets that are holding the the scrip the spring of the obviously, just one side would be enough. And that will, I suppose, should give you but 103 00:09:35,410 --> 00:09:38,930 [Yoad] it it's so fiddly, and it's so delicate, and it's so 104 00:09:40,575 --> 00:09:41,455 [Yoad] springy 105 00:09:41,695 --> 00:09:52,095 [Yoad] that it kind of it is it is what it is. I mean Yeah. It's very does sound it does sound amazing when you kick the amp or the the 106 00:09:52,870 --> 00:09:54,310 [Yoad] Italian organ. 107 00:09:54,550 --> 00:09:58,390 [Yoad] You know, I used to work back in the day, I used to work in a music shop, 108 00:09:59,350 --> 00:10:01,190 [Yoad] and, there was some gem, 109 00:10:02,630 --> 00:10:03,910 [Yoad] g e m 110 00:10:04,230 --> 00:10:08,895 [Yoad] organs there with spring reverb, and I used to kick them, and it sounds so amazing. 111 00:10:09,695 --> 00:10:11,615 [Yoad] There's nothing quite like it. 112 00:10:13,615 --> 00:10:19,215 [Nick] Kick the spring. I think we might have to put that down as a possible topic. That sounds like a great idea for a show title. 113 00:10:19,850 --> 00:10:25,770 [Nick] Kick the spring. Okay. Because we got kick the spring. There we go. Kick the spring. Last week, we had 114 00:10:26,570 --> 00:10:33,690 [Nick] tasteless bends are a baseless trend, which was very good. I think that was I forget who did that one. That was awesome. 115 00:10:34,170 --> 00:10:34,730 [Nick] Awesome one. 116 00:10:35,655 --> 00:10:39,175 [Nick] Oh gosh. Here we go. I'm just so kick of the spring. 117 00:10:39,335 --> 00:10:44,935 [Nick] Yeah. I can type, I think. I can type. Can I type? Not very well. I can't really type and talk, but I'll do my best. 118 00:10:45,895 --> 00:10:50,535 [Nick] It's a joke. There was the great British spring as well, wasn't there, that came in a kind of piece of PVC pipe. 119 00:10:51,010 --> 00:11:02,610 [Nick] And I've seen those. They go for an enormous amount of money because they're really long springs. They're about three or four feet, I think. I don't know what but but they they were used in sort of dub and reggae a lot, weren't they, in sort of chip those sort of chip sound studios? 120 00:11:03,385 --> 00:11:10,185 [Yoad] They're very resonant. And the ones I used to to to use in big studios was the a 121 00:11:10,985 --> 00:11:17,510 [Yoad] b x 20, the a k AKG b s b x 20. That that was a big kind of cabinet with 122 00:11:18,070 --> 00:11:19,350 [Yoad] three springs. 123 00:11:21,030 --> 00:11:27,110 [Nick] And it sounded like Gregory's got one of those. Yeah. Will Gregory's got one of those. And an EMT gold foil plate. 124 00:11:27,430 --> 00:11:30,870 [Nick] So that there's on if you're going for the classic two sends 125 00:11:31,235 --> 00:11:40,835 [Nick] kind of mixing console, you know, your Calrec with two sends, one goes to the spring, one goes to the goes to the plate. He hasn't got an echo chamber, but it's close enough. Yeah. 126 00:11:41,075 --> 00:11:41,875 [Yoad] Yeah. True. 127 00:11:43,970 --> 00:11:46,690 [Nick] We do have topics. I know I've kind of 128 00:11:47,090 --> 00:12:00,735 [Nick] I'm I let me just sort of see where we are. Oh, yeah. This is good. I thought this was an evergreen sort of bit of an evergreen topic. This one let me see if I can find it. I did the form thing. Yeah. This one, I I haven't got a video for this, but this is 129 00:12:01,215 --> 00:12:05,455 [Nick] a great article on obviously, with too long a title on 130 00:12:06,335 --> 00:12:07,775 [Nick] gear news by 131 00:12:08,175 --> 00:12:09,055 [Nick] Marcus 132 00:12:09,250 --> 00:12:10,610 [Nick] Marcus Schmale 133 00:12:10,610 --> 00:12:15,330 [Nick] back in the day. This is just basically kind of the idea of it's 134 00:12:15,650 --> 00:12:30,665 [Nick] that idea that we all used to when when at least certainly when I was a lad, we'd buy portable DAT recorders because we expected we'd all be going out there and recording all this stuff that we would then sample into our s one thousands or s nine hundreds and turn into music. 135 00:12:30,985 --> 00:12:46,120 [Nick] Now, obviously, that didn't happen for most of us. I guess if you're doing sound effects for movies, that might happen. It didn't happen for me anyway. But now with I was just thinking because right now, you know, granular synthesis has come along and convolution reverbs. Those two things alone 136 00:12:46,360 --> 00:12:59,635 [Nick] make for a really useful outlet for those environmental samples. But you come straight in with, Yohad, that you did. So, of course, you did. Did you did you make a a smash hit record with some field recordings by any chance? 137 00:12:59,955 --> 00:13:04,595 [Yoad] I used I used, quite a few recordings. I used to have this Iowa 138 00:13:05,150 --> 00:13:11,550 [Yoad] portable bat. I'm sure you know what I'm talking about, which was doubled as an Akai 139 00:13:12,510 --> 00:13:17,870 [Yoad] backup tape backup thing. That's how I stored all my samples on on bats and stuff. And 140 00:13:20,215 --> 00:13:21,575 [Yoad] and I 141 00:13:21,575 --> 00:13:26,135 [Yoad] had kind of a shitty microphone that that plugged into that, 142 00:13:26,695 --> 00:13:27,735 [Yoad] and I did 143 00:13:29,335 --> 00:13:33,015 [Yoad] go to building sites and stuff like that. I have quite 144 00:13:33,940 --> 00:13:36,100 [Yoad] a remix that I did 145 00:13:36,820 --> 00:13:40,100 [Yoad] for Dirty Harry, the singer, not the actor, 146 00:13:40,420 --> 00:13:42,020 [Yoad] and not the film, 147 00:13:42,340 --> 00:13:44,100 [Yoad] obviously. And and 148 00:13:44,100 --> 00:13:45,860 [Yoad] it's quite industrial, 149 00:13:46,020 --> 00:13:49,460 [Yoad] and there's a lot of kind of building site 150 00:13:49,965 --> 00:13:54,845 [Yoad] samples in there, and it works really well. It it's like a big trance 151 00:13:55,245 --> 00:13:55,965 [Yoad] remix, 152 00:13:56,445 --> 00:13:57,965 [Yoad] and it works really well. 153 00:13:58,525 --> 00:14:00,765 [Yoad] And but I remember one time, 154 00:14:01,565 --> 00:14:05,325 [Yoad] I took I was working in this big studio in 155 00:14:05,700 --> 00:14:07,860 [Yoad] in a big building, and I took 156 00:14:08,180 --> 00:14:09,220 [Yoad] XLRs, 157 00:14:09,220 --> 00:14:13,220 [Yoad] and I kind of linked them together to create, like, a 30 meter 158 00:14:13,620 --> 00:14:20,980 [Yoad] XLR or something like that with a Neumann with an 87 plugged on one end and adapt the studio, that recording. 159 00:14:22,095 --> 00:14:25,055 [Yoad] And I went with a hammer 160 00:14:25,535 --> 00:14:27,135 [Yoad] and just banged 161 00:14:27,295 --> 00:14:30,495 [Yoad] Just banged. I could find in the building, including, 162 00:14:30,735 --> 00:14:35,055 [Yoad] like, slamming doors and and stuff like that. And I still have that bank 163 00:14:36,010 --> 00:14:41,450 [Yoad] because I imported it from and then, obviously, you had to to edit it for hours 164 00:14:42,170 --> 00:14:48,570 [Yoad] on the archive manually and all that. And I still have that bank, and it sounds great. There's something about those sounds. 165 00:14:49,435 --> 00:14:51,995 [Yoad] But I have to say that I 166 00:14:52,315 --> 00:14:54,955 [Yoad] have to say that these days with your phone, 167 00:14:55,835 --> 00:14:58,315 [Yoad] the the mics on the phone are so good 168 00:14:59,755 --> 00:15:00,555 [Yoad] that 169 00:15:00,555 --> 00:15:12,880 [Yoad] if you have the only problem usually is the program that you use to record because those will compress and and AGC and whatever. So if you can find one which is transparent, 170 00:15:13,360 --> 00:15:14,880 [Yoad] you can get really 171 00:15:15,415 --> 00:15:19,575 [Yoad] proper recordings. And it's quite amazing how these tiny mics 172 00:15:19,815 --> 00:15:23,095 [Yoad] sound good. The stereo image is not perfect, 173 00:15:23,095 --> 00:15:25,735 [Yoad] and you need to kind of do stuff to it. 174 00:15:26,135 --> 00:15:48,645 [Nick] But it is stereo, and you have it in your hands all the time. Yeah. Well, that's what So I was gonna say that. It's that's most that's the most obvious recording thing, isn't it? I mean, really, when it comes to location because we've all got a phone with us. And I was I was looking I'll I'll look I'll I'll tell you about my findings because I do a bit of research in I know, Richard. I mean, you know, granular and convolution, I mean, two enormous 175 00:15:48,645 --> 00:16:00,380 [Nick] leaps forward for found sound usage. I mean, yes, we all used to go and sit in the kitchen and hit pots and pans, and, you know, there are numerous hits with with that with that sort of approach 176 00:16:00,620 --> 00:16:01,900 [Nick] and that percussive. 177 00:16:01,900 --> 00:16:17,315 [Nick] And it was always a sort of story, wasn't it? When there's the number one hit, and it's like, oh, what's that bit? Yes. We just went into this kitchen of the studio and hit hit it with some stick. You know? It's like, yeah. Right. Or whatever. But, I mean, outside of that, there wasn't an awful lot else to be had. It felt like anyway. 178 00:16:18,355 --> 00:16:22,435 [Richard] Yeah. We all wanted to be Depeche mode and do our industrial 179 00:16:23,395 --> 00:16:24,275 [Richard] clanging. 180 00:16:24,995 --> 00:16:34,640 [Richard] But I find nowadays that the way that I use field recording modern I used to use a Zoom recorder that I would, you know, carry around with me purposely 181 00:16:35,440 --> 00:16:36,480 [Richard] to find stuff. 182 00:16:36,720 --> 00:16:39,680 [Richard] But nowadays, I just use my phone. And 183 00:16:41,045 --> 00:16:47,125 [Richard] I've tried four or five different apps that I I for what I do, it doesn't really make that much of a difference. 184 00:16:47,445 --> 00:16:49,605 [Richard] But I've started adding sort of 185 00:16:50,885 --> 00:16:52,485 [Richard] environmental beds 186 00:16:52,190 --> 00:16:57,150 [Richard] to my music tracks. So on the last EP I posted up on Bandcamp, 187 00:16:57,710 --> 00:17:07,390 [Richard] I just went down and sat at the bus stop for twenty minutes and just sort of recorded the people talking and the buses driving and the cars driving by and just the sounds of things. 188 00:17:08,185 --> 00:17:10,265 [Richard] And then, yeah, then you dump them 189 00:17:10,585 --> 00:17:13,625 [Richard] in you add some reverb to it, and 190 00:17:14,665 --> 00:17:17,305 [Richard] that to me seems to be enough. 191 00:17:18,185 --> 00:17:28,240 [Richard] There's a few I had some few saucy half conversations of people on the phone that you can, chop up and just get the vocals. I use a 192 00:17:28,800 --> 00:17:30,320 [Richard] plugin called Clean 193 00:17:30,640 --> 00:17:31,680 [Richard] that is 194 00:17:32,080 --> 00:17:37,200 [Richard] it's an AI plugin that does a fantastic job of isolating voices 195 00:17:37,280 --> 00:17:37,520 [Richard] from 196 00:17:38,085 --> 00:17:43,125 [Richard] both music and background noise and reverb. It can de reverb stuff. 197 00:17:43,445 --> 00:17:43,845 [Richard] So, 198 00:17:44,965 --> 00:17:51,445 [Richard] that plugin really is my secret to doing all this. I also found that that plugin is amazing 199 00:17:51,760 --> 00:17:59,920 [Richard] at it's it's not quite field recording, but going through and taking vocal samples from old movies and old TV shows, which I'm a huge fan of doing, 200 00:18:00,160 --> 00:18:06,160 [Richard] and then just running it through clean to get rid of all the the film soundtrack or all of the 201 00:18:06,465 --> 00:18:13,665 [Richard] environmental noise. It's amazing. So the tools are there now to use this stuff and really, really I think that's the difference, isn't it? 202 00:18:14,065 --> 00:18:19,425 [Nick] Yeah. I remember your story yeah. And I remember now I had a friend who was a filmmaker, 203 00:18:19,950 --> 00:18:23,950 [Nick] and he had it was back in the day before that, and he had a Nagara 204 00:18:24,430 --> 00:18:32,110 [Nick] and a and a shotgun mic. And I climbed up on I was a bit I was working my my my day job was was working as a building 205 00:18:32,485 --> 00:18:38,725 [Nick] as a builder's assistant. And I climbed up on the scaffolding, and I was hitting those really long scaffold poles with 206 00:18:39,045 --> 00:18:43,365 [Nick] with a table tennis bat or the palm of my hand, and they really get a hold. I remember 207 00:18:44,340 --> 00:18:47,140 [Nick] Yeah. And I I sampled that into my 208 00:18:47,540 --> 00:18:57,700 [Nick] Ensoniq Mirage. I remember that. Mhmm. But also, I I I was look because I was looking at this, I was thinking the phone makes the biggest difference. But actually, there's a couple of things that you can get. They're about a 130, 209 00:18:57,700 --> 00:18:58,555 [Nick] $140. 210 00:18:58,555 --> 00:19:17,300 [Nick] The Zoom I q five is a lightning connector with an x y mic. You can just plug in, and then you've got an app on your phone, and you'll get proper stereo because I think that's one of the key things, as you said. It's not designed really to capture proper stereo. It's because of the way the size of the mics. They're pizza, I think. And there's a Shure MV 88, 211 00:19:17,300 --> 00:19:18,820 [Nick] which is a USB c. 212 00:19:18,980 --> 00:19:27,460 [Nick] Again, that plugs in. And and I was checking. They've got apps for iOS and Android, which I think you can set. You can do 24 bit 48. So you could do lossless 213 00:19:27,645 --> 00:19:31,805 [Nick] or certainly high bandwidth, and that that that's called motive 214 00:19:31,885 --> 00:19:32,685 [Nick] motive 215 00:19:32,685 --> 00:19:38,765 [Nick] for app for iOS and Android. So you have one of those around and just clock that. And it's because I when I went to 216 00:19:40,205 --> 00:19:58,530 [Nick] I went to when when I was in Spain in the at the beginning of the year, I was going to these cathedrals and trying to hear these organs going. And it was I recorded them on the phone, but you just don't get the stereo ness. You know? It is a very Mhmm. There is stereo, but it's not proper x y. These have both got x y, I believe, or certainly coincidental 217 00:19:59,195 --> 00:19:59,915 [Nick] coincidental capsules 218 00:20:00,875 --> 00:20:05,355 [Nick] inside them. They look pretty good. I think the IQ five was a €129. 219 00:20:05,515 --> 00:20:07,675 [Nick] The m v eight e eight looks a bit more expensive 220 00:20:08,235 --> 00:20:20,490 [Nick] and is one for five. Obviously, the zoom only goes on light lightning, which does mean it's old iPhones really. So that would be where you were stuck with, but that it feels like a good way. I mean, nothing granular has completely transformed 221 00:20:20,570 --> 00:20:27,675 [Nick] and convolution because we've got some convolutions in our decent sample thing, and I found I've been using kind of recordings of wind. 222 00:20:28,395 --> 00:20:31,115 [Nick] Mhmm. Those kind of wide windscapes 223 00:20:31,115 --> 00:20:43,560 [Yoad] and putting those in, and they make fantastic convolution. Yeah. Because it's really amazing. Noise is the perfect. Noise is perfect reverb. I would just say one more thing, which is the XLN 224 00:20:43,640 --> 00:20:44,840 [Yoad] XLN 225 00:20:45,160 --> 00:20:45,720 [Yoad] Life 226 00:20:46,280 --> 00:20:47,080 [Yoad] instrument, 227 00:20:47,320 --> 00:20:50,120 [Yoad] which will take your raw recordings 228 00:20:50,520 --> 00:20:53,080 [Yoad] and will find the transients 229 00:20:53,240 --> 00:20:54,040 [Yoad] and create 230 00:20:54,895 --> 00:20:55,775 [Yoad] beats, 231 00:20:56,255 --> 00:20:59,855 [Yoad] which makes sense. So you can feed it with with any 232 00:20:59,855 --> 00:21:02,815 [Yoad] random stuff. It's amazing. It's really good. 233 00:21:03,215 --> 00:21:03,615 [Yoad] And, 234 00:21:04,495 --> 00:21:08,095 [Yoad] and will create beats from it, and then you can manipulate 235 00:21:09,010 --> 00:21:13,730 [Yoad] them and everything. And it makes sense because it sounds like loops. It sounds like beats, 236 00:21:13,890 --> 00:21:15,730 [Yoad] whatever you feed into it. 237 00:21:16,290 --> 00:21:26,175 [Yoad] So for environmental sounds, it's it's really perfect, but you can also just go in whatever, find a congas or whatever you have in your room. 238 00:21:26,575 --> 00:21:29,615 [Yoad] Just hit it. You don't have to to to 239 00:21:29,775 --> 00:21:36,735 [Yoad] hear a click or anything like that, and it will just sort it and create a beat, you can manipulate and have iterations and things like that. 240 00:21:37,700 --> 00:21:40,260 [Yoad] Very creative tool. But, also, 241 00:21:40,740 --> 00:21:43,380 [Yoad] if you just feed some notes 242 00:21:43,700 --> 00:21:45,220 [Yoad] that are kind of, 243 00:21:45,860 --> 00:21:47,540 [Yoad] you know, make sense together 244 00:21:47,780 --> 00:21:49,380 [Yoad] or one of sequentially 245 00:21:49,380 --> 00:21:53,575 [Yoad] or something like that, it will create very interesting melodies and really 246 00:21:54,215 --> 00:21:58,375 [Yoad] interesting tool. It's called Life by XLM. I really like it. 247 00:21:59,015 --> 00:22:09,580 [Nick] Okay. We'll have to check that out. Thanks for the tip. Yeah. I thought it might spark a bit of interest because I think, you know, like I said, flop fan sounds are more of a thing. We can all use them these days because it's just so much easier. 248 00:22:10,620 --> 00:22:11,500 [Nick] Okay. 249 00:22:11,500 --> 00:22:13,740 [Nick] Well, let's see where should we go now. 250 00:22:15,660 --> 00:22:23,245 [Nick] I think maybe I'm gonna go with this one. And I have I got a video for this? I don't think I have. I don't think no. This is a web thing. 251 00:22:23,565 --> 00:22:25,165 [Nick] Have I? I don't know. 252 00:22:25,965 --> 00:22:32,720 [Nick] I don't think I've got a video for this one, but I think you might be interested. This was the news. This on Sync Anatomy. 253 00:22:32,960 --> 00:22:35,600 [Nick] Tom was in the chat room last week. I don't think he's there today. 254 00:22:36,000 --> 00:22:40,880 [Nick] Behringer BCR 32, which for those of you who maybe don't remember the BCF 255 00:22:41,200 --> 00:22:43,040 [Nick] the BCR 2,000, 256 00:22:43,040 --> 00:22:45,680 [Nick] I used to have one of those. Just 32 257 00:22:46,325 --> 00:22:49,845 [Nick] ring rotary 258 00:22:49,845 --> 00:22:56,005 [Nick] controllers and I think 16 buttons. It's the kind of latest iteration of that. But what they've done is they've collaborated, 259 00:22:56,645 --> 00:22:57,525 [Nick] which is a 260 00:22:57,765 --> 00:23:06,940 [Nick] surprise in itself with the guy who made ZacQuid, sir, because they made ZacQuitzer ZacAudio made a firmware update for the original BCR 2,000 261 00:23:07,100 --> 00:23:15,420 [Nick] that would turn it into a four track, I think, eight step sequencer. It might have been 16 step. And now they've incorporated that into the firmware and also added 262 00:23:16,405 --> 00:23:32,050 [Nick] three CV gate outputs. So you could use it as a sequencer as well. And this is really interesting. I mean, in the BCR 2,000 note, I wish I still had ours. In fact, no. I still do have it. In fact, I've I've got it around some it's the BCF I haven't got anymore. I think it's gonna be available for preorder soon. 263 00:23:32,370 --> 00:23:49,575 [Nick] It's $1.06 €9, which if it goes for that price, it's astonishing. And it's got the sequencer in it as well. So looks really cool. I don't Richard. Do are you a controller person? Do you have a generic controller that you reach for and program and do all of those things? Is this the sort of thing that you find useful? 264 00:23:51,255 --> 00:24:00,710 [Richard] No. I I'm not a controller person because I tend to once I get it all set up, it seems like the next time I go to use it, I've forgotten what I've programmed everything to do. 265 00:24:01,110 --> 00:24:01,830 [Richard] And I 266 00:24:02,070 --> 00:24:08,230 [Richard] Yeah. And I have to go back and program it again. There are the newer ones seem to you know, they have displays on them, and that that would help. 267 00:24:09,645 --> 00:24:12,205 [Richard] But for me, I was really 268 00:24:12,685 --> 00:24:17,085 [Richard] drawn to the Zach the Zach Windsor portion of this. 269 00:24:17,645 --> 00:24:21,965 [Richard] When the original Zach Windsor firmware was announced years and years ago, 270 00:24:22,365 --> 00:24:23,085 [Richard] I 271 00:24:23,220 --> 00:24:28,980 [Richard] I had one of these, so I I gotta put it on. And I really, really enjoyed it. I thought it was really well thought out. 272 00:24:29,300 --> 00:24:33,860 [Richard] It did up to 32 steps. You could do a step for each knob. 273 00:24:34,420 --> 00:24:54,890 [Richard] And it was really clever how they integrated that in. And the fact that it took so long, but now we are getting a replacement for that. You know, this is the and they even reformatted it so that the knobs are sort of make more sense in this in the in the sequencer context because they've pushed everything together. 274 00:24:55,050 --> 00:24:58,410 [Richard] I think they really did a really nice job on this. The price is great. 275 00:24:58,810 --> 00:25:03,290 [Richard] And because it's both a controller and a sequencer, it's 276 00:25:03,530 --> 00:25:12,815 [Richard] it's gonna be a lot of fun to play with. It's strange that they announced this up for preorder, but there's no product announcement from Behringer yet. There's no video announcement. 277 00:25:13,375 --> 00:25:25,590 [Nick] It's not on their website yet. So this is sort of a weird weird announcement thing. Their web I I have to say, just for the record, their website is a mess. It's an absolute nightmare. I I would because I was doing the Flow four v review, 278 00:25:26,070 --> 00:25:28,390 [Nick] and I was just looking to download software. 279 00:25:29,030 --> 00:25:41,705 [Nick] You know? It's like I need the latest drivers or I need the latest firmware, and it's just like oh, and there was the sessions live software, which can talk to it and rename the files and stuff. And then literally, I could not find it anywhere. All I got was a chat thing, which is like a 280 00:25:42,185 --> 00:26:08,175 [Nick] OOLY chatbot, which is like literally the last thing you really wanna be faced with when you just want a download link. It really is is very poorly thought anyway. At this school, I I'm pretty sure, Jarrod, have you still got one or you did have one, didn't you, of these? So I had one for years, and I had it I kind of customized it so it would fit in the nib. So I took it apart, and I had the two panels. And I actually used the virus wooden 281 00:26:08,255 --> 00:26:08,975 [Yoad] cheeks, 282 00:26:09,295 --> 00:26:11,535 [Yoad] so it looked like really vintage. 283 00:26:11,935 --> 00:26:18,570 [Yoad] And we actually featured it in the studio tour. You did part two of the studio tour. 284 00:26:19,210 --> 00:26:22,330 [Yoad] So that's the the the heart of my entire 285 00:26:23,690 --> 00:26:33,315 [Yoad] environment where I can control all the scenes, and, I have C6 and controller pages for each and every scenes that that can handle it. 286 00:26:33,635 --> 00:26:41,955 [Yoad] And, unfortunately, the the rotary knobs on it were not I mean, I had it for for fifteen years, but they were starting to 287 00:26:42,275 --> 00:26:44,530 [Yoad] to be very unreliable. 288 00:26:44,530 --> 00:26:49,170 [Yoad] So I replaced it a couple of months ago with the LaunchControl 289 00:26:50,050 --> 00:26:51,330 [Yoad] three XL 290 00:26:51,970 --> 00:26:52,930 [Yoad] Yes. Which, 291 00:26:55,330 --> 00:26:56,050 [Yoad] can 292 00:26:56,715 --> 00:26:57,355 [Yoad] do 293 00:26:57,515 --> 00:27:01,435 [Yoad] most of the kind of generic stuff that the PCR could do. 294 00:27:01,915 --> 00:27:05,915 [Yoad] However, it doesn't have C Seq. So the way I work with the 295 00:27:06,155 --> 00:27:08,475 [Yoad] with the with the Behringer is that 296 00:27:08,810 --> 00:27:13,850 [Yoad] it had a learn function, and I can see that the PCR 32 has a learn function. 297 00:27:14,490 --> 00:27:17,450 [Yoad] And I'm wondering and I'm hoping that they kept 298 00:27:17,610 --> 00:27:18,970 [Yoad] the C6X 299 00:27:18,970 --> 00:27:20,170 [Yoad] kind of capabilities 300 00:27:20,170 --> 00:27:21,850 [Yoad] of it so you can learn 301 00:27:22,345 --> 00:27:28,985 [Yoad] and then send or turn a knob or something on, an old C6 transmitting, 302 00:27:29,385 --> 00:27:30,265 [Yoad] synth, 303 00:27:30,265 --> 00:27:34,345 [Yoad] and it will learn the function because otherwise, putting it in, it's it's a nightmare. 304 00:27:36,180 --> 00:27:39,700 [Yoad] However, be be since it's it's only driving 305 00:27:39,700 --> 00:27:41,780 [Yoad] the the logic environment, 306 00:27:42,420 --> 00:27:43,540 [Yoad] I can control 307 00:27:44,100 --> 00:27:46,260 [Yoad] those with controllers or or 308 00:27:46,820 --> 00:27:47,460 [Yoad] Yeah. 309 00:27:47,940 --> 00:27:56,425 [Yoad] You know? So I don't need Yeah. You to You could do a But it looks Yeah. And I did have I did have the the the 310 00:27:56,585 --> 00:27:57,305 [Yoad] the 311 00:27:57,705 --> 00:27:59,705 [Yoad] SAC audio sequencer 312 00:27:59,945 --> 00:28:04,185 [Yoad] on the VCR as well, which is cool, but I'm sure you can find 313 00:28:04,740 --> 00:28:05,860 [Yoad] stuff like that, 314 00:28:07,380 --> 00:28:10,580 [Yoad] in software today that will respond to the 315 00:28:11,060 --> 00:28:25,685 [Yoad] the good thing is that I asked Claude to to write a MIDI file, a SISX MIDI file that I could load the launch control. So now I don't have to put anything in manually or even use their editor. 316 00:28:26,325 --> 00:28:33,125 [Yoad] I just tell Claude what I want it to be, and boom. It it it brings me, like, the whole whole setup. 317 00:28:33,670 --> 00:28:36,230 [Yoad] So so so that's a lot easier. 318 00:28:36,550 --> 00:28:48,230 [Nick] Yeah. That's interesting you say about SysEx actually because, I mean, many many controllers now, they're dropping it off, aren't they? It's just no longer Yes. Do and I wonder I guess that's probably because we've got 319 00:28:48,945 --> 00:29:01,265 [Nick] an RPN and, you know, there are they've expanded the level of control and the number of sort of there's there's enough data there. Maybe people are just not using it anymore, but there's such a legacy of those things. And, you know, get that in check. Yep. 320 00:29:02,000 --> 00:29:02,320 [Nick] This 321 00:29:02,800 --> 00:29:04,880 [Yoad] C6 sounds better. 322 00:29:05,920 --> 00:29:12,720 [Yoad] There's a sound to it. I mean, no. Really, it's a it's an amazing format, and I I learned it very 323 00:29:13,280 --> 00:29:15,520 [Yoad] early on when I had the m t 324 00:29:15,825 --> 00:29:16,945 [Yoad] 32, 325 00:29:17,025 --> 00:29:17,985 [Yoad] the Roland, 326 00:29:18,305 --> 00:29:25,425 [Yoad] the poor man's version of a of a t seven. F seven. One d 10, which was the poor man's version of a t 50. 327 00:29:25,745 --> 00:29:30,545 [Yoad] And it didn't have any controllers, so I learned how to program it on the Atari, 328 00:29:31,350 --> 00:29:38,310 [Yoad] and I learned so much by by doing that. And it's it's a really very, very clever 329 00:29:38,630 --> 00:29:41,670 [Yoad] language or format, and it 330 00:29:41,910 --> 00:29:43,030 [Yoad] is clunky, 331 00:29:43,350 --> 00:29:43,590 [Yoad] but 332 00:29:44,390 --> 00:29:45,830 [Yoad] and the resolution is not, 333 00:29:47,225 --> 00:30:11,310 [Nick] you know, very high. The difficulty with SysEx is it won't run it won't run parallel, will it? It's it because it's sort of has to wait. It acknowledges. Yeah. So you've got too much there's too there's too much lag on it because, you know, one end, as I said, did you get that? Yes. I got it. Okay. Great. Here's the next bit. The was it ack and knack? Isn't it the acknowledge bites and all of that sort of stuff? God, that's taking me back. Yeah. I remember the d one ten manual 334 00:30:11,630 --> 00:30:25,395 [Nick] was probably the operation part was about that thick, and then the MIDI implementation and SIS X was about I've still got it somewhere. It was about that thick. I need to have to kind of figure out. But, yeah, I mean, I guess we don't need that now. And, also, to be honest, 335 00:30:25,795 --> 00:30:38,410 [Nick] with, I guess, with with with manuals you can ingest into AI of your choice, you could like, as you said, you can just tell it to kinda do what you want, and it know there's enough information out there for it to kinda format the data in the right way. But, yeah, 336 00:30:38,730 --> 00:30:46,175 [Nick] fond memories in in many ways. But, yeah, maybe they'll keep it. That would be great if they did. And and I suppose also the other thing is nice that, 337 00:30:46,495 --> 00:30:54,255 [Nick] you know, we're talking about a Behringer thing that is is its own thing because I don't think anybody else they were first with this, weren't they? The BCR and the BCF were the sort of first Yeah. 338 00:30:54,975 --> 00:30:56,815 [Nick] Real kind of comprehensive 339 00:30:56,815 --> 00:30:57,615 [Nick] MIDI controllers. 340 00:30:58,030 --> 00:31:00,910 [Nick] I think it came out after or before or during 341 00:31:01,150 --> 00:31:10,430 [Yoad] Huey and and all of that stuff as well, the Mackie protocol. It it came after, but I think you had the the innovation. I don't remember what it was called, 342 00:31:10,670 --> 00:31:11,950 [Yoad] which had this weird 343 00:31:12,510 --> 00:31:13,550 [Yoad] plug in wrapper 344 00:31:14,165 --> 00:31:14,725 [Yoad] thing, 345 00:31:14,965 --> 00:31:15,445 [Yoad] which 346 00:31:16,805 --> 00:31:22,885 [Yoad] Yeah. You know, enables you to to work it within the door and to control plug ins and stuff like that. 347 00:31:23,765 --> 00:31:25,765 [Yoad] Yeah. I suppose early 348 00:31:26,245 --> 00:31:28,085 [Yoad] two thousand tens or something like that. 349 00:31:29,730 --> 00:31:35,810 [Nick] If not Yes. Well, you see see what you've been missing out, Richard? You could have a portion of your brain that was just purely 350 00:31:36,290 --> 00:31:38,050 [Nick] forever SysEx. 351 00:31:40,210 --> 00:31:41,250 [Richard] We've actually 352 00:31:41,495 --> 00:31:43,575 [Richard] you know, here in 2026, 353 00:31:43,575 --> 00:31:45,575 [Richard] we've started diving into 354 00:31:45,575 --> 00:31:48,375 [Richard] six x for an upcoming project, 355 00:31:48,855 --> 00:31:50,455 [Richard] where we need to be able to, 356 00:31:51,255 --> 00:31:52,695 [Richard] load and save, 357 00:31:53,095 --> 00:31:54,615 [Richard] presets and that type of stuff. 358 00:31:55,640 --> 00:31:56,200 [Richard] And 359 00:31:56,680 --> 00:31:58,520 [Richard] it's it's fascinating. 360 00:31:58,520 --> 00:32:03,640 [Richard] Fortunately, now we do have Claude that we can just have Claude do the majority 361 00:32:03,960 --> 00:32:09,960 [Richard] of the explaining to us. But they have fascinating stuff. I always sort of avoided this in the past because 362 00:32:11,155 --> 00:32:20,835 [Richard] being a player, I would play it on the sequence. And if I could save it in the synth, great. And if not, I would just sort of let it go to the lands of winds and shadows. Gotcha. But 363 00:32:21,395 --> 00:32:31,560 [Richard] it seems it's yeah. It's it's interesting. It's you could do quite a lot with it, but it it does feel extremely antiquated as as we start to dive into this. 364 00:32:32,280 --> 00:32:39,075 [Nick] I suppose so. One of my favorite handles is sissy space x, who is a friend of ours from LA 365 00:32:39,235 --> 00:32:50,755 [Nick] who help who's often helping at at NAAM. So, yeah, hello to you, Sissy. Well, she's not called Sissy, but anyway, she knows who she is. Right. Okay. I think I'll take a break and be back after this message. 366 00:32:53,450 --> 00:32:57,370 [Nick] Yeah. So let's see. Well, that was the first one of the that that that 367 00:32:58,090 --> 00:32:59,850 [Nick] old topic. Somebody's put the 368 00:33:00,890 --> 00:33:10,845 [Nick] what was the topic idea that idea that just came out? SISX warmth, I guess. You know, warm. The the the warmth of old digital hex format somehow, 369 00:33:10,925 --> 00:33:17,565 [Nick] you know, would it have a difference in the sound? I I don't think so. But it it and and yeah. Hexadecimal 370 00:33:17,565 --> 00:33:25,280 [Nick] is not the friendliest of languages, to be honest, or number systems. It's one that I still I guess you could learn it fairly easily. But, 371 00:33:26,240 --> 00:33:33,520 [Nick] you know, three two or three sets of characters, and it's like, Christ, how many what does that represent? A lot. That's all you need to know. 372 00:33:34,625 --> 00:33:41,105 [Nick] Okay. Let's have a look. We've got a couple of interesting let let's have an Amous Bouche. This one's kinda cool, and it means I can play a video as well. 373 00:33:41,425 --> 00:33:43,825 [Nick] This is the news that 374 00:33:44,305 --> 00:33:58,630 [Nick] Melbourne Instruments now have a ten year warranty on all their moving favorite moving knob systems. Unlock an incredible groove box with Nina's new firmware update. Take away all the analog power of Nina's synth engine with an absolutely key card 375 00:33:59,030 --> 00:34:00,550 [Nick] polyphonic 376 00:34:00,550 --> 00:34:01,750 [Nick] four track sequencer. 377 00:34:02,055 --> 00:34:03,655 [Nick] Roto control. Sorry. Have 378 00:34:04,215 --> 00:34:20,000 [Nick] uses new sound possibilities. There's ten year warranty. I mean, basically, they just say there's nowhere a surface anywhere between the motor and the player's fingers because it's all magnetic. So there's they can kind of offer this certainly for the for these knobs, which is great. And it's a great sort of little one to have in the bag, particularly as everybody is 379 00:34:20,560 --> 00:34:30,915 [Nick] currently feeling the pinch. You need to you can you can realize that your machine will always I guess you have to send it back to base, but that's no biggie. I mean, I guess they've got Looks US and pictures. 380 00:34:31,715 --> 00:34:45,150 [Nick] European ones. Anyway, this one to throw. It's great news, though. I mean, that's quite I mean, you're a manufacturer. Is a ten year warranty thing? Is that that's kinda big? Is that big is that big news? I mean, can imagine that's quite a big thing if you were to suddenly go, hey. Let's do that. 381 00:34:45,550 --> 00:34:48,750 [Nick] Your accountant will probably say, no. No. Don't. 382 00:34:50,030 --> 00:35:01,485 [Richard] Yeah. I think, you know, for smaller companies, it's it's obviously easier, I think, to have these longer warranties. I know the way we do, we have a one year warranty, but we've never not fixed something for somebody because 383 00:35:01,645 --> 00:35:04,605 [Richard] it's just easier to fix something than it is to 384 00:35:05,645 --> 00:35:07,965 [Richard] to nod and and have it be a problem. 385 00:35:08,540 --> 00:35:13,740 [Richard] But the I know the knobs on these things are amazing. I've played around with them at NAAM a few times, 386 00:35:13,980 --> 00:35:16,220 [Richard] and they are they feel nice, 387 00:35:16,540 --> 00:35:19,980 [Richard] and they, you know, they do what they say they do on the box, 388 00:35:20,220 --> 00:35:27,075 [Richard] which is very cool. And if there's no feel, then, you know, to get a ten year warranty that's probably not gonna end up costing the company anything, 389 00:35:27,315 --> 00:35:36,675 [Richard] it's it's great PR, and it it makes you trust the company, especially a younger company like them who really are leaning on this technology that they created 390 00:35:37,315 --> 00:35:37,955 [Richard] as 391 00:35:38,130 --> 00:35:44,050 [Richard] as their way into the market, I think it's a great opportunity for them to to really showcase 392 00:35:44,290 --> 00:35:44,930 [Richard] what 393 00:35:45,090 --> 00:35:49,410 [Richard] what they brought to the table, which is this fantastic knob technology. 394 00:35:49,890 --> 00:35:59,285 [Richard] So I I think it's interesting. I I'm curious to see if other companies start following up with ten year warranties. I I would be surprised if that happened, but 395 00:36:00,245 --> 00:36:02,085 [Richard] longer warranties is always a good thing. 396 00:36:02,805 --> 00:36:10,030 [Nick] Absolutely. Yeah. I don't know. I don't know, Yael. Have you tried the right I mean, I reviewed the right controller. One thing that's really cool about it is because you can set 397 00:36:10,350 --> 00:36:18,510 [Nick] sort of center dense and almost switch points. So, you know, when you're turning it, you've got you know, say if you're doing an octave switch or waveforms, 398 00:36:18,510 --> 00:36:25,085 [Nick] it actually will kind of click and do those things. It's quite an interesting I mean, tells me that the time is set up. 399 00:36:25,725 --> 00:36:27,325 [Yoad] No. I've not experienced 400 00:36:28,605 --> 00:36:36,130 [Yoad] it, actually. I have to say it looks quite sturdy. It looks like it's built, like it's properly built, 401 00:36:36,290 --> 00:36:36,610 [Yoad] and, 402 00:36:37,570 --> 00:36:39,730 [Yoad] and they're now backing it up. So, 403 00:36:40,530 --> 00:36:43,330 [Yoad] so so that's good. I think that, 404 00:36:45,490 --> 00:36:48,290 [Yoad] strangely enough, talking about BCR, 405 00:36:48,875 --> 00:36:51,035 [Yoad] I think that something like that 406 00:36:51,275 --> 00:36:52,235 [Yoad] would be 407 00:36:52,555 --> 00:36:53,755 [Yoad] more relevant 408 00:36:53,755 --> 00:36:56,715 [Yoad] for me rather than a dedicated 409 00:36:56,795 --> 00:36:58,235 [Yoad] saint or 410 00:36:58,635 --> 00:37:01,595 [Yoad] controller that that is kind of mapped 411 00:37:01,890 --> 00:37:05,810 [Yoad] to a certain thing, but something with a more open architecture, 412 00:37:06,130 --> 00:37:07,650 [Yoad] like a mixer or, 413 00:37:07,730 --> 00:37:09,810 [Yoad] you know, something with just 414 00:37:10,130 --> 00:37:13,250 [Yoad] four rows of of eight knobs or something like that. 415 00:37:14,130 --> 00:37:15,490 [Yoad] Makes sense. Call next to that. 416 00:37:17,205 --> 00:37:17,925 [Yoad] Yeah. 417 00:37:18,245 --> 00:37:21,285 [Yoad] But I think that it would be quite expensive 418 00:37:21,365 --> 00:37:22,005 [Yoad] to 419 00:37:23,205 --> 00:37:33,590 [Nick] to to make. It would. Well, the the the roto control is fully open, and it I mean, it will control live, and it'll control DAW stuff, and you can map it to plug ins. But you can also program it up yourself. 420 00:37:33,830 --> 00:37:43,030 [Nick] I don't think it does SysEx. That's that but that, again, is illustrative point there. Yeah. But that I I think SysEx is is over for for hardware. 421 00:37:43,270 --> 00:37:47,825 [Yoad] You can still you can still use it, especially within Logic, 422 00:37:47,825 --> 00:37:59,825 [Yoad] even though you know that they're hiding the environment. So you can't unless you have a song that was saved like a project that was saved with the environment, there's no way for you to reach 423 00:38:00,510 --> 00:38:02,030 [Yoad] the environment page, 424 00:38:02,350 --> 00:38:07,630 [Nick] which is outrageous, I think. So they're trying to phase it out. Rid of it? They've got rid of it now. Oh, no. 425 00:38:08,350 --> 00:38:13,310 [Yoad] No. It's still there, but you can only access it if you have a song 426 00:38:13,470 --> 00:38:14,190 [Yoad] saved 427 00:38:14,785 --> 00:38:19,505 [Yoad] with it, basically. So you can't create a new environment because you can't see 428 00:38:20,145 --> 00:38:26,865 [Yoad] the window even without or whatever. It's just not there. So but if it's if it's saved, then 429 00:38:27,580 --> 00:38:30,300 [Yoad] and I'm I'm hoping they will not get 430 00:38:30,300 --> 00:38:47,925 [Nick] rid of it because, you know, my whole setup is is based around around that. You need to start you need to talk to your MP, I think, you know, I mean, this is a this is a this is a sort of existential threat to your way of life, I think. I I think it's probably Yeah. I've been very surprised. I didn't know that they isn't 431 00:38:47,925 --> 00:38:56,485 [Nick] it? Yeah. Absolute oh, excellent. Yeah. We could have like, we we could tie in. I saw a news item yesterday about how OnlyFans girls were 432 00:38:56,980 --> 00:38:58,420 [Nick] were using 433 00:38:58,420 --> 00:39:03,220 [Nick] their platform to talk about the environment, which was just sort of mind boggling 434 00:39:03,300 --> 00:39:20,255 [Nick] as a concept. So maybe you need to reach out and sort of spread the word. I am really surprised. I didn't realize that Apple had removed it. I I think now I'm thinking about it. I remember trying to look for it because I was trying to find MIDI some MIDI No. You won't find it. Transformation stuff, and I couldn't find it. So, god, that's awful. I wonder 435 00:39:20,495 --> 00:39:27,880 [Yoad] why on earth they would do that. Is it just because Because I'm I'm the only person who actually uses it still, so I guess that's why. 436 00:39:28,760 --> 00:39:36,680 [Nick] What you need is you need you need to set up a load of bots that will send back your usage statistics from lots of different IPs. You need to kind of build an enormous 437 00:39:37,095 --> 00:39:41,575 [Nick] hacker network that allows you to to to spam the the Apple 438 00:39:42,455 --> 00:39:44,455 [Nick] information service Well, unfortunately, 439 00:39:46,535 --> 00:39:51,495 [Nick] better things to do. So Yeah. Well, fair enough. Might figure out an alternative. 440 00:39:52,230 --> 00:40:01,510 [Nick] Yeah. I know. Fair enough. Gosh. That was a surprise. I did not know that. Okay. Well, the here's here's another thing that was kind of interesting. These this was an article based on, 441 00:40:02,230 --> 00:40:05,110 [Nick] again, on gear news. It's by Rob Puricelli. 442 00:40:05,110 --> 00:40:07,430 [Nick] I've got video here of this is the Keppra 443 00:40:08,295 --> 00:40:11,655 [Nick] circuit, and it it models the KPR 77, 444 00:40:11,655 --> 00:40:19,655 [Nick] which is we know is a famous cork drum machine. This is and this is running in the browser, and there's a couple of other examples. There's Codeponics d x 11 clone 445 00:40:20,020 --> 00:40:20,820 [Nick] and 446 00:40:20,980 --> 00:40:22,180 [Nick] an s 5,000 447 00:40:22,500 --> 00:40:26,260 [Nick] s 6,000 editor, which was really interesting because that, 448 00:40:27,220 --> 00:40:33,940 [Nick] I remember buying access at quite a hefty price to program those because they used to be the basis of all of our 449 00:40:34,265 --> 00:40:42,905 [Nick] live stuff for gold wrap. You know? There are many many people used it. I just thought it was kind of interesting because there's now so much stuff that's possible from within the brand. Of course, 450 00:40:43,225 --> 00:40:59,260 [Nick] Tim Axel's car cast runs in the browser for at the time being, which is an incredibly complex thing. So we're starting to see I mean, I I want it must be possible to do a full production in the browser. And, obviously, BandLab do something in the browser. There are all sorts of things like this. And I wonder 451 00:40:59,500 --> 00:41:01,020 [Nick] I wonder if there's enough 452 00:41:01,340 --> 00:41:02,620 [Nick] sort of headroom 453 00:41:02,780 --> 00:41:03,500 [Nick] within 454 00:41:03,915 --> 00:41:22,690 [Nick] the browser itself because, I mean, most of these are gonna be WebKit or Chrome based stuff. So you're sort of at the mercy of of that. I mean, I remember when when we were developing CD ROM stuff, you know, there would often be an update to QuickTime or something like that, and it would completely break our entire sort of CD ROM concept, which was using Macromedia Director 455 00:41:22,690 --> 00:41:32,130 [Nick] plugging into QuickTime. And so we effectively, the platform itself could completely change, and it makes it much more difficult than an OS. I don't know. Yeah. I mean, you I know you're involved in a lot of 456 00:41:33,005 --> 00:41:40,205 [Nick] hush-hush projects and stuff. I mean, are you are you feeling or seeing that the browser is paying a bigger part in that 457 00:41:40,765 --> 00:41:42,365 [Nick] sort of stuff? Not really. 458 00:41:42,605 --> 00:41:46,525 [Yoad] Not really. I think that the main issue here is the the latency 459 00:41:46,650 --> 00:41:50,090 [Yoad] and the fact that it's so embedded or so dependent 460 00:41:50,090 --> 00:41:51,610 [Yoad] on the OS. 461 00:41:52,010 --> 00:41:52,650 [Yoad] And 462 00:41:53,530 --> 00:41:54,890 [Yoad] terms of graphics, 463 00:41:54,890 --> 00:42:00,010 [Yoad] definitely in terms of MIDI and things like that. So I don't think 464 00:42:01,485 --> 00:42:04,365 [Yoad] that there's much sense in relying 465 00:42:04,365 --> 00:42:05,405 [Yoad] on its 466 00:42:05,885 --> 00:42:06,845 [Yoad] engine 467 00:42:08,045 --> 00:42:15,005 [Yoad] that much. Obviously, for stuff like step step sequences and and things like that, which are offline in nature, 468 00:42:15,640 --> 00:42:19,880 [Yoad] then that makes sense. And it and it saves the developer 469 00:42:20,600 --> 00:42:23,320 [Yoad] the the need to port stuff 470 00:42:23,480 --> 00:42:28,920 [Yoad] as a plug in or things like that. But these days, it's so easy to to create, 471 00:42:29,400 --> 00:42:31,485 [Yoad] and it's and supposedly, 472 00:42:31,885 --> 00:42:33,885 [Yoad] it's platform agnostic, 473 00:42:34,205 --> 00:42:38,605 [Yoad] which is the main thing. But these days, it's so easy to to compile 474 00:42:38,605 --> 00:42:39,725 [Yoad] and and 475 00:42:39,965 --> 00:42:46,125 [Yoad] sort of port stuff to to Windows and Mac and and Linux and stuff like that as as stand alone apps 476 00:42:46,820 --> 00:42:48,500 [Yoad] as well as plug ins, but, 477 00:42:49,620 --> 00:42:51,620 [Yoad] there's more complexity 478 00:42:51,620 --> 00:42:54,180 [Yoad] in in in in running 479 00:42:54,180 --> 00:42:59,220 [Yoad] plug ins because you have to you have so many different formats on both platforms 480 00:42:59,565 --> 00:43:01,245 [Yoad] and things like that. And 481 00:43:01,805 --> 00:43:02,365 [Yoad] Mhmm. 482 00:43:03,005 --> 00:43:05,725 [Yoad] You know? So so I think that for small 483 00:43:06,365 --> 00:43:07,405 [Yoad] developers, 484 00:43:07,485 --> 00:43:11,165 [Yoad] it it may make sense in order to showcase 485 00:43:11,760 --> 00:43:16,880 [Yoad] their capabilities or their products or something like that, but I I I wouldn't think 486 00:43:17,440 --> 00:43:18,880 [Yoad] that a serious 487 00:43:18,960 --> 00:43:19,840 [Yoad] commercial 488 00:43:20,480 --> 00:43:22,240 [Yoad] project would choose 489 00:43:22,720 --> 00:43:25,600 [Yoad] a browser as as a main platform. Okay. 490 00:43:26,000 --> 00:43:42,080 [Nick] I suppose the thing is there's a massive distribution. I mean, no I mean, I should mention that Tim's sort of prototyping cast in the browser and fully intends to make it standalone or plug in based, so that makes a lot of sense. I guess, Richard, you know, from your point of view, what's really cool or what's happening a lot about things are are kind of faceless 491 00:43:42,880 --> 00:43:54,960 [Nick] units, which don't have much of a UI, now will often have a web UI that you can you can kind of communicate and then maybe write the the registry via via web MIDI or whatever it may be. So that's that's 492 00:43:54,705 --> 00:43:58,625 [Nick] possibly something you might know a little bit about. I don't know whether you've got anything that's got got 493 00:43:58,945 --> 00:44:00,705 [Nick] that kind of editor capability. 494 00:44:00,705 --> 00:44:01,825 [Nick] Certainly not yet. 495 00:44:02,865 --> 00:44:08,625 [Richard] Not yet, but that ties into what I was saying before that we are looking in interacting with 496 00:44:09,460 --> 00:44:10,340 [Richard] instruments, 497 00:44:10,580 --> 00:44:17,140 [Richard] and it would be a web based because it's it's seriously just for, like, backup and that type of stuff. 498 00:44:17,380 --> 00:44:21,220 [Richard] So it doesn't need to be in real time. It can just sort of happen. 499 00:44:21,460 --> 00:44:34,385 [Richard] But I think I think projects like this are a great way for developers to showcase their skills. I don't see this as a serious commercial product just like Yoad said, but I do see it as a great tool for schools 500 00:44:34,625 --> 00:44:36,865 [Richard] and a great way for students 501 00:44:37,310 --> 00:44:45,470 [Richard] to get an understanding of these things where a teacher could wheel in some laptops or just tell their students, go on your 502 00:44:46,030 --> 00:45:11,860 [Richard] tablet or on your laptop and go to this page, and let's talk about how synthesizers work for forty five minutes or drum machines work. And I think that's a great way because then they don't have to worry about configuring all these instruments. And then when the students leave having to reset them and everything because you just refresh the browser, and you're good to go. So I think there are use cases for these. And for the developers, again, it's a great way to show proof of work. 503 00:45:12,260 --> 00:45:17,220 [Richard] I have a son now who is 21 years old, and he's just about finishing college. 504 00:45:17,540 --> 00:45:19,460 [Richard] And he's going into 505 00:45:19,875 --> 00:45:21,635 [Richard] computer programming and computer 506 00:45:21,715 --> 00:45:23,235 [Richard] sciences. And my 507 00:45:24,035 --> 00:45:25,875 [Richard] big talk to him is always, 508 00:45:26,195 --> 00:45:36,710 [Richard] you need to be doing this in your spare time too because when you go to interview, they're gonna wanna see, well, what have you done? Yes. We know you have a degree. A lot of people have degrees. But, you know, what have you actually 509 00:45:37,110 --> 00:45:37,750 [Richard] done 510 00:45:38,390 --> 00:45:39,190 [Richard] that is 511 00:45:39,910 --> 00:45:50,265 [Richard] relevant to what we would be hiring you to do? And this is like these types of projects, I think, are great for that because it showcases your ability to write the back end, showcases your UI skills. 512 00:45:50,585 --> 00:45:58,825 [Richard] So for that, I think it's interesting. And for us to then go and play with it on the web for free, you know, while we're sitting on the bus or while we're on the train, 513 00:45:59,225 --> 00:46:01,945 [Richard] or in the evenings while we're laying to bed, I think is fantastic. 514 00:46:02,590 --> 00:46:04,830 [Richard] And I I support interesting. 515 00:46:04,910 --> 00:46:06,750 [Richard] Anyone doing these fun toys. 516 00:46:08,190 --> 00:46:10,270 [Nick] Yeah. It's also interesting because 517 00:46:10,590 --> 00:46:11,630 [Nick] HTML 518 00:46:11,630 --> 00:46:29,540 [Nick] is often used or XML certainly, both maybe both is used as part of help systems and sort of front ends for browsing systems that are within I mean, I know I think Live has a kind of or markdown or some kind of language that way, you know, for help systems because you could build help help files 519 00:46:29,540 --> 00:46:30,100 [Nick] for 520 00:46:30,500 --> 00:46:36,020 [Nick] Max for Live and other devices as well. There's quite a lot of stuff you could do, and I know that, you know, like the teenage engineering 521 00:46:36,740 --> 00:46:46,355 [Nick] k o two tool that you can download and upload samples is all beautifully. It's all run-in the brand. And I think Novation were possibly one of the first with Novation 522 00:46:46,355 --> 00:46:47,555 [Nick] components, 523 00:46:47,555 --> 00:47:01,440 [Nick] wasn't it? I think it's called a new you know, you back up your your Novation circuit or your tracks or whatever that stuff. And it's all it's all sort of integrated. And you can either use it to just save files locally or you can integrate it with a cloud thing if that's your bag. 524 00:47:01,840 --> 00:47:14,125 [Nick] So, I mean, it makes an awful lot of sense to work in the browser. But, yeah, I think you're probably both right. I mean, there's such an overhead, a processing overhead to it even though now we get I mean, I say we've got loads of processing, but we're averaging a phase where 525 00:47:14,365 --> 00:47:16,365 [Nick] processing is becoming a scarcity. 526 00:47:16,365 --> 00:47:17,405 [Nick] So we're not actually 527 00:47:17,805 --> 00:47:23,010 [Nick] we're not in that I know what's that curve? What's the curve about to do with technology 528 00:47:23,330 --> 00:47:25,410 [Nick] exponentially increasing? 529 00:47:25,490 --> 00:47:31,250 [Nick] I think we've hit a we've hit a a major node in that where that's no longer gonna happen because 530 00:47:31,410 --> 00:47:32,450 [Nick] we can't buy 531 00:47:33,245 --> 00:47:48,365 [Nick] the processes and the RAM and the storage to be able to to kind of take advantage of that for the time being. I forget the chat room. Moore's Law. That's it. Thank you very much, Wagyu. Yeah. And so I think yeah. So it's kind of interesting. I mean, this does bring a a wider point. You know, we're we are 532 00:47:48,920 --> 00:48:00,200 [Nick] we're in this sort of fantastic technological sort of era, yet none of us or very few of us can actually have access to the top end computers that we used to be able to buy even six months ago 533 00:48:00,520 --> 00:48:09,205 [Nick] or or or longer. You know, they're just unattainable or out of stock and just not being built. So it's really bloody hard. So yeah. 534 00:48:09,925 --> 00:48:11,765 [Nick] I I think I wanna mention 535 00:48:12,085 --> 00:48:13,925 [Richard] oh, sorry. Go ahead, Yohad. 536 00:48:14,725 --> 00:48:18,405 [Yoad] I I sorry. I just wanna mention one thing which is actually 537 00:48:18,810 --> 00:48:27,610 [Yoad] has work is working in our favor and has been for the past thirty years, which is the sample rate and the bit resolution. 538 00:48:27,930 --> 00:48:29,050 [Yoad] Because for 539 00:48:29,130 --> 00:48:31,930 [Yoad] a few decades now, we've been all working 540 00:48:32,605 --> 00:48:34,845 [Yoad] mostly at 24, 541 00:48:34,845 --> 00:48:36,045 [Yoad] 48 k. 542 00:48:36,205 --> 00:48:38,045 [Yoad] Even if it's 96 543 00:48:38,045 --> 00:48:38,685 [Yoad] k, 544 00:48:39,325 --> 00:48:41,965 [Yoad] when this format was introduced, 545 00:48:42,685 --> 00:48:43,485 [Yoad] computers 546 00:48:43,485 --> 00:48:45,965 [Yoad] were, like, thousands of times 547 00:48:45,970 --> 00:48:50,130 [Yoad] less powerful than they are now, and the format remained, 548 00:48:50,130 --> 00:48:51,090 [Yoad] and it's still 549 00:48:51,410 --> 00:48:53,650 [Yoad] the kind of industry standard. 550 00:48:54,050 --> 00:48:55,890 [Yoad] Even if it's 96 k, 551 00:48:56,210 --> 00:48:57,410 [Yoad] 24 bit, 552 00:48:57,810 --> 00:49:00,850 [Yoad] you have the same file format thirty years ago, 553 00:49:01,465 --> 00:49:04,345 [Yoad] and computing power has evolved so much, 554 00:49:04,825 --> 00:49:10,745 [Yoad] and we're still using the same format. So this is kind of amazing, and I'm hoping that no one will, 555 00:49:11,385 --> 00:49:13,385 [Yoad] you know, go to whatever, 556 00:49:13,860 --> 00:49:15,700 [Yoad] 512 557 00:49:16,100 --> 00:49:25,540 [Yoad] k or something like that or something ridiculous like that because we have so much more processing power available to us for processing 558 00:49:25,540 --> 00:49:26,180 [Yoad] the same 559 00:49:26,685 --> 00:49:27,805 [Yoad] file size. 560 00:49:27,965 --> 00:49:31,485 [Yoad] So in that case, that worked in our favor. 561 00:49:32,285 --> 00:49:35,965 [Nick] Yeah. Fair point. Sorry, Richard. You were just gonna pop in there. 562 00:49:36,445 --> 00:49:44,370 [Richard] Oh, I had an interesting idea. I think, as thinking sort of the education side of these web apps through, it really occurred to me that, 563 00:49:44,690 --> 00:49:45,970 [Richard] I was using, 564 00:49:47,090 --> 00:49:52,770 [Richard] Google the Google AI. I can't remember what it's called. The other day, I was I was trying to create a, 565 00:49:53,265 --> 00:49:55,265 [Richard] an eight by eight icon, 566 00:49:55,585 --> 00:49:57,905 [Richard] and I wanted to sort of experiment with 567 00:49:58,545 --> 00:50:00,385 [Richard] different icons very quickly. 568 00:50:00,625 --> 00:50:09,010 [Richard] So I just went and asked the Google AI. I said, hey. Could you make me an environment, a little app that I can very quickly experiment, 569 00:50:09,010 --> 00:50:11,090 [Richard] make draw little icons on? And, 570 00:50:11,570 --> 00:50:21,650 [Richard] you know, ten seconds later, I had a little app in the browser that allowed me to sort of work in an eight by eight grid and test out different icon designs. It's very fast. It's very clean. 571 00:50:22,855 --> 00:50:23,735 [Richard] And I think 572 00:50:24,055 --> 00:50:26,935 [Richard] these instruments would be great at that too. What if, 573 00:50:27,095 --> 00:50:28,295 [Richard] you know, you have, 574 00:50:28,455 --> 00:50:31,095 [Richard] say, a Lifeforms SV two, 575 00:50:31,335 --> 00:50:33,175 [Richard] and you're like, wow. I would 576 00:50:34,330 --> 00:50:38,170 [Richard] really love bass patch that uses duophonic 577 00:50:38,250 --> 00:50:38,970 [Richard] and 578 00:50:39,370 --> 00:50:41,290 [Richard] kinda has the filter sound 579 00:50:41,450 --> 00:50:42,170 [Richard] like 580 00:50:42,650 --> 00:50:44,890 [Richard] x song that I heard on the radio. 581 00:50:45,610 --> 00:50:46,890 [Richard] Type that into, 582 00:50:47,050 --> 00:50:48,685 [Richard] you know, your chatbot, 583 00:50:48,685 --> 00:51:04,960 [Richard] and then these apps could come up and say, okay. Well, instead of, you know, telling you how to I can show you. And if there's, you know, an an s v two comes up on the screen, and it sort of walks you through where you patch this to this, and you do this. And this is an example of basically what it would sound like. It's on a full 584 00:51:05,200 --> 00:51:06,880 [Richard] VST emulation, 585 00:51:06,960 --> 00:51:20,885 [Richard] but this is gonna give you an idea. And then you could then simply recreate that all the while learning the instrument as you go. I think we are very close to that type of stuff happening, and I find that really, really fascinating as a teaching tool 586 00:51:21,125 --> 00:51:23,125 [Richard] for Yeah. You know, hardware 587 00:51:23,365 --> 00:51:29,270 [Richard] and even VSTs or even, you know, Ableton. Say, how do I do this in Ableton? Oh, let me show you. That, I think, is 588 00:51:29,830 --> 00:51:33,350 [Richard] that we should start seeing soon, and that's gonna be game changing, I think. 589 00:51:34,070 --> 00:51:49,965 [Nick] That's interesting. Yeah. Education seems to be a kind of a a pretty good a pretty good application for that sort of technology. And because we everybody uses a browser, whatever it may be, you know, whether it's on your phone or on you know, we're all so used to it, at least for now. I mean, you know, who knows? Who knows what happens in the future? 590 00:51:51,325 --> 00:52:01,290 [Nick] Well, gosh, we're let's have a look. Is there any any we've got a few topics left, but we I'm I'm I'm clear that we're getting a bit late. Is there any topic that anybody would particularly like to 591 00:52:01,690 --> 00:52:04,330 [Nick] like to, you know, like like to talk about? 592 00:52:06,570 --> 00:52:07,850 [Yoad] If to finish this off We 593 00:52:09,850 --> 00:52:10,730 [Richard] if I could do 594 00:52:12,605 --> 00:52:15,085 [Richard] if I could just give a shout out to, 595 00:52:15,485 --> 00:52:20,605 [Richard] my friends at Twisted Electrons for their Vmega FM 596 00:52:20,605 --> 00:52:25,085 [Richard] plug in synth. They've had the hardware version of the Mega f's FM synth, 597 00:52:25,570 --> 00:52:26,530 [Richard] which is 598 00:52:26,690 --> 00:52:28,210 [Richard] a emulation 599 00:52:28,210 --> 00:52:29,890 [Richard] of the Yamaha 600 00:52:30,930 --> 00:52:31,730 [Richard] chip 601 00:52:32,050 --> 00:52:35,090 [Richard] that was in the Sony Mega Drive. 602 00:52:35,890 --> 00:52:40,450 [Richard] So now they've done a plug in emulation that does both iPads 603 00:52:40,450 --> 00:52:40,930 [Richard] and 604 00:52:42,345 --> 00:52:43,065 [Richard] PCs. 605 00:52:43,465 --> 00:52:51,705 [Richard] So that's very cool. It's I have the I haven't played with the VST plug in version yet, but I do have the hardware version. And it was for me who 606 00:52:52,105 --> 00:52:56,170 [Richard] just could never quite get my head around FM, having sliders 607 00:52:56,170 --> 00:53:03,210 [Richard] available for each one of the operators really opened it up to me as a way to experiment and made it a really interesting 608 00:53:03,610 --> 00:53:04,890 [Richard] instrument 609 00:53:04,890 --> 00:53:15,015 [Richard] for me. So the idea that that's now a plug in, and it really should sound exactly the same because, you know, it's it was it's emulating a digital chip. There's other recreations 610 00:53:15,015 --> 00:53:17,975 [Richard] of this chip in digital form already, 611 00:53:18,375 --> 00:53:25,330 [Richard] but having the sliders there in a way to interact with the operators makes it really, really cool. So that would be just 612 00:53:25,650 --> 00:53:30,290 [Richard] a shout out to Twistle of Trust and doing good work. Wagyu 613 00:53:30,290 --> 00:53:35,970 [Nick] got it in the there we go. Wagyu got it in the chat room, so it'll be in there. So, Joad, you wanted to chip in there? 614 00:53:37,145 --> 00:53:38,025 [Yoad] Well, we 615 00:53:38,585 --> 00:53:40,345 [Yoad] we started talking about 616 00:53:41,065 --> 00:53:43,225 [Yoad] snare snare drum processing. 617 00:53:43,225 --> 00:53:44,905 [Yoad] So I'll 618 00:53:44,905 --> 00:53:45,705 [Yoad] kind of 619 00:53:46,905 --> 00:53:47,945 [Yoad] mention that 620 00:53:48,905 --> 00:53:49,465 [Yoad] because, 621 00:53:51,160 --> 00:53:53,640 [Yoad] you know, this video that I released, 622 00:53:53,800 --> 00:54:01,320 [Yoad] last week, and a lot of people are very interested in that. And and these are for me techniques that I'm that I've almost 623 00:54:02,200 --> 00:54:03,240 [Yoad] forgot about. 624 00:54:03,480 --> 00:54:05,560 [Yoad] And but for some people, they're quite new. 625 00:54:06,175 --> 00:54:07,135 [Yoad] So that's 626 00:54:07,535 --> 00:54:08,975 [Yoad] kind of interesting to 627 00:54:09,295 --> 00:54:15,775 [Nick] Absolutely. Yeah. No. Do check that out. I I I the the released one, which is building snare sounds from 628 00:54:16,095 --> 00:54:26,360 [Nick] by taking just a basic sample and splitting out the transient and then adding EQ'd noise and gated noise underneath and some really interesting techniques there as well. Worth a look, actually. Yeah. 629 00:54:26,680 --> 00:54:32,600 [Nick] And that that is that that's more or less the latest one, isn't it, that you've done? Let me have a look. That that was released 630 00:54:32,680 --> 00:54:36,440 [Yoad] last week. I just released another video today about recording 631 00:54:37,805 --> 00:54:38,845 [Yoad] and mixing 632 00:54:39,085 --> 00:54:44,365 [Yoad] acoustic guitar and vocals at the same time. So all the elements of 633 00:54:45,005 --> 00:54:45,885 [Yoad] crosstalk, 634 00:54:45,885 --> 00:54:47,005 [Yoad] click, spiel, 635 00:54:47,245 --> 00:54:55,460 [Yoad] how to get the the guitar clear without phasing between the mics, and then how to mix it in a way that sounds natural. 636 00:54:56,100 --> 00:54:58,740 [Yoad] So that was released, like, an hour ago. 637 00:54:58,980 --> 00:55:01,700 [Nick] Oh, yeah. I see that one. I was recording it. 638 00:55:03,940 --> 00:55:06,500 [Nick] Yeah. You've that's you're 639 00:55:06,115 --> 00:55:11,315 [Nick] on fire as ever, and you're creeping up to the 200 k mark as well for your subscribers. 640 00:55:11,795 --> 00:55:40,845 [Nick] Must be very rewarding. It's nice to that there's something about and I I'm sure you feel the same way as I do because, I mean, I used to work in pop music. And the one thing that was lovely about it is there was, you know, there were national charts about the place, which were easy to see. You go, in The US, it's this. In The UK, it's this. In the rate and those are sort of they're just not there anymore. And so I guess does YouTube fulfill that little sort of lost small pleasure for you in terms of numbers? Well, I'm I'm still involved in the creation of of very 641 00:55:41,405 --> 00:55:42,205 [Yoad] successful 642 00:55:42,285 --> 00:55:45,805 [Yoad] plug ins and and other products 643 00:55:45,805 --> 00:55:47,950 [Yoad] as well as pop songs. 644 00:55:48,910 --> 00:55:54,670 [Yoad] So I have, my my ego is is fine. You know? It's doing it's doing well. 645 00:55:55,710 --> 00:55:56,990 [Nick] I've shut my head. I 646 00:55:58,030 --> 00:56:00,910 [Yoad] Yeah. But I but I get I get so many amazing 647 00:56:01,470 --> 00:56:01,870 [Yoad] comments 648 00:56:02,425 --> 00:56:05,385 [Yoad] from people, and that's and that's nice because, 649 00:56:06,985 --> 00:56:08,745 [Yoad] because I feel like 650 00:56:09,305 --> 00:56:11,305 [Yoad] I I can I can give 651 00:56:11,785 --> 00:56:14,665 [Yoad] away some of my experience and knowledge 652 00:56:15,070 --> 00:56:20,990 [Yoad] to a generation of people who who just don't have access to to that knowledge? 653 00:56:21,470 --> 00:56:22,670 [Yoad] And instead 654 00:56:22,670 --> 00:56:26,270 [Yoad] of making me feel old, it makes me feel kind of 655 00:56:26,750 --> 00:56:29,195 [Nick] Knowledge. Yeah. Cool. Yeah. 656 00:56:29,915 --> 00:56:36,315 [Nick] Yeah. Yeah. Well, I'm into that. What a that's a great way to spend one's time for sure. Yeah. Well, I I'm into that. 657 00:56:37,035 --> 00:56:38,075 [Nick] Well, I I 658 00:56:38,395 --> 00:56:48,000 [Nick] think we'll probably wrap things up now. I don't know, Richard, what's what's next for you? You're obviously gonna just shoot the q and a with the s v two at some point, the stream. When's that scheduled for? 659 00:56:48,320 --> 00:57:03,705 [Richard] I'm gonna do that tomorrow. I'm gonna do tomorrow evening here in The US. I'm gonna do a livestream where I basically I'm just gonna walk through patching it up and answer questions in the chat and kinda hang out for a couple hours. It should be a lot of fun. And then on Friday, 660 00:57:04,585 --> 00:57:05,945 [Richard] I'm gonna be doing 661 00:57:06,265 --> 00:57:07,865 [Richard] the synth samurai 662 00:57:07,945 --> 00:57:10,265 [Richard] has a a chat. He's gonna interview me. 663 00:57:11,230 --> 00:57:12,590 [Richard] So that should be fun What 664 00:57:13,870 --> 00:57:14,990 [Nick] time tomorrow 665 00:57:15,470 --> 00:57:22,190 [Nick] US time is your is your livestream on the PGH Modular channel? It's gonna be it's gonna be at seven eastern. 666 00:57:23,325 --> 00:57:30,285 [Richard] Okay. Alright. Well, thank you for that. Know what that translates to, but that's what I'm gonna be talking since. Not sure. 667 00:57:30,605 --> 00:57:31,565 [Nick] Talking since. 668 00:57:31,965 --> 00:57:41,020 [Nick] Have a good one. And, Yohan, I guess, are you are you about to step back into your your secret world of Atmos or plug in development 669 00:57:41,180 --> 00:57:42,940 [Nick] or both simultaneously? 670 00:57:43,900 --> 00:57:50,220 [Yoad] Yeah. Plus, I'm working on my my product, which you know quite a lot about, which is a synth 671 00:57:50,575 --> 00:57:51,455 [Yoad] sample 672 00:57:51,935 --> 00:57:56,735 [Yoad] player product based on, you know, all my my synths. And, 673 00:57:57,215 --> 00:57:59,695 [Yoad] basically, I have a system running here 674 00:58:00,175 --> 00:58:05,535 [Yoad] ready to record. So whenever I come across an interesting sound, whether it's analog or 675 00:58:05,850 --> 00:58:12,250 [Yoad] old digital or something going through the nave and pull that or whatever, and I use it in a track, 676 00:58:12,490 --> 00:58:13,370 [Yoad] I then 677 00:58:13,690 --> 00:58:20,890 [Yoad] sample it. So I have a separate computer just for that so I can continue working on my stuff, and I've been doing that for years. 678 00:58:21,565 --> 00:58:22,205 [Yoad] So 679 00:58:22,605 --> 00:58:25,325 [Yoad] I have a really, really big and 680 00:58:25,805 --> 00:58:29,165 [Yoad] curate well curated collection of of sounds 681 00:58:29,405 --> 00:58:32,045 [Yoad] because the these are sounds that I actually use. 682 00:58:32,525 --> 00:58:35,245 [Yoad] And I'm now working on an instrument 683 00:58:36,045 --> 00:58:36,685 [Yoad] that 684 00:58:36,940 --> 00:58:39,020 [Yoad] will hopefully be released 685 00:58:39,340 --> 00:58:41,100 [Yoad] soon, probably next year. 686 00:58:42,060 --> 00:58:42,700 [Nick] Nice. 687 00:58:43,100 --> 00:58:49,260 [Nick] Excellent. Okay. Well, thank you very much, everybody. Thanks to everybody in the chat room. That was Sonic Talk nine zero five. 688 00:58:49,955 --> 00:59:03,395 [Nick] We'll be back next week for another one, and I think maybe news will start to happen. There's not many product releases this time of year. So well done team for holding it together. I know it's always a bit tricky when when we have the it's it's there's an information 689 00:59:03,395 --> 00:59:18,850 [Nick] and a a water drought in many places in the world. So, anyway, thank you very much. Thanks again. So we'll see you all next time. I'm gonna let's see. I pressed that button there to end the show. That was Sonic Talk nine zero five. Thank you very much for watching. See you later, everybody. Bye bye.