Amayaleh Shawaray joins presidential race as he declares his intention to run and Nigeria's Senate passes a bill empowering lawmakers to summon the president to the National Assembly and governors over security. Well this is Plus Politics and I am Mary Anacol. Human rights activist and former presidential candidate Amayaleh Shawaray has formally declared his intention to run for president. This is the second time the activist will be contesting for the position as he was the candidate of the African Action Congress AAC in the 2019 presidential election. He has promised not to back down on his desire to govern Nigeria. He said the recent petition filed against him by a former member of the House of Representatives Ned Mokul and his subsequent detention was sponsored by the APC-led government to stop his declaration. Mr. Amayaleh Shawaray joins us tonight to discuss his aspiration and plans for leading Nigeria. Thank you so much Mr. Shawaray for joining us. Can you hear me loud and clear? Yes I can. So yes just as I said in the beginning this is not your first rodeo in terms of you know trying to be president but this time around Nigeria the Nigeria of 2019 is not the Nigeria in 2022 and one would really wonder why you want to take on such an oranous task. Can you hear me? I think I have lost. All right we'll take a quick break and fix the connection then we'll start this conversation all over again stay with us. Thank you for staying with us it's still Plus Politics and we're being joined by Amayaleh Shawaray before this break I was trying to ask him why he wants to be president but Mr. Shawaray thank you so much once again for joining us. So like I said at the beginning this is not your first rodeo in terms of running for presidency and you have had a very rocky 2019. What would make you still be interested in running for office after all that you've been through? Thank you for bringing me on your show I was a candidate in 2019 election and I guess people needed experience they had after 2019 to understand how important it is to have competent, passionate, compassionate and people with a ground understanding of what needed to be done to take Nigeria out of the situation it's been not only in 2019 but since 1960 so after that period you could tell that the system came after me because they understood the power of my ideas they understood how far and wide people were trying to see that Nigeria could actually change which has always been a narrative that is impossible to manage Nigeria it's too complex you know people cannot have food roads water and that we can't have a general condition of unity of the oppressed in the country so after going through that I decided to offer myself this time again because I've had raw experiences I've had a raw deal in the hands of system I understand why that happened was because they knew that I could provide the alternative that would make them look you know look exactly who they are which is incompetent people who just were running a country of 200 million people as a trend error experiment so that's why I came this time around that you forget about what I went to forget about the fact that they put me in prison for some five months forget about the fact that they shot at me and abuja forget about the fact that they ensured that I was restricted to the city and that leadership is about sacrifice and I remember Kwame Nkrumah becoming the president the first signalling president of Ghana or native president of Ghana after he stepped out of prison you know in 1957 or there about interesting I want to go into what's happening in Nigeria today there are lots of problems that Nigeria has now and that's why I don't know if you heard me the first time before we went on that break the Nigeria that you wanted to run for president in 2019 is different from yes it's different from the Nigeria of 2022 we have insecurity on every side I mean it's no longer a northeast issue we have insecurity everywhere in Nigeria as we speak we have ethnic divisions we have non-state actors cropping up and it's a totally different ball game what makes you think that you have the recipe to bring Nigeria back on its feet you know that problems like this yeah problems like you've mentioned became so protracted because we've had previous leaders who didn't even know how to manage anything in the first place and it's become even worse because our current crop of rulers I don't want to call them leaders because they don't have any leadership qualities to qualify them to be called leaders can't manage anything you know the only thing you hear from them is that Nigeria is complex you can't manage it you know so I understand our specific problems our specific problems are insecurity issues but they just didn't happen by accident it's as a result of you know years and years of mismanagement of what should have gone to the people so many of the kids that you're talking about they were engaging in banditry or even adults or terrorism people have been sidelined and abandoned by society that people who when they needed to go to school they didn't provide them schools when they needed jobs they provided them no jobs and over time they became tools in the hands of people who who are also members of the political class if we had time we'll discuss how Boko Haram came about if we had time we'll discuss how uh Niger data military started they had all they had political roots some of them were armed by politicians who were desperate to win elections and when they won the elections they're back down there but the guys did not return their weapons and they became a threat to the state so you can't just have physical security addressed without discussing social security without addressing the issue of unemployment without addressing the issue of proper free qualitative education so I discussed this you know that short-term, medium-term, I mean medium-term and long-term solutions to Nigeria's problem but the problem with Nigeria the real problem with Nigeria is Nigeria don't have this we can address any of these issues they've never addressed it they just do try and error they only know how to do ad hoc solutions to problems and the rest of the time their catering for themselves anyways they don't send children of the court to send their children to school abroad when they are sick as you now know that the president of Nigeria has gone for two weeks again for medical treatment they don't they don't because they you know they don't care because they never built hospitals here anyway they never built roads here anyway they never did anything for you and when you ask questions they send the security agency, soldiers, secret police to mull you down as they did with NSAS what I'm saying is that the problems are not as protracted as they are if they are be handled by people who knew how to even manage a bodega what I mean bodega is like a little shop on the corner so that's that's what I keep telling people and that's what I said in 2019 all the ideas that were propounded in uh I mean ideas and theories that were propounded by us in 2019 are still very present today and nobody has been able to fault them that's the reason why I came out this time around even though as we speak I'm still on that restriction in Abuja but that will broken very soon by situational variables let me let me push you forward on this issue because you're you're saying that the issues that Nigeria are facing are solvable but then there are those who would say that you're not the man for the job because you've never had any political experience in terms of leading in any capacity in the country and so why do you think that you're the man for the job because you talked about trial and error is this also an opportunity for you to have a goal at power are you sure that you can handle what's ahead? Yes leadership doesn't require you to have the kind of experience that our leaders have today our leaders don't have any experience the people who claim to be leaders they don't have an experience that can solve problems they have experience in office or being in power and this is where the experience has left Nigeria let me give you two clear examples of people who had experience and had known Nigeria former president of Lucia Mbasson Joe was a president he's probably his 30s in 1979 uh when he's uh I mean between 1977 and 79 when his colleague Murtala Mohammed was killed in a coup and when he came back in 1999 you would expect that experience we count for something and he would have drawn on that experience to run Nigeria perfectly well what did he do to Nigeria when he was done with eight years he was seeking a total in power because his experience wasn't about solving problems he never had an experience solving problems he didn't have passion he didn't have character and Nigeria was thrown in the toilet in fact he slated his sexual that was completely incapacitated and then we came to 2015 when this current president uh Mohammad Gohari who in his 40s was Nigeria's president for a few years it's been petroleum minister it's been everything you can imagine but today as former petroleum minister minister in the 80s we are dealing with one of the worst forest casualties in Nigeria's history as we speak there is no gasoline fuel to drive your cars to fuel your generators so why for instance why is that the experience did not help them solve Nigeria's problem it's because experience in office or having to occupy some kind of position cannot be acquitted with real-life experience of solving problems of confronting problems of courage of compassion character and I have more than enough experience because I have been around dealing with this kind of issues even more complex issues on what level on what level because you know you can actually be a local government chairman but then the the case of running Nigeria is way bigger about democracy in this country as a young person in my 20s you know so I have done a money business before I've created a company that was a global computing company not a Sahara reporter you can put that aside but that's not enough for me to come before you what needs what you need is a kind of experience that can deal with complex issues based on exposure based on education and based on character and courage not the kind of experience they have which is how to steal loot and kill their citizens so what experience do you need again it's experience of a guy who's been consistent and who's been around for 32 years fighting some of the most complex battles on behalf of countrymen and women and if experience the time they have is what you want keep voting for them and you see where they put you all right let's talk about some of the things that you the plans that you say you have if you were to be elected into government you said that you would create a new constitution for the country and you also talked about releasing Namdi Kanu and Sunday Bohol but let's start with the constitution part why would you want to change the constitution I mean there's there's been a lot of amendments so far but I'd like to hear why what your reasons are because Nigeria's constitution as it is present known lacks legitimacy the constitution was recruited by a process and it must be endorsed by the people through a referendum that's how constitutions are created especially where you're coming from the complex history like we've had in Nigeria military rules civil war and all kinds of political crisis before that the 1999 constitution cannot be amended it's just like saying that you bought the vehicle you took out the engine and when they ask you how move you go and buy new tires it's not going to take you anywhere right 1999 constitution did not go through the process of creating a constitution in fact it was a fraudulent position because it says we the people of Nigeria as a preamble but the people of Nigeria were not part of the creation of the constitution and you can tell the deficient issue of the very deficient nature of that constitution to them because there are mutations that would have been solved if there was a constitution that could have taken care of the interests of the people and this diverse nature so the constitution was not created legitimate like cannot be legitimized by amendment it is just like what they say in law that you can't do something or nothing so we need a new constitution just like South Africans did when they ended appetite in 1994 they went ahead and created a new constitution first an interim constitution at the Pamlea constitution and it was very very well done constitution because it took into consideration their experiences their sorrow suffering and their aspiration for the future this constitution is lacking a vision completely and everybody's saying but I was the first to say before it became a popular idea that the constitution was a fraud and it's still a fraudulent constitution interesting what is your base because everybody wants to know are you still going to run on the platform of the AAC what's your political structure across the country how do you intend to get the ear and the attention of the average Nigerian being that every Nigerian whether it be middle class the low class the poorest of the poor they all have different experiences of Nigeria how do you intend to reach these people what message are you bringing to them again we also have the conversation of zoning and what do you stand on that so I'll start with zoning I'm completely against the idea of zoning offices to politicians you know zoning has never helped Nigeria before Nigeria's political spaces have been zoned to all kinds of jokers but who don't represent even their zones what we want are competent people in the country and doesn't matter where they come from you just have to be a citizen of Nigeria and you have to have those qualities that I consider to be necessary to govern the country because I in my lifetime have experienced the Europe back presidents you know I don't know if they zone it to a passenger in 1999 who today when we left office did not construct a highway to his village I've had a Niger Delta president who according to that period was given that opportunity because they felt it Niger Delta minority job people needed to present his but you make it sound I'm sorry I'm sorry to cotton I'm sorry to cotton do you make it sound like this presidential I'm sorry I'm sorry can you hear me and they haven't done anything to can you hear me talking up so zoning is one of the political strategies of the lazy political class who have nothing to offer to just reduce the geographical sphere of people who consider them to be competent and eligible to rule the country but you make it sound like these presidents are what where presidents are elected to be presidents over their local communities or where they come from or their zones you said and a former president a passenger did not even build a bridge to his village you're saying the same thing about a former president good luck Jonathan are these supposed to be Nigerian presidents or presidents of their states and their local governments is it his job to build a bridge towards his local government is that not the responsibility of the states and the federal ministry of what I think was what I think you're trying to say is you know if this zoning can address the issue of injustice in political discussion of political offices to people I said I don't believe that you need to zone offices to people who just belong to political parties but don't want to have the required competence and experience you know as I have you know I'm using the word experience clearly not the way they are using all the way they've abused it to run a country I don't I don't believe in zoning and I've said that several because we have zoned you know the office of the president and other political offices into I mean two different hands and they have left Nigeria a broken place so why do you keep using these strategies that are divisive in nature that don't help people realize aspirations and the one that cuts out competent people when they need to come on board and step up to the plate and run the country the way it should be run I've never looked at it for a president of Nigeria based on zoning you know it's it's has never worked and why do we keep trying it but it is one of the strategies of the political class to just cut out people who are likely to be competent to run the country okay so my other question was what your base is and what party you're still going to are you going to still run with the AAC or are you changing we registered yes yes we registered I registered you know we registered a party in 2018 it's called the African Action Congress and the party is still one of the active political parties and I'm going to run on the platform of that particular political party I know that they are actively as they did since 2018 or 2019 trying to hijack the party but we will ensure that the party returns completely to the original legitimate organic members of the party you have a video of my declaration on Tuesday and this was after the federal government tried to stop me from declaring by arresting me on a frivolous charge a few days before it with the hope of keeping me in detention and ensuring that I don't declare my attention on that but you've seen it these are young people so the base is going to be largely made up of young people the type of young people that propelled the Obama to office in the US you know and then what is not going to be exclusively a young people idea is going to include everybody but the power base you know the engine that will be running this campaign are those marginalized oppressed people of Nigeria who are mostly young people and there's 70 to 75 percent of very Nigerian population today let me ask from the consultations that you've done from I'm guessing that you're consulting with people and you're having meetings you know in terms of you know your ambition what is the feel that you're getting from the people how serious our young stars in terms of being part of the political process come 2023 knowing that you know our young people seem to be mostly very active on social media and not as active as we want to see them when it comes to the polls we've also seen a decline in the number of the percentage of people who show up actually on election day to cast their votes what will you and your party be doing in that regard to get people to be more involved in the electoral process so let me take you to the current registration process is done by the independent national electoral commission I know and I'm sorry there's a back up there and they're saying that over 60 million people have registered online since they recommend registration of voters and the sizable number of that are young people but you know the idea of the issue of young people involvement in political activities recently had more revolutionary you know past of history or contemporary history in particular with what happened in 2020 and starts it was a political eruption in which young people demonstrated how much interested they are and want to be involved in political process and we're seeing that they're registering more they are asking other people to register but most importantly I'm not just asking people to register and vote uh I mean register but want them to vote and make sure that their votes count and that is why apart from just you know declaring to run for office I'm seriously engaging political direct action against INEC for instance that's the the independent national electoral commission who are known to be the ones who bungle the opportunity for people to vote and for their votes to count and so we've been to the office several times and engage in protests against them but we have learned to engage in mega protests to make sure that INEC is not just left alone to plan to rig the next election as they've always done against Nigerian people so this process is go hand in hand we just not just with the declaration to run for office but to ensure that this declaration produced revolutionary results that results that the people want at the end of the exercise that is the electoral process finally before I let you go do you think you stand a chance I mean looking around you they're not just old faces but then there are new faces we have the likes of Chukka Moine there are a few more people who have thrown their hats into the ring across political parties do you stand a chance against all of these people and do you think you're going to win and what makes you think you do stand a chance if you think that way you know you mentioned in some names some I know some I don't know but you know I had the chance in 2019 and we know that by way of how was treated harshly after the elections were concluded I was arrested because I was speaking on issues that are really bad to the people and the fact that the elections were badly rigged this time around I can almost totally guarantee to you that the chances are better and better you know and brighter and bigger because this time around the people who have declared interest in the election have never done it in the manner that we did it in our budget last I mean March 1st which is that we had a hall that was filled up to the brim you know populated by young people and there was an overflow outside of the hall you have the video with you this is not photoshop it wasn't acted and most all the people that came there came you know uh on their own pollution not because they were mobilized but the but does that translate to votes at the end of the day this is my curiosity and I remember you saying that Tinnable, Abbas, Sibangir, I beg your pardon that's Mr. Vice President, Peter I'll be uh that all of them their presidential ambitions are dead on arrival I'm wondering why you said that but have you not noticed that you are not hearing about Peter I'll be anymore and Tinnable is just fading out we are based on you know his own personal health issues and the vice president I don't think I've heard about him recently but it is just to tell you that it wasn't a prediction I was just telling you that uh who are not interested in their candidacy and you know this how so I was right because you can't tell me anything that's happened after the declared I have not seen Peter I'll be or heard about him after that declaration I don't think he won't declare that I think people were trying to declare on his behalf which is sort of huge the VP I explained that I had nothing to show or offer people how do you say that your vice president to this failure and what would you tell people that all my hands were tied or I was just a coward and I suddenly just became uh you know very very courageous now because we are running out of but it's been a they've been in power for eight years with the Bahá'í regime and with Bola Tinnable man I just wish people can advise him to check into a hospital okay well I want to say thank you Omar al-Shawar is uh the presidential aspirant for the 2023 election as he throws his hat into the ring thank you so much for speaking with us we wish you all the best thank you so much for bringing me on your show all right well thank you all for staying with us we'll take a short break now when we return we'll be looking at the national assembly as they have uh made moves to enable lawmakers to summon the president and governors on a variety of issues including the security stay with us


Walker Hackensack Akely School spent some time today remembering and celebrating veterans. Sarah Winkelman takes us to the ceremony that honored those who have served our country. It's a celebration of sacrifice and dedication to the United States of America. Today we honor and celebrate our veterans who have served in all branches of the military. Many local veterans came out to the celebration today, including Robert, who served in the Marine Corps from 1989 to 1995. Whether they've been in combat or not, it's a great day to remember everybody that's ever been in the armed services and remember what they sacrificed for everybody in our country. Pre-school through 12th graders were able to have a learning experience outside of the classroom. I think it's great for the kids to see what our veterans have done. The school has taken an active part in honoring our service men and women. It's a theme that lasts all year long with the display of their wall of honor. All of the names on the wall behind me are WHA alumni who at one time have served our country. It's something that is very meaningful to me because I do plan on enlisting one day. You know, like I said, a lot of my family has been very much in the military. So, you know, I guess just following in their footsteps makes me proud. We have a drum line with the Native Americans and it's so cool to see the two cultures enjoy and like respect each other. And I think it's really cool for communities to, you know, be as one. It's a day that unites Americans to remember those that made the ultimate sacrifice. I tend to think a lot of people tend to, you know, not very so much appreciation to, you know, and that's one thing I didn't want to focus on the day. You know, it was the appreciation for the veterans because, you know, I don't think enough people do it. Whether it's a friend or family member, we can all think a veteran. Reporting in Walker, Sarah Winkleman, Lakeland News. This was the 10th year the school hosted a Veterans Day celebration. Veterans Day is tomorrow. If you've enjoyed this segment of Lakeland News, please consider making a tax-deductible contribution to Lakeland Public Television.


Hi friends, a lot of students have this doubt if guidebooks like a Rihant's two-man English literature is enough to crack UGC Net English. The answer is a big no. No single book can help you clear the exam. You would have to refer to different books for different topics. These guidebooks will just give you overview about the topics and will not provide you with all the important facts that you should study to clear UGC Net. The best way to prepare for UGC Net is to refer to past year papers, make a list of all the topics from which questions are asked and then study these topics from different books. For example, you can refer to Routless History of English Literature or British Literature, Peter Berry's Beginning Theory for Literary Theory, A Glossy History of Literary Terms, Buy M.H.I.E. Brands for Literary Terms and Devices and many more such books. Studying from so many books might be challenging so you can alternatively join our online video course for UGC Net Paper to English Literature and study all these topics from one single place.


on moving on, moving on, moving on up. I've got some cool stuff found because CES was this week and I didn't get to go. But I did get to check out some things. And the first thing is one of my favorite things. It is the JBL pulse version five now. So the pulse came out a number of years ago. I was immediately enamored with it. It is a pill shaped speaker. So, you know, kind of the size and shape of a large water bottle, if you will. And the pulse, it was built to bring the vibe of a lava lamp to a Bluetooth speaker. And it's gone through many iterations over the years. And for me, the sound on it had in prior in a few of the middle generations had been sacrificed to make the look of it really better. Like at first it had this like cage around it because the speaker was like meshed in with the screen or the LEDs or whatever it is. And then they just made it LEDs and the speaker was only on the top and the bottom. And that's still the vibe now. But they've added a tweeter to this thing so that it actually, I mean, I haven't heard it yet because I wasn't at Vegas, so I don't have one in my hands yet. It's due out, I believe, you know, by summer-ish. And but I'm stoked that they've been addressing the sound portion of this. The new one, Pulse 5, also has downward-facing lights so that it illuminates the surface that it sits on as well as just having this. And you can get all kinds of like color patterns and, you know, cool effects and things like that. And of course you can control it all with your phone and really tweak it out. So yeah, it's good. Moving on up to the east side. I like it.


Semi-final number two in Wroclaw, and Smarslik off the gun, the inside game has made a good one, look at Woffenden here, Woffenden's gone high and wide into the dirt, now he's going to try and put pressure on Smarslik, he really is going deep here, Smarslik tries to go wide, Woffenden will jump on the inside, what, now Smarslik's going to come back for more, good speedway here as Chugganoff loses it, and Laguta comes through in the back, and now this battle up top is Smarslik and Woffenden going head to head, Cal. They are indeed, they really are having a go out in front, Smarslik is determined to get the better of the three-time world champion, now Woffenden heads to the front, Smarslik replace the compliment, what a race we've got going on out in front, Woffenden coming a star finish line, Well this is, yeah that was good going into turn three, he's gone on the inside, he's closed the door and Woffenden hangs on, under severe pressure from Bartos Smarslik, that was proper speedway, I dare say it was speedway out on the top draw, Nigel. Ah, go on the line. Two world champions, Smarslik won't like that, on the inside he's chasing him hard, definitely doesn't want to get beat by Woffenden, round the middle of the track, Woffenden up high and wide, two world championship riders really going at it, here Smarslik, right around the outside, one lap to go, this is good stuff, no. That is a great ride from Woffenden, brilliant ride from Woffenden, that just shows the class of the man, Woffenden and Smarslik putting on a master class there. Now Smarslik coming back for more, wheel to wheel down the back straight and Smarslik has got the speed. He has indeed, it lasts too long but don't rule out Ty, he is going to come back for a little bit more, he's got plenty of speed, I think if he can hang on to the handlebar, I think potentially we can still good win because he's going to go through to the final. This is a great race, this is super stuff, Smarslik out in front, Woffenden riding a stormer in second place, side by side as it comes out so far into the last lap. Don't rule out Ty, going for a win here, this is a proper speedway race. Brilliant, best race of the night, here we go, he's going to try, is he going to try, Sam or inside, he's just holding big track. Looks like Smarslik's doing it off here, going into the final stages, good speedway race. Bartle Smarslik versus Ty Woffenden, just like the good old golden helmet match races back in the day. They're away, no problem this time, Smarslik's made a good one, he's got the drop on Ligren, Woffenden's going high and wide around the outside here, Ty Woffenden, down the back straight, Ty Woffenden, oh my goodness me, what a ride that was, but he's got Smarslik all over him, Doyle's come through into third and Ligren to the back, but Ty Woffenden, 20 points to him tonight, well that will put him onto 91 grand prix points, but Smarslik is quick here. He is indeed, what a first corner for the same Woffenden, oh, up the inside, Smarslik pushing the hardcats to chop up the inside of him, he's going to do Woffenden here, he's going to charge up the inside with track style, and now Woffenden will try one last move up the inside of the line, Bartle Smarslik has won two grand prix in two nates.


Good morning. We are starting the vlog in my closet because I have a voiceover audition today. So here we are.  I need to do this right now because it's due in about an hour and a half. So see you in a minute. Okay, I sent it in.  But I got this audition request last night when I was in my acting class. So I had to do it this morning and I couldn't take the time to vlog about it too much because I had to get it done and edit it. But I will do another audition with me in the future and explain that more. But I have another self-tape audition request and this I am going to bring you guys along the process and you'll see some of my outtakes. I usually have a lot of introductions because I'm very cautious with the way I save my name because my name is Beljica Rodriguez. So often I will pause between Beljica Rodriguez to give them a couple of seconds to process on how to pronounce my name because I just know that's one of the things people think about when they hear my name is like, how do you pronounce it? So I usually am very self-conscious about that. And then for this one in particular, it is a commercial audition. And it is a bit weird. I emailed my agent to give me more feedback on exactly what I'm supposed to do because although there's instructions in it, I have never had to do this. This commercial I have to be a hipster inspired by Alexis from Schitt's Creek. So hipster like I need to choose an outfit that's very much like Alexis, which is strange because usually I try not to have anything too distracting and I try not to have props. But in this audition, I am going to use them and I'm going to show you some of my outtakes. And then at the very end, I'm going to show you my entire audition. It might be a little bit weird, but I'm just expecting it to be weird because they asked us to be creative and we're monsters, but we're hipsters. We're on a zoom call. It's a bit strange. So you're going to get to see an audition if you are new to acting, never seen acting. Or if you're just curious of the process of other actors, you're going to see my slate, my actual audition, my outtakes, and then my full body shot, which a lot of people, I know it's, it can be difficult to do a full body shot. So I also am doing my full body shot in this one. So let me get ready, let me drink some matcha, go on a walk, and then we can do the audition and you can watch my commercial audition. It's going to be fun. And this is one of those weird ones where you just have to commit and be okay with looking like a hot mess and a little strange. I'm going to try on this shirt and see if I like this one better. I don't know if this pattern is too distracting. I am not so happy with this outfit, but I'm going to try and do a take with it and see how it looks. Yeah, I really don't like this pattern on this shirt. It looks so distracting. Let's try the one that I know is way too small for me right now. I have never spent this much time trying to figure out what to wear for an audition. This is what happens when they give me a somebody to reference for the photos or for the outfits style. This one. Let me put some jeans on. High-waisted jeans. Yeah, this is the outfit. This works. I could not make that messy, fun thing look good. So I'm going to go with this. Okay, my agent replied and she told me that my take on it was fine and so I'm going to do my audition. Right now I'm going to fill my audition and it's fun, but it's confusing. Usually props are not recommended during self-tape auditions, but for this one, they're asking you to be creative. They're asking you to add something fun. So because I'm supposed to be a ghost that is scaring people, I am going to hold up a sign that says help and I'm using my favorite red lipstick to write on a card. It says help, but I'm going to pretend that I'm doing it with a ketchup bottle pretending it's something I found in the office and I am supposed to be a hipster. Like I mentioned before, this character, they said to reference the style off of Alexis from Schitt's Creek.  Hi, my name is Peljica Rodriguez and other funky DJ how to mix music and it has been learning how to mix music. Music? Such a bad monster. Creepy. I'm creepy. I'm crawly. Really get paused in the moment. Jesus, Mary and Joseph, I have been filming this for a while now. I have to send it soon.  Is that enough? Okay, one more, one more, one more, one more. Okay, I need to vlog and then do my full body shot. Okay, I really, I really want to get this role, not because I need the money, not because I want to get out of the house, but because I haven't shot a single commercial this whole year and I have taken so much time for this and at least it was fun. But I hope I get cast. I just want to go film something that's not in my apartment to do a full body shot. Let's get this in frame. I'm going to put shoes on a little bit further. I'm going to put some high heels on so perfect. And as soon as I'm done filming this, I am going to edit this audition and send it over right now. I don't think I need to take any photos for this one, but they do want a full body shot. Oh, there's socks in there. Hey, there those are. These are so much shadow. Hi, my name is Belkika Rodriguez. I'm 5'10 with Marla Del Talent and I have been learning how to mix music. I use a DDJ1000 and I have been mixing tech house music. It's so much fun to have a little party in your living room safely. Hey, your mic is muted. Hey, your mic is muted. Hey, your mic is muted. Hey, your mic is muted. Thank you so much for watching. I hope you enjoyed that. The end of every video I feature another channel. This is today's feature. If you would like to be featured on my next video, make sure you're subscribed, like this video and leave me a comment.


I mean this is a nutso trade here on AI but it ended up thankfully at least holding over my lines here at this point which allowed it to make that larger run up higher. So even at this point I'm not saying that if this doesn't go up to 40 bucks or 42 bucks then it's not a big move. For this type of trade a big move could be a dollar it could be 70 cents it could be a dollar right but you should just know pretty quickly based off the immediate reaction. If it pushes off the level pretty quick then it needs to hold above it at minimum. So it's easy to say that that's what happens here but hey if it broke under those yellow lines old Josh here would have been stopped out so if it ended up running up while we were doing traders talk that would have been pretty painful but.


What's up everybody once again, it's brand man Sean and this right here. This is a special video right here because It's time for me to do some free calls with you guys and I'll get to how later on in this video But I want to talk about why it's because I hit a thousand subscribers I appreciate you guys that junk is dope and I remember I did a video when I said Thank you for my 200 subscribers and I said I would do some free calls if I ever hit a thousand so Gotta do it. So of course. I want to thank everybody in general not gonna get specific with any names or anything like that Cuz I don't want anybody to feel left out But the one name I will mention is K.O. Love because the bear you were the very first person they outwardly said yo man Keep doing these things these things are dope and once again kind of let me know as many other people let it later Let me know that it's worth doing these things But one thing I've really learned from talking to many people and just getting people's feedback is There's levels to this shit and everybody's on different levels So that's one of them struggles and things I've been having to make sure I Strategize around that to get the most amount of people as possible what they need But YouTube honestly isn't the best place for all the information So I will plan around that too in the future to figure out some other ways as things go further down I give you guys my thoughts on that channel and some really cool stuff that I think will be coming if you're interested in that But first I want to say you can sign up for those free calls I'll probably put some links somewhere in this video up here or maybe it'll be up here the way it'll work is I said 40 calls I don't know what the hell I was thinking, but I'm a man of my words So I'm gonna do all 40 of those calls in one way or another, but what's really important is I'm only going to consider people who sign up within a certain time out of time from this video Let's just say within the first day just because I feel like people have been Pretty active and engaged but do not not sign up for this Even if you see this video like three or months from now because if I collect on that list I'll probably do something really cool where at least maybe at once or twice a month that I could pick somebody off that list and You know chop it up with if they still want to have some kind of conversation or a consultation of sort It's like a gamble, but it is what it is now for a little bit more in the future of this channel I ain't gonna lie This shit is hard man. I'm not saying that the information is hard to get I got that man, and I know how to get it or I'm close to it in many different ways That's no problem. It's the time to actually do these videos I do about three videos a week and even on top of that It's just something that can't really be done alone to the extent that I want to because honestly the information There's nowhere near to the quality and depth that I Want to make it and actually a better way to say that is there's actually certain levels once again to the video and I am not Able to do all the levels of information and types of information that I want to yet So I'm gonna have to get a team point, but I can't do it alone And I'm not trying to be some soul like genius guy.  I'm gonna figure that out. So that just is what it is Which leads me to goals and some of my numbers. I want 10,000 subscribers and then a hundred thousand subscribers why because it's gonna help me learn more as far as a useful algorithm Because I like just thinking in tens And I like big numbers except for the number one because I want to be number one and the number zero because I like to add zeros to checks but But it really being real 100,000 subscribers That's gonna be a good number for me to help market this page to people who could be helpful to you guys as well Where I say hey, let me interview you. I got a hundred thousand subscribers So this information that you give on this channel is not gonna just go out to the lost world It's worth you doing or maybe there's a artist that's popular Maybe you got a book out so they want to talk to people because they're trying to sell books And so that'll give me a chance to sit down with them and say and ask them some real-ass questions that You know can help you guys and in my mind. I know a hundred thousand subscribers That's a good number where I can figure out How to pay that team consistently to get this stuff out there because I don't expect people to be as excited and Serious about doing this shiz. I am it's just the way to expect things It's reality also team. I need them to utilize that time so I could best utilize my time because hey guys I'm not just some dude in a room who's making videos all day. Trust me. I am actually Like doing stuff. This is something like this was supposed to be kind of a side project or for fun for a second And maybe I should have mentioned this earlier But this is what I for real for real see as the purpose of this channel information I don't believe should be the divide between people why people are successful or not Point blank. There's a lot of talented artists out there and they should have the opportunity just like everybody else But they need the information they need access resources and capital But the information is that one thing that everybody should really have and then let the talent separate people from there It's the same thing as in the world We look at these schools of better education different neighborhoods and things like that There's a lot of artists who aren't in places where they have access to information or they don't have these connects and all that Stuff already so what I want to do from this channel is change the fucking game by Getting access to the information and finding these resources and to be able to deliver them for free as possible I'm going to help create a future where information is not The divide between the artists that are successful and aren't I want talent to really be the differentiator But that can only be decided after everybody has access and it's playing from the same Playing field. That's why to be real a lot of people in the music industry do not share information It's one of the most secretive fields and they like to really do all this pop in circumstance and all these smoke screens Around things that are doing that's actually very very simple But they want to make it seem like magic because this is the entertainment business, baby You got to make it seem like it's more than it is That's what people do and I want as many artists as possible to realize that know that there is no special Juice that most of these people have the people with the juice are people like when you think about a company like rock nation The juices in building an actual system right when you have a full machine that you're in control of and having these connects and having a Strong team of talent that's actually available to you at will That's when you start to create the juice and more than one fuller group can actually do that So that's not even something that's completely hard It just takes real time and something that has to be built But the juice isn't some secret information So I want to make sure that stuff is accessible to you guys. Yeah, this video's long enough already Y'all know what to do hit that subscribe button


Hello, oscillator sync here. My love for the digatone is by this point fairly well documented. It encapsulates for me almost every aspect of an electronic instrument that makes me happy. But I think the thing that constantly has me coming back and being delighted is the synthesis engine itself. There are layers of depth to the engine that invite you to explore and be playful to find ways to twist it into new shapes in order to find new sounds. This was never more apparent to me than when I was putting together the patchback I recently released which focused on drum and percussion sounds. There were so many sound design techniques that crystallized in my mind and lots of little tips and tricks that I learned that made the whole process so rewarding.  A load of tips, tricks and techniques that I'll always have in mind when I'm building drum or percussion patches on the digatone. This is going to be a long one so you'll find timing references in the video description if you prefer to skip around. But I hope either way that you can learn some useful tips for your own patches. If you do then feel free to pop a like on the video and share it with similarly synth obsessed friends. And if you have any tips of your own feel free to share them with the community in the comments on this video. So given that the very nature of percussion sounds is it's one thing hitting against another thing. The attack portion of the sound is something that we are going to talk about quite a lot during this video. So let's start by talking about the absolute simplest way to create attack in the sound. Here is a low tuned sine wave. There's no modulation going on at all. Nothing in the filter. It's just the sine wave. And if we want to generate an attack all you need to do is turn the attack time on our amp envelope down. And by the very nature of how fast the attack envelope works you'll get a click at the start of the note. I always think it sounds a bit like a low pass gate almost. It's worth noting that this clickiness is going to interact with on page two of sine two. Your phase reset here. If we turn this to anything other than all pretty much. Sorry C is fine. All is okay. But off and only the other ones. You'll hear that there is a click but it's not consistent. It will click sometimes and other times. And that's because the phase of the sine wave that is making up the operator is going to be different for every single hit. And as a result you'll get an inconsistent click and quite an aggressive click in some cases. So if you're looking to get a good deal of controllable attack from the amp envelope make sure that you are either on all phase reset or the very least carrier phase reset. So on the amp envelope we should probably talk about the general shape of the amp envelope for percussion sounds.  There's no way to sustain a percussive sound if you're trying to emulate something that exists in the real world which you might not be. But so generally speaking for percussion sounds you're going to want to have your sustain level down at zero but that does raise the question what are you going to do with the decay and release. So if you want to have a consistent result make sure that your decay and your release are set to the same thing and you'll have a consistent response no matter how the note is being played. But I would argue that it is quite interesting to set these two differently and in particular the way I usually approach this is that I will set my decay a little bit shorter and my release a little bit longer. What this will have the effect of doing if we set some of these notes to be different lengths so if I make this one a little bit longer maybe even more than a step this one will leave where it is, this one will make a bit shorter and this one will make really really short indeed. The notes that have a longer note length now decay quicker because while the note is being played we're going to be dealing with the decay portion whereas when we stop playing the note when we release the key it's going to shift to our longer release. I like setting up this way because it kind of makes me feel like the difference between hitting a drum and leaving my hand on it as opposed to hitting a drum cleanly and releasing the the the skin of the drum if indeed it is a drum immediately. I think this is a really interesting way for you to very very easily get a performance aspect into the sound. This next tip is kind of a meta tip because it explains a concept that we'll need for some of the other tips and that is that our LFO on the digitone can also act as an envelope. I'll just put this over to pitch because it's probably one of the easiest ones to hear. If I turn up the depth we can hear that we have an LFO effect in the pitch there and the LFO is characterised by the fact that it is cyclical, it's going looping round and round and round. However if we go into LFO page two at the end here we have two trigger modes one and half which rather than giving us a cyclical modulation gives us a journey that starts and then ends which is what an envelope is essentially. Now which one we choose whether it's the half or the one will depend on whether or not we are dealing with a bipolar or a unipolar shape. So we have a number of different wave shapes over here. There's triangle, there's sign and you'll hear how to slow them down so it's a little bit easier to hear that in both of these cases the pitch is going up it's going down below where it started and then it's going back up again and that's the same for almost all of the shapes except for the exponential shape here and that's because that is the only unipolar shape that we have. Hello oscillator sync from the future here I just got something wrong there that I'd like to correct along with the exponential LFO shape the ramp shape is also unipolar however you'll generally still want to use the half trigger mode for that one as the first half of the waveform is the actual ramp the second half just sits at zero. The ramp and half trigger was a great way to fake portamento in your patches before they added the portamento feature for real and it's still great for doing fixed slides at the start of notes. Anyway back to the tips and then random at the end so if you want to use the LFO as a traditional envelope your triangle your sign they give you if we set the shape to half kind of an attack decay with an even attack and decay square gives us a an up and down kind of thing so it gives us quite a nice falling tone exponential as we mentioned we want that set to one rather than half ramp gives us a rise that ends in a particular place and by changing the depth we can change where it ends and let me have random in almost all cases for percussion sounds we're probably looking for a kind of an an attack decay kind of shape so we're either going to be using exponential with our mode on one or saw with our mode on half I tend to use exponential the one other thing that we need to highlight here is on page two of the LFO you have this malt here now by default when you load in a patch that's going to be related to the BPM but if we're using this LFO as a sound design element that's going to do something particular to the tone of the sound we don't want that to be changing as we change the tempo of the song so generally speaking if we are using our LFO as an envelope we're going to want to switch to one of the basic multipliers here I think these are hard coded to be related to 120 BPM don't quote me on that I think that's right but they won't change their characteristic as you change the tempo of the song which obviously is going to be pretty important if we're trying to define a sonic characteristic of the sound anyway with that concept out of the way we can get on to our next attack related tip which I've strongly already hinted at which is that we can use our LFOs to apply a pitch envelope to the sound so if we just set our depth to zero here and we've just got our low pitched sine wave there if we start to introduce pitch modulation and it will be the bouncing of the depth and the speed which will give us different feels we might want to up the multiplier here and we can get a wide range of sounds lowering the pitch sorry lowering the speed of the envelope will give us a more obvious bump as opposed to a click we can keep it quite subtle we don't need to do that much depth to get a meaningful attack here we can go for bigger depths and get more laser gun sounds and as we bring the speed up the laser gun kind of disappears and we just get a nice thick click we can get riddies up if we want and don't forget that if you have an LFO to spare you can layer these LFOs so if we set this second one up to be the same but slower also going to pitch you can use one to give you the click and then the other one to give you the general pitch bend of the note and layer those two things together to give yourself a more fully formed complex sound okay on to the next attack tip and this is an obvious one but I would be remiss not to mention it given that this is indeed an FM synth and that is that we can create attack on our sound by introducing frequency modulation so for this obviously we can adjust our ratios here and I'll do that in a second on page one of sin 2 obviously this is where we're going to be setting the level but it's worth noting that on page two in order to do this in a sort of percussion way in that it decays naturally no matter what you're doing with the note you need to make sure that as by default the envelope reset is on otherwise it will only start to decay when the notice released which is not generally what you're going to want here so we can introduce some modulation set our envelope and where if we want it to be in terms of the tone of the sound and you'll tend to want to have your decay pretty low otherwise you'll start to hear an obvious modulation not so much when your level is low but as you bring the level up you'll start to hear that obvious FME decay there which is very nice for bass sound for example but not necessarily for percussion and just as with our LFOs the balancing of how much attack and how fast it happens gives you a wide range of tonal options and of course how you have the ratios set related to each other is also going to make a massive change I sometimes quite like having it quite high and then not too much of it probably apply a filter maybe in this case get introduced some feedback for some rasp many many different tonal options here very quickly gets kind of hand drum sounds and so on many many options here to explore so one more place to go and search for attack would be in the filter envelope so I've just engineered a slightly more harmonically rich sound just so it's more easy to hear coming into the filter page we can start to darken the sound off quite like the four pole and then if we introduce attack rather envelope death sorry and lower our decay time especially there are attack up four don't really want anything but lowest attack here otherwise you get whoops and really like in the other cases it's going to be the balancing of the decay and release times with your envelope depth in order to get different attack characteristics and of course this is going to be a separate issue to the envelope of course all of these areas of creating attack become really interesting when we start to layer them together so we could get a bit of thump there with the filter accentuate a little bit more with the fm there and then also introduce our two pitch envelopes here to give us some more maybe brighten up the filter in general and we're layering up lots of different places for our attack to originate from and this kind of leads me to I think possibly we're coming full circle here a little bit um because this is a really important tip that I think is sometimes overlooked and that is that on our amp envelope because it is so snappy because our amp envelope is so snappy there's actually quite a wide range of attack times that especially once you've laid up other sources of attack you can go to where it will still sound percussive and attacky but not necessarily as clicky so we've softened the amp attack there it still sounds like it's got plenty of attack in it but it's a little bit softer probably pushing it a little far there but you know anywhere up to about 15 there we've got different flavors of attack that we can be playing with and sometimes having that softer amp attack and the other elements of attack coming from other places that's where all the nuance and all of the fun can lie see there we've got much more attack for our LFO now and we can actually push the attack time quite high for different flavors still attacky but with a softer front end almost like it's sidechain there so for the last few tips we've been using a kind of a kick drummy tommy kind of sound certainly a tonal sound so let's move to the other side of the spectrum for the next tip and look at a method for generating noisy signals obviously noise is going to be very useful for simple sounds and for snare sounds and for claps a whole wide range of percussion sounds are going to need a noise element to them so let's look at a couple of methods of getting to noise so for this first tip we're going to generate noise via over modulation of a operator so for this the easiest way or the most economical way in terms of operators to achieve this is to have a algorithm where you have a carrier of some description and then an operator with feedback on it so in the case of algorithm one you probably want to do this with the x side of the output algorithm two maybe switch over to the y side of the output for example so really straightforward and people are probably already aware of this but if you crank the feedback or if we just start with the initialized sound if we crank the feedback and we go into sin2 and we just whack a bunch of modulation and there we're going to get a noisy signal in there now the relationship between the operators is going to give us different flavors of noise but actually generally the noise sounds kind of similar it's the overtones which are changing here so next tip you'll notice that in pretty much every case here you're still getting an element of the fundamental happening inside the sound so you've got a very obvious tonal aspect to it you can try and mitigate this a little bit by detuning the oscillators but it doesn't really ever go away so my advice for this next tip is if you're generating noise with over modulation I would suggest that your carrier you tune as low as possible now that means you've got a big rumbly sound sat underneath there but that big rumbly sound is easier to get rid of than a high sound because of course we can go into page two of our filter page and pretty much completely get rid of that fundamental if we had a higher tuned carrier that's going to be hanging out in the signal for much longer you do still have an overtone there and you can try and tune it using the fine tune and you'll probably find some places where it feels a little less obvious like there for example so the way that we can generate noise rather than using FM is actually to make use of our LFO so you're probably aware that in the LFO page one of the waveshoots that we can use is random and a noise source is really just a very fast random source so we want to make sure this is running as fast as possible so I've got the multiplier here set to k I've got the speed turned up pretty high and we've got our signal here and we can try sending this to a couple of different places at first you know we can try it with pitch which works pretty well gets you this quite gnarly cool 8-bit vibe and it is kind of different as it goes similarly if we send it to ratio or that's essentially a pitch change but in steps again really cool gnarly sort of 8-bit vibes going on there that I really like you can try it with your modulation amounts even but I think you get too much of the fundamental still coming through there similar kind of idea with the filter amount if we can get quite a cool sort of crunchy noise in there but again the fundamental is really sticking around in there in a way that kind of makes it sound like it's superimposed on top of the sound so maybe not always that useful I think some of the that's the filter again at the base I think one of the really cool places to do it is in the drive again you can kind of get the fundamental still in there but I think it's more integrated more interesting so that's going to be a way of adding noise into a sound that you already have elsewhere similarly doing with pan if you're listening in headphones what we've actually achieved there is kind of a stereo noise signal with our main signal still going down the middle which is really cool and also just hitting it with the noise similar sort of idea I think the other thing to bear in mind is that we can do the same trick with our filter if we set our carrier nice and low we can always filter out more of the signal down there and also remember that changing the speed is going to change the tone of the noise in this case crunchy particle noise down the bottom there okay so one more tip for noise right now I've come back round to having a an over modulated operator to get my noise sound I've set my carrier super low and filtered it off in page to the filter I've also set my modulator as high as possible so that my overtone is as high as possible so it's kind of almost disappearing all together so my final suggestion if you are trying to make noisy sounds do not underestimate the power of having some resonance on your filter in order to give that noise character and make it sound more real so at the moment it sounds very very digital we can enhance the top end just by turning up the resonance but as soon as we bring that down immediately this noise seems to live in more of an acoustic space to my ears anyway try it with a high pass as well that sounds like a china symbol to me kind of getting the resonance around a snare drum of course you could boost this with distortion as well to get it just slightly dirtier if we compare that to how it sounded with no filter sounds digital immediately has some kind of acoustic space added to it I guess by the resonating frequencies at the cutoff okay so we've had some tonal stuff we've had some noisy stuff let's talk about one of the other elements of percussive sounds which is metal and metallic sounds now obviously as you're probably well aware FM is great at doing metallic sounds and we'll get to that in just a moment but first I want to look at a method of getting metallic sounds that was used on some of the early analog drum machines which is just by using multiple detuned high-pitched oscillators essentially and we can do that on the digitone quite nicely so if we want to do this with as many operators as possible the best algorithm for it is seven because it gives you the outputs of a c and both b's if you put your x y in the middle so obviously at the moment by default they're all tuned in unison if we tap sin one we can start detuning these operators we don't want to necessarily form too much of an accord but there we have a bunch of operators which are now detuned from each other and if we start to tune them higher we can get that kind of classic drum machine metal sometimes sort of clave sound and if we wanted to introduce a little bit more i might so of course if we can just turn up our FM amounts just a little bit to get a bit more sparkling there which is a cool sort of classic sound and you can of course experiment with different offsets I tend to find that having them sort of tuned in pairs or in threes where they're quite close so there we have these three all pretty close then and I want you to get higher fever might be a bit much and of course you can fine tune the sound with your x y mix and of course once you've set this up you can always experiment with different algorithms you know that's one of the great things about the digitone is we can just sort of go into different algorithms that one's pretty cool bit pure because we've only got three operators coming straight out there with some feedback so we could add a little bit of nice ting at the top there okay so let's talk about using FM to create metallic sounds so I've come back down to what is essentially a almost an initialised patch just with some amplitude set up here and I'm going to switch over to the y side so we're listening to the two B operators here instead and what I'm going to do is just bring up my level enough here so that we're hearing some modulation so generally speaking metallic sounds the reason that they sound metallic in FM is that you are generating in harmonic overtones and the way that you generate in harmonic overtones is by having a non integer relationship between the two operators generally there are some sweet spots that are also not integer but generally speaking having a complex relationship between the two numbers on the modulator the modulator in the carrier that's where you're going to find these kinds of metallic sounds and actually it doesn't have to be that far off to start generating metallic sounds the easiest way to get to in harmonic relationships is to use page two of the sin one page where you've got the fine tune here you can try and do it with the detune knob as well but I find this gives you a little bit more control over what you're doing and as soon as you start bringing in any sort of complex relationship you'll start to get some metallic sounds yeah FM is absolutely set up to do this kind of thing we probably want to experiment a little bit with the overall numbers here so we might want to push our modulator a couple of octaves higher to fine tune how much we are sending in terms of modulation metal tuned higher is glass there's a good rule of thumb for you now of course we might find that there's some lower side bands being generated here that aren't useful to us so never forget that you have page drawn filter and are able to actually take those out and we might also want to just filter the top end as well and again like so many things in FM we're thinking about balancing a couple of different parameters to find different flavors so here's an interesting side tip when it comes to metallic sounds if you take a metallic sound and generally speaking if you lower the modulator level a ratio and then lower the modulation amount that's where you'll find woody sounds which of course you could enhance by giving it some pitch envelope on your LFO if you wanted to give it more attack or softener so the next tip is to be aware that quite often percussion sounds are made up of two different elements so if we think of a symbol for example we have a metallic element to it where the stick is hitting the metal of the symbol and then you have the noise which is going to be fizzling away in there so really what this tip is is to not forget that you have the XY mix which gives you access to do two different areas of sound so for example just come back around to having a bit of a metallic sound here if we go over to the X side which is the A into C we're already getting some metallic sounds in there because B is being modulated into C as well but we can use this side to generate our noise again so we can set our carrier down low and our modulator up high crank our feedback and bring up the level here and we have noise over on this side here and now we can think about balancing those two elements of our sound the noise and the metal we really do have two different patches here which we're kind of crossfading between it's also worth noting on the metal side here that we can if we want have a little bit of decay which is going to change the feel of the sound over time along with everything else and we may even want to experiment with making the relationship between the two noisy operators less linear to get a more complex sound you can even experiment with not over modulating it quite as much we can get a bit more of a metallicy noise in there as well and having the ability to crossfade between these two elements and of course we could be parameter locking these within our sequence as well to get different vibes and different grooves we'll come back to this xy control so for this next tip on the xy crossfader i've set up a patch on algorithm two so two completely discreet lanes on the y side i've set up some noise and on the x side i've set up like a little thunk sound just by using the pitch mod here i've also filtered out some of the bottom end might put a little bit back in actually like that so we have two very different elements to our sound here but what i've kind of set up here is the two different elements in snare drum snare drum you've got the impact of the stick on the skin which is actually basically a almost like a tom sound and it's everything else in the drum the metal frame of the drum and also obviously the snares crucially which create that rattling noise on top of that so actually what you do with a snare drum is you really that very first impact is very much thud and then the rest of it is crackle at the end so what we can do in our LFO section is come back to this idea of using the LFO as an envelope so we'll do that setup again so i'll just set the just 16 for the moment we'll make sure that our trigger mode is on one and go with our exponential here again and for our destination we're going to send it to the mix so what i want to do is flick all the way up to our thunk sound and then drop back down quickly to our rattle sound for the end of the sound so if i set my mix all the way over to y and then have my depth negative which will throw it back towards x and we're going to want to fine tune the depth the speed so without any modulation it's all noise but we can bring those two things together to get thwack and noise out the other end we can also change the final mix as well of course if we want to add a bit of character to this sound which we should as previously discussed just adding some resonance gives our snare drum an acoustic space and we can try different combinations in here as well bring in some attack from an alternate source and find all sorts of different flavors kind of snare sounds or by crossfading those two different elements of the snare sound accentuate some of the crackle with the drive there this is more than one tiff altogether i guess okay so let's swing around back to where we started let's let's look at some more kick tips and the first one is going to be along the same lines as we've just been looking at with our snares with the crossfade and that is thinking about using the crossfade as a way of adding attack to the kick so here i've got just a basic kick drum sound set up with the pitch mod happening as normal that's on the x side on the y side i've simply got a higher pitched oscillator there and we can use that crossfade modulation to have that little tweak at the start of our kick sound to give it a little bit of character at the start so i've already got it set up here the mix as my destination i've set up the one shot and the timing here and we can mixing the higher operator just at the start of our hit which is kind of a different vibe to having the pitch bend because it's not really a pitch bend happening here it's it's just giving you a higher harmonic right at the top there and again it's tweaking the speed here and the depth it's going to give you different feels to your kick drum but it's a nice variation on some of the other tricks to get that sort of higher attack at the start of your kick sound okay another tip for character in your kicks i've moved over to algorithm one here which is essentially can be exactly the same feel as i have i've still got my crossfade happening here all that this is meant is that i'm able to have feedback on my lower pitched side of my sound rather than sort everything around so the next tip here is that having a bit of noise at the start of your kick drum can also sound pretty badass as well so i've cranked up the feedback here and if we come into here and start modulating we're immediately going to start getting noise because of we're overmodulating and if we just want it to be like a little noisy punch at the start we just shorten our decay here the nice thing about having the noise implemented here is that on the way back from it being noise we're also passing through that cool FM vibe so we're getting noise we're getting the FM vibe and we're still getting that crossfade happening in our mix LFO as well we could also experiment different so next tip on the kick drum characters here we've got a pretty sort of strong meaty sound but what if we wanted to give it more bottom end umph well we can move over to our filter section and the the instinctual thing if we're thinking about low end is okay we want a low pass filter to give us more low end but actually the more effective way of giving ourselves more bottom end is actually to make use of a high pass filter this is a old synth trick if you already know apologies but it's a goodie and i wanted to make sure i mentioned it so obviously if we turn our high pass all the way up we're losing most of our bottom end of our high passes low down we still get quite a lot of low end but we're not boosting the low end at the moment however if we raise our resonance that's going to give us a boost at the cutoff frequency and as we there's an example there if you're listening on good speakers or headphones you're here that we're getting a big old thumpy boost and we can go quite mad with this and we can find other points where this will work nicely as well so that's less bottom end there but you've got really punchy thunk there which can be really useful in the right context as well you can kind of think about this as like tuning the body of the actual kick drum so let's take a moment to talk about long kicks so i've taken the patch basically as it was i've made the envelope longer so it's a longer sound i've also made a bit duller just because it felt better and if i hit play now what you might be able to perceive if you're listening on good speakers is that we're kind of getting a build-up of sound the low end is sort of throbbing in and out in a quite inconsistent way and low end is is tough enough to to deal with normally having a throb in and out with the kick drum is obviously going to be a problem so the reason this is happening is because at the moment if we come into our voice management here if you watch the lights at the top which tell you which uh voice is being used to play the kick drum you'll see that it's actually cycling through all the voices so that any one time by about now there's eight versions of this kick drum all happening at once and that's not necessarily a useful thing so in the most recent firmware update one of the things that they introduced is the option to turn on voice reuse which means that for the same note if we turn this on and we hit play now so first of all listen with your ears and notice that we're not getting that strange sort of throbbing building up and dying down but also watch the lights at the top you'll see that for the same note being played the voice is being reused so we're not getting a build-up anymore immediately a much more manageable low end but arguably this way of working doesn't go far enough if we were to change the notes of these kick drums if we were doing tuned kick sounds um because they are different notes now although when it loops back round it's going to reuse the voice it's still building up and you're getting those weird overtones happening which is quite interesting in a way actually it's probably a place for that kind of sound but it's probably not what you want in most instances so um if you're doing long tuned kicks probably what you will want to be doing is coming into the setup menu so shift and trig and this again is something that is new now as you want to go into play mode and you want to switch that to mono so this means as would be the case on a traditional drum machine now the kick drum is actually monophonic or indeed on a natural drum a real drum is monophonic as well so now even with different notes we're getting different or are the one individual hit it's being reused each time the resonance that's pulling up here is probably just due to the low pass filter I suspect yeah so the low pass filter is picking out some different harmonics so we are nearly there with getting that all sort of working right and and feeling right with those tuned long kicks but that shifting of the resonance where we've used our high pass filter to pick out the body of the drum is still actually causing a problem now that we are moving notes because some notes are going to naturally be more around the resonant frequency of that high pass filter so to solve that we want to once again come into the setup menu what we're going to want to do is turn on our filter key track 200 percent which means that our filter will now track with the notes that are playing so hopefully when we hit play now so that will have shifted the the resonance probably up so let's go back and find there we go and you can hear now that we've got that ringing resonance but it is an even ringing across all of our hits if we want a obscene amount of low end okay so I want to talk around a few tips that relate to making your patches sort of more performable and alive and that's really around what I think is probably an underutilized area of the sound design on the digitone which is coming in and looking at the velocity mod in particular for drums so sort of subtip before we get on to this if we are going to look at dealing with velocity in our patches what I like to do is set up a really simple pattern and I'll set a step with a very low velocity a medium low velocity one with the default velocity of 100 and then one at max velocity so what you'll notice here is that these are varying massively in volume now and actually if we're going to use velocity to change the timbre of the sound we probably don't want this much volume variation in there especially for percussion sounds that first one is barely even there so what I tend to do if I'm going to build a patch where I'm making use of velocity variations is I will come into the setup menu here and I'm going to go to velocity to vol I'm going to change the curve so at the moment it's linear and I will tend to try logarithmic that usually works fine and that's working for me here but if not you can turn it off altogether so that the velocity is making no difference to the volume at all and that can be viable as well I like logarithmic so it gives just a little bit at the lower end there okay so I've set up my pattern here with the velocities across here so what I want to do now is look at what I want to vary so for a sound like a kick drum the main thing I'm going to be looking to vary is the attack of the sound so I'm going to be looking for the elements within my patch which provide attack and that's what I'm going to vary so the first thing is obviously we can look at the actual attack envelope on the amp and what I will do is I will come into the page and I will find what is my lowest point of attack and because we've got other modulations in this patch we can go quite low so something like 26 now that's really really lacking in attack but that's okay because that is going to be our absolute lowest point so what I'll do now is I'll come into the setup menu we'll go down to our velocity mod and along the top here I'm going to choose amp attack time and I had it set to minus 26 sorry I had it set to 26 so what I'm going to do is set it so that the maximum mod it will be a minus 26 which is where I started so that would take off what I've added and take me back to zero for the maximum so if you listen to the pattern now not only are we getting a variation in velocity now we're also getting a variation in the tone or rather the attack transient okay so let's go and look for another area of my patch which is giving me attack so good example there would be my the noise that I was sending by modulating that operator there so at the moment that's set to 41 so we can find the minimum point which is probably zero yeah I think it's probably zero right so we went from 41 we could push it even higher maybe say 50 down to zero so we'll leave that at zero for a moment we'll come into the setup menu go back down to velocity mod we're going to be looking at the level of A and we're going to set the modulation amount up to 50 so that's going from where it is at the baseline which is zero and when we hit it absolutely hard as we want it going up to 50 so now when we hit so I'm being ridiculously anal here I'm going to hit play now again we'll have the difference in our attack envelope we're also going to be having the difference in that sort of noisy part of the sound as well so I'm making our patch more performable as we build our patterns with this patch we could be using different velocities to give different grooves and fields so let's maybe look at one or two others so a good deal of the attack is coming from the change in the pitch so it's at 28 point uh I'll say just 28 that's fine we probably still want a little bit so if we say like eight and it's going up to 28 so that's a difference of 20 so we'll leave that at eight there again we'll go into our setup down into velocity mod we're going to go to LFO depth one give it 20 and again when we hit play now we've got the amp attack the noise and the LFO depth all creating differences in our sound just for the sake of completeness because we've got four slots let's use them all the final thing that's probably creating some variation is this mix envelope here so that's going up to say 38 so we'll put that down to zero I think it's our starting point so we don't get any at all like that and we can go back in here velocity mod that's going to be LFO two depth and we'll give it what was it 28 I think another candidate I guess if we're thinking about hitting it hard it might be our filter resonance which has given us that big old low end bump so that's at 75 um we could lower that down let me not to zero say 35 so in our velocity mod here we could change that to our filter resonance filter resonance which is there give it 40 and then our harder ones are going to have more bottom end instead which is quite cool as well so another place we can think about our velocity mod in order to give our patches more life is around harmonic content instead so I've got that sort of hi-hat metallic cymbal sound that we had set up previously so we'll come into here and we'll do our velocity to valve back to logarithmic so we're not getting such a massive drop off in volume as we modulate the velocity so let's think about what is giving this its harmonic content so one thing that you would maybe see with symbols is that you get more noise the harder that you hit them so in our patch here at the moment we've got a mix which is at minus 20 between the noise there and the metallic sound so we might for example say at the hard you hit it the more noise you get so we might leave that at zero and go down to say minus 30 so we'll say zero as our starting point we'll come into here we'll go down to velocity mod we're looking for sin mix and minus 30 for our mount so the most modulation is going to be minus 30 we're starting at zero and the harder we hit our symbol now the more noise we get so where else are we getting our harmonic content from well the big important one probably is the modulation of the metallic side so that's the B side here which is currently at 87 some really interesting points along there so if we go from 80 up to say 92 let's give that a go so I'm going to be adding on 12 to sin B level that's pretty interesting we could also maybe check out what's going on with the feedback here so at the moment it's 102 see that's really interesting because we can go metallic there so if we go up by 42 or something from 60 that might be cool so we can go ahead and go feedback 40 something and we're getting a really really dynamic symbol patch now that we can really build these ideas into the groove with different velocities so by using velocity to modulate the timbre of our sounds we're able to really fine tune the the feel of our grooves and that's something I definitely advocate for for working into your percussion patches but kind of the flip side of this is that if we were thinking about this being played by a real percussionist or drummer there are going to be changes to the sound which are probably almost random certainly not under direct control of the player you know little variances based on where say a drum was struck you know how a symbol was hit and and those really bring grooves to life as well and so adding an element of randomness into our percussion patches it can be really really powerful so the easiest way to do that is to make use of a spare LFO if you have one so we want to have our waveform shape set to random obviously everything about randomness but we don't just want that randomness to be going at a constant rate constantly rather what we want to do is adjust that randomness on a per step basis so we want to have the trig mode set to hold here we can also crank the speed not that it particularly matters actually as long as it's faster than the beat and then we can think of a something to modulate so just going back around to our hi-hat metallic sound here one thing that could be quite interesting here is actually to think about the attack because if we go longer on the attack it stops being such a hi-hat and becomes kind of a shake sound so for this we want to find the midpoint of our modulation because the random LFO is bipolar so whatever depth we set it to it will swing that much that way and that much the other way as well so I guess really zero is the minimum point I think there at 30 is going to be the highest point so we can put this at 15 and then make the depth of our LFO at 15 and make sure we also set the destination to the attack envelope for example envelope amp attack time let me go and now if we set the beat going so here we have the velocity that is giving us a common grounding cycle but then how it's articulated through the amp is being randomized which gives us a cool feel that is both controlled and random at the same time okay so one last tip and this one's a bit of a longer one but it's one that I've seen people talk about a fair number of times so I did want to address it and that is related to making a clap sound and in particular the key defining feature of a clap sound which is its multi attack envelope so let's just start by creating some noise for our clap to be based on so we'll use the standard frequency modulation over modulation recipes I'll set my carrier down very low I will set my modulator here very high I'll turn my frequency up feedback sorry up high and I will create some noise that way we can filter out the fundamental maybe some of the harshness at the top as well and then we'll use our other filter to add some resonance and character just a little bit off the there we go there's some noise there we'll put a standard kind of amp envelope on there and what we have at the moment is a sort of semi-passable clappy snare okay so we don't have that big thwack for the snare so it's kind of like a clappy snare hybrid not one nor the other really so what we need to think about is how we can generate the particular characteristic characteristic of the cap which is that multi attack the idea on most clap sounds that you hear on drum machines is that it's not just one person clapping it's multiple people clapping in a room which is why you get that sort of clucker clap sound happening and that's actually what we perceive especially in electronic music has a clap sound it's not one person clapping it's a room full of people clapping so we need to go from one attack to multiple attacks so how are we going to manage that now for this we're going to head over to our LFO um so I will that you don't want these set to bpm and multipliers because we don't want it to be related to the tempo necessarily and what we're going to do is have something modulate the amp volume which is the same thing our envelope is modulating as well now we don't want it to be a fading out kind of sound what we want instead is this to be an envelope which is going to have a hard attack so I'm going to go with the exponential envelope here we can't hear at the moment because it is unipolar but if we turn down the volume we don't have to go all the way to zero but we can fine tune this you can hear now death of we have multiple attacks there now what we want to do is speed them up so now the problem we're having right now is that is going on and on and on and on and that isn't really what we want now if we were to set our mode to just once we're only going to get one attack so that isn't going to be right either instead what we'll do is we'll make use of the fade control which is going to fade out the modulation over time essentially giving us an envelope on our modulation now if I turn this to fade out what you'll find is that past a particular point it's going to stop doing anything which will probably weird you out the first time it happens there's a good reason for this although I don't necessarily agree with the reason at the moment our mode is on free running and once we've faded out our free running and LFO to a particular point it's going to stop modulating at all however if we switch this over to the trig mode now it's going to restart the LFO every single time this has the extra bonus effect of making sure that we have a tacky clap at the start of every single um trick now we can fine tune off fade and we'll find a sweet spot probably where we have a nice multi attack envelope there and the nice thing is here if we do bring up our overall volume on this patch it almost sounds like reverb which is a trick again that that drum machines would use and now of course we can fine tune our speed we can have it more loose which is quite cool we can go faster and you'll want depending on the speed here you'll probably want to fine tune the feed the fade out as well and there'll be lots of sweet spots in here where that works and if you're feeling particularly fruity you could of course actually use a random LFO step by step on the speed of LFO one just a little bit to give it some variation as well and of course you could go on to fine tune the fine tune the filter put a bit of the fundamental back in there to give it a bit more of a thwacky attack move some drive and so on anyway I hope that was interesting useful and if you made it to the end well wow look at you well done um I've just looked at the total running time of the recordings I've done and also there's going to be significant editing to do boy is this a long video so thank you for joining me if you've made it to the end if you found the video useful and maybe learned something new a new tip for you to apply in your music please do give the video a like and make sure subscribed to the channel and I'm a hundred percent certain that I've missed out some useful tips you know it's inevitable so if there's a tip that you particularly like that you'd like to share with the with the community I will have a pinned comment in the comment section for you to add to and hopefully this video can be a useful resource even beyond the video itself for people looking for tips for drum synthesis on the digitone and beyond as always I'm so grateful that you could join me here today until next time take care and I will see you again see