[Nick] Sonic.
[Nick] Ask.
[Nick] Hello, everybody. Welcome to Sonic Talk episode
[Nick] 905.
[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.
[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,
[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,
[Nick] software,
[Nick] plug ins, DAWs,
[Nick] manufacture,
[Nick] production,
[Nick] and recording, all the kind of stuff that surrounds modern music production and all of its sort of tentacles
[Nick] that now
[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.
[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
[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,
[Nick] Tess Maclin, mister Gumby.
[Nick] Let's have a look. Tim Dale music.
[Nick] Matt is there. Maths.
[Nick] See Pitch Blend.
[Nick] Let's have a look. Who else is there? Wagyu. Nice to see Wagyu.
[Nick] And
[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.
[Nick] Before
[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.
[Nick] You could win a sequential
[Nick] form. That's right. We got one of those to give away. And there's also
[Nick] the Decent Sampler for those of you who are members of Patreon and or or of YouTube, there's the
[Nick] relevant term, a term made by Venus Theory. We got the Lambda Synthetics Polypulse
[Nick] by Mass going out tomorrow.
[Nick] I did a shot of thing with Fabius Beck for
[Nick] Bitwig 6.1 release, which is coming up soon.
[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
[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.
[Nick] And now with all the crass commerciality out of the way, we can get on to introducing our guests.
[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
[Nick] you're in either you're mid filming or just finished filming, and
[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,
[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,
[Richard] but things have started to settle down a little bit. I have been doing some filming
[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.
[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
[Richard] is diving back into the next things.
[Richard] So it's just busy, busy, busy here in Pittsburgh. But
[Richard] since I have the camera set up, I'm ready to do today.
[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.
[Richard] In
[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
[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,
[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
[Richard] that's how Moog did it as well, that the springs were attached either to the bottom of
[Richard] the modular case or to the back,
[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,
[Richard] they have those really small spring reverbs that are maybe three inches or so,
[Richard] but they just you know, they don't have the that sound the that big sound that you want.
[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.
[Nick] I'm just curious. Can you get different metals
[Nick] in springs, and do they have different characteristics?
[Nick] Because I guess you could get zinc.
[Nick] You get stainless. You could get sort of low grade alloys.
[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?
[Richard] Oh, absolutely. There's there's a lot of there's two
[Richard] major variables when picking a spring tank.
[Richard] There's the load on the tank, so whether it be 50 ohms or a 100 ohms.
[Richard] And then there is the darkness
[Richard] or sort of the color of the tank.
[Richard] I think we with the medium dark
[Richard] long
[Richard] for the
[Richard] s v two, but you can get long, you can get short, you can get bright, you can get dark,
[Richard] and sort of combinations of those are what you decide. There's only a few companies that actual make
[Richard] the spring tanks themselves.
[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
[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,
[Richard] I'm thinking, like, the spring
[Richard] Spring Ray,
[Richard] some of those Eurorack modules actually have multiple inputs
[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.
[Nick] The length is sort of set The the the tension of the springs. Input and the output is not, I suppose. Yeah. Yeah.
[Richard] So,
[Richard] know, in your rack, they sort of found a creative way by just adding more springs,
[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
[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.
[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.
[Nick] Yoad,
[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
[Nick] a massive spring reverb.
[Nick] Am I disappointed, or have you actually got a physical one somewhere?
[Yoad] You are disappointed.
[Yoad] I have I have a few, but they're like I have one that was
[Yoad] taken from a twin a fender twin
[Yoad] reverb, which is the kind of standard. I don't know who made them, but it's the standard kind of, you know,
[Yoad] rectangular
[Yoad] kind of
[Yoad] unit Yeah. Which
[Yoad] I used to
[Yoad] have connected at home
[Yoad] at some point, and it sounds really good.
[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
[Yoad] kind of change the sort of,
[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
[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
[Yoad] it it's so fiddly, and it's so delicate, and it's so
[Yoad] springy
[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
[Yoad] Italian organ.
[Yoad] You know, I used to work back in the day, I used to work in a music shop,
[Yoad] and, there was some gem,
[Yoad] g e m
[Yoad] organs there with spring reverb, and I used to kick them, and it sounds so amazing.
[Yoad] There's nothing quite like it.
[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.
[Nick] Kick the spring. Okay. Because we got kick the spring. There we go. Kick the spring. Last week, we had
[Nick] tasteless bends are a baseless trend, which was very good. I think that was I forget who did that one. That was awesome.
[Nick] Awesome one.
[Nick] Oh gosh. Here we go. I'm just so kick of the spring.
[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.
[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.
[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?
[Yoad] They're very resonant. And the ones I used to to to use in big studios was the a
[Yoad] b x 20, the a k AKG b s b x 20. That that was a big kind of cabinet with
[Yoad] three springs.
[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.
[Nick] So that there's on if you're going for the classic two sends
[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.
[Yoad] Yeah. True.
[Nick] We do have topics. I know I've kind of
[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
[Nick] a great article on obviously, with too long a title on
[Nick] gear news by
[Nick] Marcus
[Nick] Marcus Schmale
[Nick] back in the day. This is just basically kind of the idea of it's
[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.
[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
[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?
[Yoad] I used I used, quite a few recordings. I used to have this Iowa
[Yoad] portable bat. I'm sure you know what I'm talking about, which was doubled as an Akai
[Yoad] backup tape backup thing. That's how I stored all my samples on on bats and stuff. And
[Yoad] and I
[Yoad] had kind of a shitty microphone that that plugged into that,
[Yoad] and I did
[Yoad] go to building sites and stuff like that. I have quite
[Yoad] a remix that I did
[Yoad] for Dirty Harry, the singer, not the actor,
[Yoad] and not the film,
[Yoad] obviously. And and
[Yoad] it's quite industrial,
[Yoad] and there's a lot of kind of building site
[Yoad] samples in there, and it works really well. It it's like a big trance
[Yoad] remix,
[Yoad] and it works really well.
[Yoad] And but I remember one time,
[Yoad] I took I was working in this big studio in
[Yoad] in a big building, and I took
[Yoad] XLRs,
[Yoad] and I kind of linked them together to create, like, a 30 meter
[Yoad] XLR or something like that with a Neumann with an 87 plugged on one end and adapt the studio, that recording.
[Yoad] And I went with a hammer
[Yoad] and just banged
[Yoad] Just banged. I could find in the building, including,
[Yoad] like, slamming doors and and stuff like that. And I still have that bank
[Yoad] because I imported it from and then, obviously, you had to to edit it for hours
[Yoad] on the archive manually and all that. And I still have that bank, and it sounds great. There's something about those sounds.
[Yoad] But I have to say that I
[Yoad] have to say that these days with your phone,
[Yoad] the the mics on the phone are so good
[Yoad] that
[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,
[Yoad] you can get really
[Yoad] proper recordings. And it's quite amazing how these tiny mics
[Yoad] sound good. The stereo image is not perfect,
[Yoad] and you need to kind of do stuff to it.
[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
[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
[Nick] and that percussive.
[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.
[Richard] Yeah. We all wanted to be Depeche mode and do our industrial
[Richard] clanging.
[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
[Richard] to find stuff.
[Richard] But nowadays, I just use my phone. And
[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.
[Richard] But I've started adding sort of
[Richard] environmental beds
[Richard] to my music tracks. So on the last EP I posted up on Bandcamp,
[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.
[Richard] And then, yeah, then you dump them
[Richard] in you add some reverb to it, and
[Richard] that to me seems to be enough.
[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
[Richard] plugin called Clean
[Richard] that is
[Richard] it's an AI plugin that does a fantastic job of isolating voices
[Richard] from
[Richard] both music and background noise and reverb. It can de reverb stuff.
[Richard] So,
[Richard] that plugin really is my secret to doing all this. I also found that that plugin is amazing
[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,
[Richard] and then just running it through clean to get rid of all the the film soundtrack or all of the
[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?
[Nick] Yeah. I remember your story yeah. And I remember now I had a friend who was a filmmaker,
[Nick] and he had it was back in the day before that, and he had a Nagara
[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
[Nick] as a builder's assistant. And I climbed up on the scaffolding, and I was hitting those really long scaffold poles with
[Nick] with a table tennis bat or the palm of my hand, and they really get a hold. I remember
[Nick] Yeah. And I I sampled that into my
[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,
[Nick] $140.
[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,
[Nick] which is a USB c.
[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
[Nick] or certainly high bandwidth, and that that that's called motive
[Nick] motive
[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
[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
[Nick] coincidental capsules
[Nick] inside them. They look pretty good. I think the IQ five was a €129.
[Nick] The m v eight e eight looks a bit more expensive
[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
[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.
[Nick] Mhmm. Those kind of wide windscapes
[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
[Yoad] XLN
[Yoad] Life
[Yoad] instrument,
[Yoad] which will take your raw recordings
[Yoad] and will find the transients
[Yoad] and create
[Yoad] beats,
[Yoad] which makes sense. So you can feed it with with any
[Yoad] random stuff. It's amazing. It's really good.
[Yoad] And,
[Yoad] and will create beats from it, and then you can manipulate
[Yoad] them and everything. And it makes sense because it sounds like loops. It sounds like beats,
[Yoad] whatever you feed into it.
[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.
[Yoad] Just hit it. You don't have to to to
[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.
[Yoad] Very creative tool. But, also,
[Yoad] if you just feed some notes
[Yoad] that are kind of,
[Yoad] you know, make sense together
[Yoad] or one of sequentially
[Yoad] or something like that, it will create very interesting melodies and really
[Yoad] interesting tool. It's called Life by XLM. I really like it.
[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.
[Nick] Okay.
[Nick] Well, let's see where should we go now.
[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.
[Nick] Have I? I don't know.
[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.
[Nick] Tom was in the chat room last week. I don't think he's there today.
[Nick] Behringer BCR 32, which for those of you who maybe don't remember the BCF
[Nick] the BCR 2,000,
[Nick] I used to have one of those. Just 32
[Nick] ring rotary
[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,
[Nick] which is a
[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
[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
[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.
[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?
[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.
[Richard] And I
[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.
[Richard] But for me, I was really
[Richard] drawn to the Zach the Zach Windsor portion of this.
[Richard] When the original Zach Windsor firmware was announced years and years ago,
[Richard] I
[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.
[Richard] It did up to 32 steps. You could do a step for each knob.
[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.
[Richard] I think they really did a really nice job on this. The price is great.
[Richard] And because it's both a controller and a sequencer, it's
[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.
[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,
[Nick] and I was just looking to download software.
[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
[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
[Yoad] cheeks,
[Yoad] so it looked like really vintage.
[Yoad] And we actually featured it in the studio tour. You did part two of the studio tour.
[Yoad] So that's the the the heart of my entire
[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.
[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
[Yoad] to be very unreliable.
[Yoad] So I replaced it a couple of months ago with the LaunchControl
[Yoad] three XL
[Yoad] Yes. Which,
[Yoad] can
[Yoad] do
[Yoad] most of the kind of generic stuff that the PCR could do.
[Yoad] However, it doesn't have C Seq. So the way I work with the
[Yoad] with the with the Behringer is that
[Yoad] it had a learn function, and I can see that the PCR 32 has a learn function.
[Yoad] And I'm wondering and I'm hoping that they kept
[Yoad] the C6X
[Yoad] kind of capabilities
[Yoad] of it so you can learn
[Yoad] and then send or turn a knob or something on, an old C6 transmitting,
[Yoad] synth,
[Yoad] and it will learn the function because otherwise, putting it in, it's it's a nightmare.
[Yoad] However, be be since it's it's only driving
[Yoad] the the logic environment,
[Yoad] I can control
[Yoad] those with controllers or or
[Yoad] Yeah.
[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
[Yoad] the
[Yoad] SAC audio sequencer
[Yoad] on the VCR as well, which is cool, but I'm sure you can find
[Yoad] stuff like that,
[Yoad] in software today that will respond to the
[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.
[Yoad] I just tell Claude what I want it to be, and boom. It it it brings me, like, the whole whole setup.
[Yoad] So so so that's a lot easier.
[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
[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.
[Nick] This
[Yoad] C6 sounds better.
[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
[Yoad] early on when I had the m t
[Yoad] 32,
[Yoad] the Roland,
[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.
[Yoad] And it didn't have any controllers, so I learned how to program it on the Atari,
[Yoad] and I learned so much by by doing that. And it's it's a really very, very clever
[Yoad] language or format, and it
[Yoad] is clunky,
[Yoad] but
[Yoad] and the resolution is not,
[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
[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,
[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,
[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,
[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.
[Nick] Real kind of comprehensive
[Nick] MIDI controllers.
[Nick] I think it came out after or before or during
[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,
[Yoad] which had this weird
[Yoad] plug in wrapper
[Yoad] thing,
[Yoad] which
[Yoad] Yeah. You know, enables you to to work it within the door and to control plug ins and stuff like that.
[Yoad] Yeah. I suppose early
[Yoad] two thousand tens or something like that.
[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
[Nick] forever SysEx.
[Richard] We've actually
[Richard] you know, here in 2026,
[Richard] we've started diving into
[Richard] six x for an upcoming project,
[Richard] where we need to be able to,
[Richard] load and save,
[Richard] presets and that type of stuff.
[Richard] And
[Richard] it's it's fascinating.
[Richard] Fortunately, now we do have Claude that we can just have Claude do the majority
[Richard] of the explaining to us. But they have fascinating stuff. I always sort of avoided this in the past because
[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
[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.
[Nick] I suppose so. One of my favorite handles is sissy space x, who is a friend of ours from LA
[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.
[Nick] Yeah. So let's see. Well, that was the first one of the that that that
[Nick] old topic. Somebody's put the
[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,
[Nick] you know, would it have a difference in the sound? I I don't think so. But it it and and yeah. Hexadecimal
[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,
[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.
[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.
[Nick] This is the news that
[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
[Nick] polyphonic
[Nick] four track sequencer.
[Nick] Roto control. Sorry. Have
[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
[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.
[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.
[Nick] Your accountant will probably say, no. No. Don't.
[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
[Richard] it's just easier to fix something than it is to
[Richard] to nod and and have it be a problem.
[Richard] But the I know the knobs on these things are amazing. I've played around with them at NAAM a few times,
[Richard] and they are they feel nice,
[Richard] and they, you know, they do what they say they do on the box,
[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,
[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
[Richard] as
[Richard] as their way into the market, I think it's a great opportunity for them to to really showcase
[Richard] what
[Richard] what they brought to the table, which is this fantastic knob technology.
[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
[Richard] longer warranties is always a good thing.
[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
[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,
[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.
[Yoad] No. I've not experienced
[Yoad] it, actually. I have to say it looks quite sturdy. It looks like it's built, like it's properly built,
[Yoad] and,
[Yoad] and they're now backing it up. So,
[Yoad] so so that's good. I think that,
[Yoad] strangely enough, talking about BCR,
[Yoad] I think that something like that
[Yoad] would be
[Yoad] more relevant
[Yoad] for me rather than a dedicated
[Yoad] saint or
[Yoad] controller that that is kind of mapped
[Yoad] to a certain thing, but something with a more open architecture,
[Yoad] like a mixer or,
[Yoad] you know, something with just
[Yoad] four rows of of eight knobs or something like that.
[Yoad] Makes sense. Call next to that.
[Yoad] Yeah.
[Yoad] But I think that it would be quite expensive
[Yoad] to
[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.
[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.
[Yoad] You can still you can still use it, especially within Logic,
[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
[Yoad] the environment page,
[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.
[Yoad] No. It's still there, but you can only access it if you have a song
[Yoad] saved
[Yoad] with it, basically. So you can't create a new environment because you can't see
[Yoad] the window even without or whatever. It's just not there. So but if it's if it's saved, then
[Yoad] and I'm I'm hoping they will not get
[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
[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
[Nick] were using
[Nick] their platform to talk about the environment, which was just sort of mind boggling
[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
[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.
[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
[Nick] hacker network that allows you to to to spam the the Apple
[Nick] information service Well, unfortunately,
[Nick] better things to do. So Yeah. Well, fair enough. Might figure out an alternative.
[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,
[Nick] again, on gear news. It's by Rob Puricelli.
[Nick] I've got video here of this is the Keppra
[Nick] circuit, and it it models the KPR 77,
[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
[Nick] and
[Nick] an s 5,000
[Nick] s 6,000 editor, which was really interesting because that,
[Nick] I remember buying access at quite a hefty price to program those because they used to be the basis of all of our
[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,
[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
[Nick] I wonder if there's enough
[Nick] sort of headroom
[Nick] within
[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
[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
[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
[Nick] sort of stuff? Not really.
[Yoad] Not really. I think that the main issue here is the the latency
[Yoad] and the fact that it's so embedded or so dependent
[Yoad] on the OS.
[Yoad] And
[Yoad] terms of graphics,
[Yoad] definitely in terms of MIDI and things like that. So I don't think
[Yoad] that there's much sense in relying
[Yoad] on its
[Yoad] engine
[Yoad] that much. Obviously, for stuff like step step sequences and and things like that, which are offline in nature,
[Yoad] then that makes sense. And it and it saves the developer
[Yoad] the the need to port stuff
[Yoad] as a plug in or things like that. But these days, it's so easy to to create,
[Yoad] and it's and supposedly,
[Yoad] it's platform agnostic,
[Yoad] which is the main thing. But these days, it's so easy to to compile
[Yoad] and and
[Yoad] sort of port stuff to to Windows and Mac and and Linux and stuff like that as as stand alone apps
[Yoad] as well as plug ins, but,
[Yoad] there's more complexity
[Yoad] in in in in running
[Yoad] plug ins because you have to you have so many different formats on both platforms
[Yoad] and things like that. And
[Yoad] Mhmm.
[Yoad] You know? So so I think that for small
[Yoad] developers,
[Yoad] it it may make sense in order to showcase
[Yoad] their capabilities or their products or something like that, but I I I wouldn't think
[Yoad] that a serious
[Yoad] commercial
[Yoad] project would choose
[Yoad] a browser as as a main platform. Okay.
[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
[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
[Nick] possibly something you might know a little bit about. I don't know whether you've got anything that's got got
[Nick] that kind of editor capability.
[Nick] Certainly not yet.
[Richard] Not yet, but that ties into what I was saying before that we are looking in interacting with
[Richard] instruments,
[Richard] and it would be a web based because it's it's seriously just for, like, backup and that type of stuff.
[Richard] So it doesn't need to be in real time. It can just sort of happen.
[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
[Richard] and a great way for students
[Richard] to get an understanding of these things where a teacher could wheel in some laptops or just tell their students, go on your
[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.
[Richard] I have a son now who is 21 years old, and he's just about finishing college.
[Richard] And he's going into
[Richard] computer programming and computer
[Richard] sciences. And my
[Richard] big talk to him is always,
[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
[Richard] done
[Richard] that is
[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.
[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,
[Richard] or in the evenings while we're laying to bed, I think is fantastic.
[Richard] And I I support interesting.
[Richard] Anyone doing these fun toys.
[Nick] Yeah. It's also interesting because
[Nick] HTML
[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
[Nick] for
[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
[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
[Nick] components,
[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.
[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
[Nick] processing is becoming a scarcity.
[Nick] So we're not actually
[Nick] we're not in that I know what's that curve? What's the curve about to do with technology
[Nick] exponentially increasing?
[Nick] I think we've hit a we've hit a a major node in that where that's no longer gonna happen because
[Nick] we can't buy
[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
[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
[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.
[Nick] I I think I wanna mention
[Richard] oh, sorry. Go ahead, Yohad.
[Yoad] I I sorry. I just wanna mention one thing which is actually
[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.
[Yoad] Because for
[Yoad] a few decades now, we've been all working
[Yoad] mostly at 24,
[Yoad] 48 k.
[Yoad] Even if it's 96
[Yoad] k,
[Yoad] when this format was introduced,
[Yoad] computers
[Yoad] were, like, thousands of times
[Yoad] less powerful than they are now, and the format remained,
[Yoad] and it's still
[Yoad] the kind of industry standard.
[Yoad] Even if it's 96 k,
[Yoad] 24 bit,
[Yoad] you have the same file format thirty years ago,
[Yoad] and computing power has evolved so much,
[Yoad] and we're still using the same format. So this is kind of amazing, and I'm hoping that no one will,
[Yoad] you know, go to whatever,
[Yoad] 512
[Yoad] k or something like that or something ridiculous like that because we have so much more processing power available to us for processing
[Yoad] the same
[Yoad] file size.
[Yoad] So in that case, that worked in our favor.
[Nick] Yeah. Fair point. Sorry, Richard. You were just gonna pop in there.
[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,
[Richard] I was using,
[Richard] Google the Google AI. I can't remember what it's called. The other day, I was I was trying to create a,
[Richard] an eight by eight icon,
[Richard] and I wanted to sort of experiment with
[Richard] different icons very quickly.
[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,
[Richard] make draw little icons on? And,
[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.
[Richard] And I think
[Richard] these instruments would be great at that too. What if,
[Richard] you know, you have,
[Richard] say, a Lifeforms SV two,
[Richard] and you're like, wow. I would
[Richard] really love bass patch that uses duophonic
[Richard] and
[Richard] kinda has the filter sound
[Richard] like
[Richard] x song that I heard on the radio.
[Richard] Type that into,
[Richard] you know, your chatbot,
[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
[Richard] VST emulation,
[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
[Richard] for Yeah. You know, hardware
[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
[Richard] that we should start seeing soon, and that's gonna be game changing, I think.
[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?
[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
[Nick] like to, you know, like like to talk about?
[Yoad] If to finish this off We
[Richard] if I could do
[Richard] if I could just give a shout out to,
[Richard] my friends at Twisted Electrons for their Vmega FM
[Richard] plug in synth. They've had the hardware version of the Mega f's FM synth,
[Richard] which is
[Richard] a emulation
[Richard] of the Yamaha
[Richard] chip
[Richard] that was in the Sony Mega Drive.
[Richard] So now they've done a plug in emulation that does both iPads
[Richard] and
[Richard] PCs.
[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
[Richard] just could never quite get my head around FM, having sliders
[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
[Richard] instrument
[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
[Richard] of this chip in digital form already,
[Richard] but having the sliders there in a way to interact with the operators makes it really, really cool. So that would be just
[Richard] a shout out to Twistle of Trust and doing good work. Wagyu
[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?
[Yoad] Well, we
[Yoad] we started talking about
[Yoad] snare snare drum processing.
[Yoad] So I'll
[Yoad] kind of
[Yoad] mention that
[Yoad] because,
[Yoad] you know, this video that I released,
[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
[Yoad] forgot about.
[Yoad] And but for some people, they're quite new.
[Yoad] So that's
[Yoad] kind of interesting to
[Nick] Absolutely. Yeah. No. Do check that out. I I I the the released one, which is building snare sounds from
[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.
[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
[Yoad] last week. I just released another video today about recording
[Yoad] and mixing
[Yoad] acoustic guitar and vocals at the same time. So all the elements of
[Yoad] crosstalk,
[Yoad] click, spiel,
[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.
[Yoad] So that was released, like, an hour ago.
[Nick] Oh, yeah. I see that one. I was recording it.
[Nick] Yeah. You've that's you're
[Nick] on fire as ever, and you're creeping up to the 200 k mark as well for your subscribers.
[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
[Yoad] successful
[Yoad] plug ins and and other products
[Yoad] as well as pop songs.
[Yoad] So I have, my my ego is is fine. You know? It's doing it's doing well.
[Nick] I've shut my head. I
[Yoad] Yeah. But I but I get I get so many amazing
[Yoad] comments
[Yoad] from people, and that's and that's nice because,
[Yoad] because I feel like
[Yoad] I I can I can give
[Yoad] away some of my experience and knowledge
[Yoad] to a generation of people who who just don't have access to to that knowledge?
[Yoad] And instead
[Yoad] of making me feel old, it makes me feel kind of
[Nick] Knowledge. Yeah. Cool. Yeah.
[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.
[Nick] Well, I I
[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?
[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,
[Richard] I'm gonna be doing
[Richard] the synth samurai
[Richard] has a a chat. He's gonna interview me.
[Richard] So that should be fun What
[Nick] time tomorrow
[Nick] US time is your is your livestream on the PGH Modular channel? It's gonna be it's gonna be at seven eastern.
[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.
[Nick] Talking since.
[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
[Nick] or both simultaneously?
[Yoad] Yeah. Plus, I'm working on my my product, which you know quite a lot about, which is a synth
[Yoad] sample
[Yoad] player product based on, you know, all my my synths. And,
[Yoad] basically, I have a system running here
[Yoad] ready to record. So whenever I come across an interesting sound, whether it's analog or
[Yoad] old digital or something going through the nave and pull that or whatever, and I use it in a track,
[Yoad] I then
[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.
[Yoad] So
[Yoad] I have a really, really big and
[Yoad] curate well curated collection of of sounds
[Yoad] because the these are sounds that I actually use.
[Yoad] And I'm now working on an instrument
[Yoad] that
[Yoad] will hopefully be released
[Yoad] soon, probably next year.
[Nick] Nice.
[Nick] Excellent. Okay. Well, thank you very much, everybody. Thanks to everybody in the chat room. That was Sonic Talk nine zero five.
[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
[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.