by the end of this video we will have a track that sounds like this hey it's Anfa and you're watching Anfa Vlog and today we're gonna make a track from scratch using Matt Titl's Helm synthesizer in Ardor so it's been a longer time since I made an episode because I made other things in our videos and if you don't know what I'm talking about you're not subscribed all right never mind today I want to refresh to myself Helm so a helm is a polyphonic virtual synthesizer created by Matt Titl I hope I pronounce the name okay and it has some interesting features most notably it has a very flexible and interesting system of modulating different controls you have a few LFOs and a steep sequencer and you can also use various MIDI input data like the pitch band or modulation wheel or the polyphonic aftertouch to steer your sound as the slogan suggests so let's jump into Ardor here I have a clean slate a clean plate I'm gonna add let's say eight helm helm lv2 tracks first thing I'm gonna do I want to do a little drum beat let's start with the kick drum a typical four in four let's just tap some tempo double clicking here on this marker all right 111 bpm I'm gonna cut the rest that's our tempo you can press seven to enable the metronome so I'm gonna just press D to draw I'm gonna change the resolution to beats I'm gonna click and drag to make a full bar I'm just gonna make this larger a little bit and because this is gonna be our kick drum I'm gonna double click here to name it kick and I'm gonna just right click here to make the note mode percussive and that means we input these onsets only that's gonna make it easier for us to take a look and see what our drum sequence is doing so now I'm gonna press G to go to grab mode which is the default I'm gonna select this press the right square bracket to set the loop markers around it and hit L loop playback I'm gonna stop it disable the metronome because this is actually playing the same thing as the metronome right now and I'm gonna open up this little guy and that's the helm synthesizer also we might want to give ourselves some spectral view of what's happening let's try it out okay I'm back so this is the main helm window and I'm gonna do a very quick overview in case you never used this synth before and in this video I'm gonna make a track with it but so we will discover some of its functions and play around with it and hear different sounds it can make so the basic thing we have two basic oscillators which can have various waveforms and we can alter the tuning they can also be multiple voices slightly detuned and we have a sub oscillator which can also do various waveforms and has a interesting thing called shuffle that I think alters the pulse width somehow or maybe it just alters the pulse width I don't know we would have to take a look at the waveform display and assess that maybe we might do this we might do this so we have our oscillators here's a little mixer we can choose the level of sound coming from oscillator one to the sub oscillator and the noise generator we have the main amplitude envelope which affects loudness of the sound in a given point of time we have two monophonic LFOs that means they go on all the time in sync with the song and here you can see that helm has received the beats per minute information from ardor and it sent itself to 111 bpm which is nice we have also a polyphonic LFO that means it plays for every note and then restarts with every note if you play a chord and you start the notes in different places each note will have a LFO going with different phase and that's interesting you have also a step sequencer which is also monophonic it doesn't restart for every note and you can see that it's going its steps in the tempo we have a filter one filter here that can do low pass high pass band pass notch and peak low shelf high shelf and all pass which really doesn't sound like it's doing anything but if you wiggle we're around with it as you play something it does something so it's not completely neutral as I would think it is maybe we have something called feedback that sounds a little bit like a comp filter but it can also like detune stuff and it's interesting doing and we also have saturation which is quite actually a distortion and also act as a loudness control because if you go below zero you actually reduce this the volume of the signal and you can make this very very quiet but we don't want that we have also an arpeggiator an effect that repeats parts of the signal in timing with this song of course and with what we play we have a delay effect a reverb effect we have a formant filter with two filters and we can just use this x y controller to do this we have master control and we have an additional envelope for doing whatever we want we have keyboard input a midi after touch the pitch of the note the velocity of the note we play the modulation wheel position and the pitch wheel position we have also a little testing keyboard and the amount of voices there polyphony it's by default it's on four you can make this monophonic by going all the way down to one we can change the range of the pitch band that is applied to the notes and change the amount of velocity tracking that means the if the keyboard responds to how how hard you play you can set zero and probably that makes the notes all the same loudness or zero oh yeah this is zero so it so it doesn't respond to loudness by default set the default value you can also do midi learn i didn't use that yet but we'll maybe try it out we have portamento and that it can be off which is default it can be auto so it also it only makes glides between notes that overlap in time so if you press one note release it and then hit another nothing will happen but if you press one note then press another note it the second note will start pitch and on the first notes level and then rise over the time that is the longer the higher is this value this is how long in seconds per octave it will take change the sound and also there's a legato mode which doesn't restart in monophonic mode when we heard voices one which is what i said it doesn't restart the notes as we play it if you overlap two of them they always sound they just didn't change the pitch but they are the same notes so the envelopes and LFOs don't restart okay that's a quick overview and the most important thing about helm is that you can use all of these helm icons for example for an envelope to assign different things to affect the sound so you can like you can use all these modulation sources the three envelopes and the three LFOs in the steep sequencer and the keyboard input or the MIDI sequence input input to modulate all the green lit controls and that creates some very interesting effects because well you can also modulate LFOs with other LFOs for example take a look at this we can modulate the speed of this LFO with that LFO and you see now it just does weird stuff and we can also modulate this LFOs speed with its own so it kind of gets feedback that's really interesting we can also like reset this with right click it's connect all so all right let's get to making our first sound and that is going to be a kick drum all right so enough me talking let's play L press L to make our four note loop in the background play and now the first thing i'm going to do is reduce this sustain level and a decay to make this shorter maybe i'll make this a little bit louder the whole thing and this is too high for a kick drum so i'm gonna transpose this octave down now we can hear we have actually two oscillators going on so i'm gonna disable one of them and this is still too high two octaves down 24 semitones now i need the pitch to go up in the start and then go down so i'm going to use this mod envelope i'm gonna drop the sustain level click this helm icon and now i can assign it to the transposition and i'll click this to return to my normal operation oh yeah it sounds a little bit like kick now i want to use the same envelope to maybe add a little bit of noise on the start of the sound we can use the filter to accentuate the body of that kick drum and remove someone wanted low end at the same time and also do some saturation oh sorry that's loud i'm gonna reduce the volume oh that's very very loud oh this is not the kind of kick drum i'm after right now how about going even lower with this pitch and maybe making this envelope a little bit sharper also we can see that this amplitude envelope by default it has a little bit of release but it also has a little bit of attack now it's much sharper huh that's very very short there's not much body to it all right that's okay drum let's close this helm instance now what i want to do is compress it a bit to make it a little bit more sharper more punchy i'm gonna add a cull compressor or cull and it's distorting and also is very hardly compressed so let's just fiddle around and listen what we can do with this compressor oh just a tiny bit sharper so i'm gonna move this before the fader i'm gonna also add a equalizer equalizer eq 10 q stereo the eq 10 q equalizer sounds really nice i weren't using them for a long time but i discovered them some time ago and i think like they are cool i'm gonna just maybe just cut off some low end like i'm just like doubling the thing that i did with the lupus filler anyway i'm just gonna see if i can add some high pass high high shelf sorry oh no that's too sharp it's it's going to be painful starting to be painful maybe there's some mud in the middle if you wonder i'm double clicking on the dots to enable or disable any frequency band and we have all of these here so you can actually do all this stuff here just tuning the values that's easier just double click here to enable move it around and use the mouse wheel to change the width or the q let's hear it without eq okay it's a little bit more focused maybe a tiny tiny bit of low end is lacking there so i'll compensate with a low shelf all right that's a kick drum let's go with a hi-hat this is gonna be a little different so let's go with hi-hat and i'm gonna start off by just clicking here control and middle click and drag down so we duplicate the media region gonna right click here note mode percussive yeah you see how it changed now i'm gonna go e for edit i'm gonna select these i need some high resolution because just the beats are gonna be not enough so i need more refined grid i'm also like i don't know i'll just leave this at bat i'm gonna solo the hi-hat press l loop it and this is our hi-hat so let's make it shorter make it snappier so like remove the tiny bit of attack make it start immediately and just to make things interesting i'm gonna use some random mesh oscillators and cross modulate them between and they are two oh yeah changing the pitch of them relatively or produce some semi inharmonic noise which is cool for metallic hi-hat sound but this is still too long okay let's try the noise nice let's add a help pipe as filter maybe some resonance and maybe reverb as you can see we don't have a ton amount of control like you know filtering the reverb sound or dry wet for the for the saturation but still we have quite a lot of stuff we can do in just one screen one very nicely very nicely done interface excuse me oh sorry all right i'm back oh that was a sneeze let's try making this more frequent maybe adding a little i'm gonna change the grid to beats by eight all the triplet here can change the the velocity by clicking and hover and using the mouse wheel to reduce it but helm by default doesn't react to note velocity so i'm gonna enable the velocity to track and let's you'll listen yeah now it responds yeah it's so quiet almost unhearable unaudible now that i listen to that it's it sounds very dual let's make three voices detune them more noise also we can do some funky stuff like use the velocity to affect the length of the notes okay so i need to turn it the other way nice now the quieter note will be shorter and that's very natural because the sound will die off faster i like this all right let's make some snare snare snare snare i'm gonna just do the same thing just duplicate with control and middle click and i can see that all my drum tracks need to have note mode percussive all righty i'm just gonna remove so i'm gonna hit e to edit and now shift right click on the notes i don't need i'm just gonna go to g grab mode and press l i'm gonna solo my snare for a while just to work on it's on it on its own i'm gonna press l again to play in loop let's make this shorter make it start all on the beat very quickly we shall very sharply enable just one us later and do maybe use the amplitude envelope then this time to drive the pitch that's interesting maybe let's try to change the triangle how about using cross modulation maybe with a triangle wave let's modulate this one so we're modulating with the cross modulation as i understand it it works the that what it does it if you enable this it modulates the us later two with us later one and modulates us later one with us later two at the same time but not with a feedback loop so it's like you have us later one and two or one and two and if they are duplicated and the duplicates are modulated with the cross modulation so this modulates that and this modulates that but they don't loop forever so you don't have feedback in the modulation that will cause wreck havoc on the sound let's try some different pitches oh that's some interesting tone but totally not snarish i'm gonna just reduce it well we can do some FM stuff with this okay it sounds very weird as a snare really maybe i'll use some the mod envelope to add some noise and make it shorter oh that's interesting but it's completely not a snarish sound yeah this will work better for a snare i'm gonna disconnect with right click so the pitch stays on the same spot oh no i don't want to modulate it oh now it sounds quite interestingly snarish because we have these a little bit of an inharmonic stuff about using a different waveform for modulation how about adding a few more voices a little modulating okay it doesn't affect the thing adding a few more voices here oh it's get wiggie and there's there's a the funky function that makes the other voices higher pitched i don't know i'm not sure exactly how it works but it does stuff okay but it's weird okay let's use a hypersfielder maybe i'll disable unison because it gives me uneven loudness among the notes like sometimes the low end cancels out between the voices and sometimes it doesn't so we don't have consistent punch to the sound and that's really bad for a snare how about making actually the noise the louder the longer sounding thing so i'm gonna just disconnect this make the noise sound all the way through this amplitude envelope and use this modern envelope to enable the oscillator one sound at some point okay we need more let's make the shorter quite interesting let's try using the reverb and let's listen what it does all in its own oh the interesting thing is we can actually modulate this stuff with the envelopes as well envelopes as well so we can create a gated reverb snare let's use the filler envelope the thing is that the filter envelope is here and it it's called filter envelope but by default the envelope depth is zero so it doesn't affect the filter at all and we don't have to use it for the filler we can use it for whatever we want only the amplitude envelope is like hardwired to drive the loudness of the sound but these two you can do whatever you want you don't have to use this for end of the filter and we won't i want to use this for the reverb oh maybe i spoke too soon maybe because this is oh sorry i know why we can also compensate us okay the envelopes are always polyphonic because they restart with the notes and that's why i can't drive these things with this envelope because it's gonna produce multiple values different values for multiple notes and we have only one reverb unit so it's processed on the mix of the notes not every single note so we can't do that but i can use a monophonic LFO to do this and because the LFOs are quite interesting let's use the mono LFO and maybe let's use this thing make it slower i don't know it this syncs the tempo so well if we change the snare pattern it's gonna sound differently but now that's interesting we could also use the step sequencer to make this exactly what we want so i'm gonna disconnect this and what do we want let's make 16 steps and make this really fast okay so now we have it plays over one bar or no it plays the step sequencer plays two times every bar and right in the middle we have our snare hit so i'm gonna do something like this enable slide so it will actually smooth out this shape let's see can i drive it yeah i can wood blend no it doesn't do anything why what is this frequency no free retrigger oh retrigger what does it mean sync to playhead all right i'm defeated by this for some reason it doesn't affect my wet value there's also a random LFO which is kind of a we have two modes for random we have the stair step random which is like sample and hold type and we have a smooth random and this is only an example that the real shape is what the dot shows if we increase the frequency it's gonna jump around like crazy jump around like crazy and we can see that this route moves rather randomly but that's not entirely what we want so i've guessed a simple downward okay let's try like this it sounds a little bit like a echo like delay on reverb but it is reverb interesting let's hear is in the context of the song all right so our snare is quiet i'm gonna add a compressor to add some punch now without it i'm gonna compress really hard just to hear what we're doing all right so that's very it's roughly what i would like to do like now we just need to compensate actually i want to add some reverb let's go with mverb which is a very nice sounding effect here it's only this increasing the bandwidth gives you more hype actually this is i think this is a lopus filter and this is another kind of a lopus filter and now let's just add an ecu ecu 10q stereo and on enable real-time analysis well there's some low stuff that we don't need but we can accentuate the body of the drum right here that's nice let's see if the highs don't need oh they need our attention oh yeah this sounds much more snarish let's seek some peaks that will hurt now that's that's not pleasant to my ears i'm gonna just make this a little bit slightly reduce and we have a peak here yeah let's hear it without whiff we also need to compensate the volume because comparing equalization doesn't do much good if your volume is off because we our ears are not linear in perceiving loudness and frequency louder sounds will accentuate the bass and the treble all right now we have these input and output meters they show roughly the same level yeah i much like this it is quieter actually in the field but much more punchy because we added the low the body the drum resonance and also we compensated for the highs and we moved some painful stuff that showed up so let's hear this with the rest okay so this is our very very simple drum kit let's make a bass line i call this bass and i have a little sound i want to do because actually the idea for this track is to make something like kind of an old-school techno vibe with the tb303 bass line i'm gonna try maybe recreating that all right i need some more notes i'm gonna compose a simple line oh that's too short i'm gonna control click select both of these and now hit alt release myself from the grid so i'm gonna make these two shorter nice maybe not all right i'm gonna go off one octave down with this down to C3 now it's kind of like having two voices one in the middle and one down okay let's get to making the sound itself so let's press the L i'm also gonna solo the bass right now where's helm hello helm show me your window i need to wet it the patch yeah yeah okay we even hand have harder or minimized just gonna maybe give ourselves back this way from display all right the thing is we could use the sub oscillator at some point but it doesn't have a pitch control anything so we actually need to tune everything for this sub oscillator oh ah i need to get back to order oh yeah oh so it's normally one octave down actually this pitch is okay i don't need to make the slower hey please give me that window i can see it but i can't touch it all right but i'm gonna change the pitch i'm gonna pitch this down one octave 12 semitones it's interesting because we can see what is the real way from we get and it looks very good i mean it looks alive okay if we want to pitch it down another octave i'm gonna play with the notes and this is a one rich pitch one rich saw and it doesn't show any artifacts that sound looks nice maybe it's a little bit too loud yeah we can do this stuff because we have the LFOs let's play with this oh also some interesting things we can do well we could automate some stuff i mean it's more interesting at the end but we'll try to keep it as self-contained as possible i want to add some maybe just i'm gonna tame the influence how about getting a second saw oscillator yeah yeah maybe use some cross modulation so that's interesting oh so now we have a filter on the below which is very short it's adding a little blip and also it's taming the it's accelerating the cross modulation amount of our second saw wave which is inverted that is modulating our first saw wave that is octave down and it's tuning slightly down this one so the phases don't match so well and we have a different modulation also how about making this super short oh no this doesn't sound good now it sounds muddy not good for bass also we want one voice and what we also want is portamento let's make it on that's a lazy sound but just a tiny bit gives us this slightly gliding effect that is so nice we have a polylipho what can we do with it some random stuff i don't know this is the feedback amount can transpose the feedback oh that's interesting it's kind of a comp filter with pitch shifting also what we have is stutter it doesn't really doesn't sound too well in the sound oh why did my review make this more slowly evolving i would like so are we using this yeah we're using this lfo we're not using this lfo let's make it very very slow you know there's tempo let's make this oh we can have this one in 32 bars that's i'm starting at one in 32 it's gonna be already planning of time to change okay so the new flow is still just a little bit too much our pager that's nice but it's altering our part i actually never was a big fan of our pagers i would prefer all voice to program the arpeggios myself because i have all the control in the world but sound does that's not what you need delay is interesting that it sounds like it's interpolating the sound with very big slow limiter so it's slowly changing the time but for that it's resizing the buffer when you change the pitch the tempo of it of the delay a tiny bit of this can be nice okay so this is our nice little techno trance evolving bass i guess let's get back to order and see what we can do let's hear with the drums oh the snare is very loud and the bass is very quiet so i'm gonna get back and make this louder louder also one thing that is kind of a cliche for this type of bass sound is distortion but i'm not sure i want to use it let's try it though i'm gonna turn it down because it's gonna get loud the interesting thing about all the effects here is that we can control them with these things so for example i can label i can use the filler cutoff to change the amount of saturation for each note oh so is this per note actually it has to be wow and this is also per note and this is also per note wow i need to make use of that because for some pads that's can make things really interesting all right but now with the distortion the reverb and the delay is too much so i'm gonna attenuate the levels of these to make this more dry uh all right let's stop for a moment now let's listen with the beat all right i want to make some real special effect i'd like to call this one pre-noise and it's gonna be like a little right before the end of the bar it's a slight touch but it's very nice like using sounds like that the pitch doesn't really matter we're gonna work it around work around this pitch anyway so i'm gonna maybe hit right square bracket to loop around that little guy i'm gonna solo it out um maybe i'll make this a little longer so i can hear it with a pause and that's nasty clicking that's probably because of the jump so but i need noise okay i can also use this to yeah now this interesting trick because the amplitude and the loop changes the the amplitude the noise anyway but by applying it twice i get a different curve like if i normally have a curve like that when i play it second time i get a curve like this it's a cubic curve so it's like slowly starting to get gain velocity towards the maximum and then it's speeding up and that's what i like and also i can try making use of the format maybe with some LFO maybe that's gonna be completely trippy and bad maybe not it's sculpting this spectrum very interestingly okay let's also use a bandpass maybe just with a own filler and globe just gonna up the sustain yeah that's nice it's a little slight touch maybe something oh i hovered over this part and it changed the mode you can have this in Hertz oh that's nice very weird and metallic i like that okay let's hear it in the context very quiet okay it's already maxed out here so i'm just going to use a compressor the input gain yep that's it it's gonna click on this right square bracket to change the loop markers all right let's make a quick pause and we'll get back to this track uh my pet dragon had to pee so i had to call the firefighters sorry about that it's funny because it sounds like i'm making with my mouth but i'm not okay so this is a little little little tiny loop i want to like maybe make some crash sound also crash drum for like a real relieving re reviving a change i'm gonna move it up or after the snare solo this what can we do can you do to make a crash with this sound let's use some weird sir step fish waveform another one must cross modulate them the hell out of them yeah awesome tight and top it up with noise what better can we do also there's a sub oscillator we didn't use let's try okay now let's hype is this mess oh i didn't use unison uh the problem is this is very short we need to make this longer and i don't think i don't think helm can like not care about the note release or can it or maybe maybe if i change the note type to percussive it also harder also sends different midi events that can that can be an option note mode percussive no not really oh damn right so let's go back to note mode sustained hit e make this longer make this whole bar long and use our superpowers to make this sound awesome i want to change some pitches just to make things interesting we have some phasing in there which is interesting can use some filter actually we have okay kind of works ah oh that's interesting it resembles every two no how about the metallic delay i'm gonna go to Hertz make this big amount also i forgot about the feedback you see we get a comp filter so it has to be a comp filter but with some special functions weird well just finish it off with the reverb okay so dumping down is a more longer sound okay let's just try this should work oh yeah it works it also sounds kind of kind of old Roland drum synthesizer tier 909 or something yeah it reminds me of that sound and that's good for this kind of music because it aims like it sounds like i don't know old school techno maybe minimal maybe too much for minimal i don't know sometimes techno is so minimal you can't really hear anything happening there all right let's maybe duplicate this a few times two four four oh yeah so we have this way way too often kind of just just to remove some of these let's listen also probably removing some of the drums yeah this one shouldn't happen so quickly after this maybe this one shouldn't happen and this one shouldn't happen here just we have actually the snare sounds a little or a lot like crap piece of crap i need to distort this i'm gonna use maybe called saturator heavily maybe even input gain all right i'm gonna disable the reverb at all because this thing well it was an interesting thing to try out but it makes the whole thing very messy and this reverb tail is also too long excuse me much better yeah let's listen again yeah this sounds better i want to kind of a jazzy tune here i want to just compose this or maybe i can play it but we're gonna make another bass sound for that we don't want to make our bass sounds boring bass too i'm gonna try make some different approach for a kind of a FM sound okay this is four bars no this is the full bar all right let's enable the keyboard input um maybe time you know this okay i guess it's gonna be easier to click this out oh play this gonna be longer uh it's gonna work i'm gonna hit g select this right square bracket l this is too early uh so it was too late whoa oh i didn't want to do that thank for the new note uh there you go control left click select multiple notes all right now we can extend this for the second bar and work on the rest of them let's just maybe go to e for edit we can select all the notes control and drag copy and now maybe this is it all right so i'm just need to move these two oh yeah there's some groove lacking to this i'm gonna get to that now let's design the sound i'm gonna also bring back my spectral view move this over a waveform wouldn't be bad too so as i do this with synence of effects i do one awesome sinus later with another one octave lower and i modulate one with this yeah this is the sound it works oh we can also modulate this with the envelopes yeah so it kind of sounds like a filter but it's not something else ah noise is messy noise is bad use some other stuff instead oh yeah that sounds jazzy by the way i want to see what is this oscillator shuffle maybe let's pause this just find a pitch that plays well with our oscillator view yeah i guess none what does the shuffle do no shuffle what is this what is that waveform squeezed that's just a square but it looks very interesting and fancy okay by this spectral view i can tell that we're just changing the duty cycle we're making a pulse wave out of square wave how about saw ah this is lovely lovely sounds oh this is so cool but back to our FM sound and we can also modulate this shuffle thingy with our envelope we can also use our second oscillator as a real sub oscillator because it's one octave down well this one is also one octave down that is an extra reinforcement i would like some more click to this so it will sound a little bit more like clank bass ah sorry in polish it's called clank in english it's called pluck no snap damn i forgot the hell of the name how is it called oh my slap bass yeah that's the name let's try it some more maybe a little bit tiny of um now this is way too loud why haven't you told me i should have turned this down and that's without any filter let's try a filter interesting i like the sound of the feedback which is also making it like maybe stupid but it makes it sound more hollow and square like they're off i don't know i like the sound let's make it monophonic and you can hear what legato does playing different notes but it's only changing the pitch now which one starts the envelopes ah there's some cool things we can do because for example we can use the modulation wheel to make an LFO affect her sound for example if i use this LFO for the pitch of the modulator ah i can use the mod wheel to actually change the amount of this LFO in effect and i guess this is why we have these controls of the LFO power at all because we can't it's non zero i would like this to be zero oh be zero okay i guess i have just too much influence on here this and okay it sounds unusual right now and with the modulation wheel i want to make this ah oh i can't do that oh it works for the poly LFO okay ah because it's per note oh without a wonder why that's weird okay so let's ignore this one let's make it slow so it doesn't look so weird and use the mod wheel to i just need to make this zero and now let's try it out yeah it works we can control the amount of vibrato with modulation wheel i guess i have too much of that anyway but that just some that's just some random funky business maybe we'll use that maybe not let's listen to our melody ah i want to make this little slight pre-note made with the priest volume so so i'm gonna use my mouse wheel and also i have to enable velocity tracking oh okay because it doesn't do that by default gorgeous yeah however it sounds very high i mean i need to move this one octave down so let's do it the good way control a is gonna be loud might be right click transpose octaves one down transpose bam okay that's our jazzy bass line now let's make some beat for that maybe not so long i need to make this bigger i'm gonna copy this for hi-hat and snare oh you know it's easier to drive drums with different notes but the same track however with helm it's now it doesn't have built-in midi filtering so we would need to use some midi mongling plugins to get that done but i just don't want to fiddle with this right now hey hello where's the drums is the bass so loud that we can't hear the drums oh yeah not good i'm gonna listen to this little part in a loop or maybe wow i didn't know i'm gonna nail it first time i try it interesting i'm using a different pitch for the hi-hat it's gonna give me a different sound and that's what i want oh i missed a spot i meant to put this note here but i put it here and it sounds nice i like this listen that's funny also what if i use some small notes with a little velocity just to spice the things up uh i wish i could just oh uh oh yeah it might be nice but i just use totally random spots and that doesn't sound good how about this i think the snare is badly tuned that's what i think oh i'm using dlfo nah no please don't actually i'm making something that's completely in contraintuitive to what i was doing previously but it just makes it sound more nice to my ears i want to use another dq because after this massive amount of saturation the whole thing is very distorted i need to correct for that how about this no it sounds harsh no more highs let's disable the solo maybe let's copy this beat another bar shift d for duplication and okay here we go i want to do something with the snare and draw and kick gonna make the snare and kick closer together so it's easier to compose parts yeah it sounds a little bit like chiptune right now it's funny i didn't intend that oh i have duplicated things way too much not uh not good let's listen to that whole thing oh what is this why does it sound like that why these notes sound so bad i guess that's something about the note length oh yeah we have some problem why is that so i must have messed up some is that it is that it okay let's listen snare fixing problems now are we sustained somewhere sustain is messed up or not they're all disabled how can that be messed up oh yeah that's better okay also i would like to automate the filter cutoff for the bass the first one so i'm gonna go for here is little box a for automation processor automation helm which is the name of the plugin and here we have all the parameters and i want to find cutoff let's die right there i'm gonna use right to just put the starting value now under with the touch i can record some thing let's just maybe put another value here shift right click to remove this one and click and drag this one so let's let's try it out yeah i like this funky real yeah shift the d1 now we have a duplicate i want to make the second bass part different oh by the way when you duplicate regions me regions in our door by default they are all linked so you have to go to session properties and there you have the where is mask oh yeah in the miscellaneous media regions media region copies are independent that's disabled by default so if you control drag some media region when you change something in the copied one the original will change also so you need to go to your session preferences because it's a session dependent and enable this media region copies are independent and then every media region you copy will become a new file on the disk that you can edit and it won't affect anything else if you don't want this because you might want to link copies just keep that off and when you copy a region you can go right click media link from other copies and that's what you got have to do because otherwise if i edit my second part it's a note here it's gonna be here too and this can drive you crazy when you don't know that it's on and what the hell is going on so just keep this in mind i want to make this part a little bit different wow i did something else that i intended but it sounds good let's keep it oh the bass is very loud i want to try out some little little pattern instrument that's going to be the end of the video because we're getting close to the one hour hour we're already at one hour or something like that and you can't take more than this at once and not make your head explode and we don't want that because who wouldn't be wanting to view my videos watch it watch them when i make people's head explode not nice i don't want that i'm wondering if this is going to be a lead let's listen i'm interesting i didn't intend the sound to be like this but it is and now it sounds cool no i just wanted to look at this one note not both of them random stuff happening not intended whoa that was rough oh my goodness e for edit shift right click yes we're back g for grab resize yes e for edit grab this one and shift it somewhere oh uh-huh no not enough notes on the screen there you go that's actually gonna be a lead sorry for this misnomer let's just work on the articulation and stuff and how it sounds i want to use the mod wheel yeah i want to make this i want to make the thing that we did for the bass too but we didn't use that and not using the modulation wheel to introduce the brato i want to use that in this particular sound i want to make it go and stuff like that maybe we can automate this or maybe it's gonna be easy uh i mean we could use envelopes to activate let's play around and see what we make it's gonna be good and you can also have the spectral view you can see some aliasing but it's like way below 80 negative ld decibel so it's inaudible like i can't hear this stuff it's there we can measure that but it doesn't matter yeah remember that stuff about all pass filter it doesn't affect sound until you move it you can make some motion with this i don't know how and why i don't know that's very blunt and not interesting and also ear piercing how about this let's use a poly lfo because we can oh maybe i'm effect tune that sounds drunk no no that's not what we want now i'm assigning the modulation wheel uh i also need to assign the keyboard input here will it work yeah it works oh that's so retro my goodness amazing i'm icing let's just try and put some automation for the mod wheel and have some fun whoa yeah let's see what is this awesome just awesome vundaba i'd say maybe let's try to trickle this a little bit of the vibrato and then just boom none of it cool let's listen oh something's wrong it didn't refresh properly what the hell also uh i want some portamento glide effect for this lead yeah like this let's hit l oh no oh i hit k k what is k knife l i did something oh so we need to make sure notes overlap because we are using auto well i want to make my notes overlap unless i don't in some parts oh we're playing polyphonic and i don't like that for lead sound no let's go voices to one ah and you know what a good lead sound needs a tiny bit of reverb and delay sounded like you know what like these the problem of this is that they are monophonic i mean i can't really get any stereo stuff from helm because it has no panning inside for the bow for the oscillators so i'm gonna use a separate cough vintage delay for this to get some more stereo phonic weirdness happening oh that's spacious plush greatness fabulous and some emberb sweet space gimme oh no that's so retro that's so ooh oh my let's listen it's gonna be awesome all right the rhythm of the lead melody is kind of wacky it's uh it's not exactly how it should be i like it oh so like retro wave i don't know power fist power glove stuff like that conch furion company and that bass filler is a little bit too resonant at least at the beginning and makes some trouble oh okay let's listen now you know what a bossam needs it needs pitch bands because pitch bands are awesome and they are part of the lead sound for that ah whoa i'm not not intended to do this we have the pitch band control and two semitones let's see what is their limit 24 great two octaves i guess just one octave will do whoa yeah come on come on 800 and 102 yeah that's the middle value that's the rest position whoa that's weird that yeah i wanted oh yes i want these pitchments yes so bad that's gonna be so lush so awesome but yeah how am i gonna tune this when i really want just pitch bands that are like one or two semitones for most and i have all the scale available not good i need to think this through i just don't need so much stuff here let's use the exactly what i wanted it's so good so delicious i just need to get with the spedgements back to the rest position before everything crashes in my head that's a bit a little bit too premature pitch downation oh let's move this out a bit make more late because it is hello i'd like to into some point here yes thank you alt alt will release me the grid let's try it again yes what can we do here i want to make some pitch band that i made this note start higher than it should and then go back where it should like oh i don't know let's try it again let's just put it here and listen oh but we need some context retro goodness all right let's just have enough of that i'm just gonna compress this slightly slightly i want some more delay accentuate the delays okay actually looks like this pitch band here is too much i just need one semitone i'm going for two it's great i have traveled this base it is it has way too much high end it it it bites it it hurts and it doesn't have to low and i maybe i just can't hear it on the speakers ah what can we do more should we the fact that you can't doesn't mean that you should and i think that should conclude this tutorial i video on making music with helm by matt tittle uh oh crap i hope i don't misspell matt tittle yeah that's that's the name that guy is awesome he made a really nice synth it has some limitations but hell he cramped so much goodness and so little space on the screen and there's no tabs and it looks great it feels nice i like using this instrument i wasn't using it for a long time because when i have them it's a bfx i feel like i don't need anything else but it's good to have different instruments they inspire you in different ways they make you think differently they make you approach problems in different ways because you have different tools and that often leads for you to discover new things that you wouldn't be making otherwise so try new synths learn them have some of your favorites i hope you've learned something if you have any questions or suggestions about what i should cover in the next videos in my unfa vlog please leave them in the comments and i will see you in the next video bye oh by the way the track will be available for download the whole ardor project maybe also helm patches but i don't think so because i don't know how i save them


We have a situation where the discussion about fiscal policy is more about how aggressive should it be, what exact composition should it entail, rather than okay, should we have fiscal austerity. There's not a lot of people advocating for fiscal austerity now, certainly not people who have an important voice. So this is like a big paradigm shift. My name is Jens Nordvik. I currently run a company called Exante Data that I founded in 2016. We do data-driven analysis. You can call it economic analysis or capital flow analysis. There's different aspects. Over the last year, essentially since January 20, we've done daily COVID forecasting as well and not something we did and planned to do, but we had to do that because that was the one thing that was moving the economy and markets. So in general, we try to have a data-driven approach to what we do, but we're not machines. So in the team, we also have humans, and when you interpret data, the human judgment can be very important.  There's going to be breaks in those relationships all the time. We had a big shock that started in China and was a big shock, and the Chinese economy shut down, but for a period of time financial markets assumed that it was going to be sort of an isolated Chinese shock and not really a global shock. It was actually pretty strange because we were tracking this very carefully and we could see, okay, now it's not Chinese anymore, it's happening in Iran, right? Then when it came to Italy and the Italian economy shut down, then I think it was clear to everybody this was going global, and then it didn't take long before it really took US markets down, even before we had many cases recorded because we didn't do any testing pretty much. And then March obviously was an epic move in terms of shutdown in the economy, starting and financial markets going into total free fall. And then a lot of people started to think, okay, this is sort of another global financial crisis, and some things looked similar and some things looked totally different. Like one of the things that people were concerned about is, oh, okay, the bank's going to be in trouble, right? That was sort of the epicenter of the 2008 tension, and really there was really no bank-specific stress at any point in this cycle. And then the Fed stepped in, getting rates to zero just super, super quickly, and also starting to expand its balance sheet very, very aggressively at a pace we just haven't seen before, like buying bonds and other securities at a very, very aggressive pace. And not just that, also putting in place all these backstop facilities to backstop credit broadly, high yield credit even, which was very controversial at the time, of nuisible bonds. So it was just like an alphabet soup of all these different facilities. Nobody could remember them because they came out so quickly. But it worked, and a lot of facilities weren't even very used because they came so quickly that confidence didn't manage to deteriorate to a degree where huge amount of purchases were needed. And in the currency market, you also, at the height of the panic, started to see very sort of bizarre moves almost, where the safe haven currency, the Japanese yen, started to weaken against the dollar. So it was like some of that resembled 2008, where there was sort of dollar shortage, dollar hoarding that took place for a short period of time. But the Fed also managed to fill those gaps with swap lines. So really, it was in a remarkable shock that on many metrics looked like literally one of the worst shocks we have seen, we call it a hundred year pandemic for a reason. But also the Fed just stepped in and really managed to avoid a negative sort of confidence spiral, and they managed to circumvent those mechanisms much more effectively and much more quickly than what was the case in 2008, 2009. And then we started to see recovery in markets and recovery in some types of economic activity later on, but really financial markets really never looked back. Like we've had some ups and downs, right, but really the notion that markets bottomed at some point in March 20-something and then started to recover, it's been just incredible right since then. Not all markets have rallied at the same time, but we got control of sort of the plumbing of the financial system, the treasury market calmed down quickly. The most important credit market started to calm down quickly. It took much longer for, for example, emerging markets to start to recover. And I would say the last sort of leg of this financial market recovery really started in November, where we started to get the positive vaccine news, and people could start to really calculate, OK, if these vaccines are coming, like when are we going to actually have like the final descent in cases? I wouldn't say that we can say for sure we have that in, but people can say, OK, even if there's a little extra wave as the new strains come into play, we know the vaccines with high probability they're going to take care of that by the spring, and that's what we really have started to see a big recovery in all kinds of growth-sensitive assets, including emerging markets. So I think what the last asset class that has really started to be impacted by this is emerging market growth assets, and we've seen those outperform. Not only are markets looking at the recovery and growth-sensitive assets coming back to life, but we're also starting to anticipate that at some point they will actually have to be a policy response to take care of too strong growth. It sounds like almost bizarre that at this point in time where we have so much spare capacity, unemployment is still high. If you look at employment to population ratio, even more slack is evident on that type of measure, and nevertheless, because the vaccine rollout is perceived to be so important, and fiscal stimulus is really coming into the equation, the market is starting to look forward aggressively to a cycle that's going to be much more aggressive down and up than really we've seen before, and therefore necessitating some adjustment of interest rates over a period of time. It's a pretty incredible setup. This is another thing that's very different about this cycle compared to previous cycles. The Fed has communicated that they essentially want a degree of inflation overshoot, so it's been common around the world for the last couple of decades to have explicit or implicit inflation targeting, and almost all central banks set essentially 2% as the target. And now the Fed has communicated they want to have some idea of average inflation target, meaning that if we've been below 2% for a period of time, we are okay with the overshooting. And the reason why the Fed went down in that path when it was announced in the autumn was that they wanted to reduce the risk of being trapped at the lower bound, whatever that is, zero or something that's slightly different from that. And they wanted to essentially have a forward guidance that was more powerful. So this is potentially very important to the inflation outlook, like if we know the Fed is not going to be preemptive, if they know they won't have slightly above 2% inflation, that's important. And the other thing that's important about their framework is how they've announced that it's going to be implemented. So they've announced that it's going to be implemented in a way where they are only going to react once realized inflation has been above 2% and perhaps with some additional margin above 2% for a period of time. And the reason why this is important, it sounds like a kind of technicality. But if you think about how we've been coming out of previous cycles, it's always been the case that once the economy started to look a bit better, you had a certain group within the FMC that was more hawkish than others. They started to say, oh, now we need to be preemptive and we need to sort of make sure we don't act too late. That debate is essentially pushed back now. It's in the background in the sense that they've agreed on a framework where it's not so much the individual FMC member's forecast that are important. It is what we actually realize. And that means that the liftoff in terms of rates, tapering a slightly different issue, but the liftoff in terms of rates, should be later. And this, I think you can already see it in the yield curve, that the very short end of the yield curve is perceived to be very well anchored. And it has been very well anchored. And all the action is in the longer end. And just theoretically speaking, obviously if the Fed is not preemptive, in a way, we should have bigger moves in the long end. And that's kind of what we're seeing. We should not forget that this is not only about the Fed, right? So this cycle, as I said already a couple of times, we only had a couple of minutes here, but I said a couple of times, but I'll say it a few more times probably, like this cycle is really pretty extraordinary. There's the nature of the shock, there's what the Fed is doing, but perhaps the most extraordinary piece is the fiscal piece. We're adding up these numbers. These are just incredible numbers, well above $4 trillion, above 20% of GDP. If we go back to 2009 when there was an extraordinary need for stimulus, the economy and financial markets were in tatters, now what we're looking at is something that is free times that. So the amount of stimulus is extraordinary and you can listen to Treasury Secretary Yellen now when she talks about, okay, when are we going to go back to full employment or at least employment that was similar to what we had before this shock. We talk about it sometime in 2020. So within a relatively short period of time, one year from now, there's an expectation amongst policy makers that we can get back to essentially having eliminated that spare capacity in the labor market. It's just an extraordinary situation and I think when you think about the inflation outlook, that's something we haven't tried before. There's a couple of other things we haven't tried before. We've never seen a situation where the service sector, a big part of the service sector is essentially shut down. What's going to happen when it opens up? Like what kind of capacity does that sector have? That's just a big unknown. Another big unknown is that all the fiscal transfers to households and businesses that have occurred have been of a size where a lot of consumers, essentially, were not able or willing to spend that cash transfer. We have massive savings and we tend to call it excess savings because it's really like beyond what is normal. Depends a bit on how you measure it but at least $1.5 trillion are sitting in very liquid type of instruments that can really be deployed once feels like, yeah, okay, you can go out and consume the things you actually want to consume because those sectors have reopened. So like how strong is demand going to be once you have reopening? It's like a function of the new stimulus that's coming but it's also a function of this excess savings that has been accumulated already and there's just really no precedent for this. And then there's the issue of, okay, if the pressure, the extra demand is really in the services sector, how does inflation really work in that sector? It's a tricky thing. So maybe I'll do a plea to your young scholars here like because if you try to think about, okay, what research has really been done on how do prices in the service sector really respond to demand? There's almost no research in this area. This is not something that has been attracting a lot of attention in academic fields. So I think there's really a need to look at that carefully. Like what is the risk of inflation in the services sector? Clearly there's potential for like some volatility in demand and a spike in demand that is unprecedented. How are prices going to respond to that? That's really important to inflation outlook. I have some views, but like often when you form a forecast, you go and check, okay, what's the best academic work? It was pretty hard to find the working circuit. This is our best in class academic work. So I think that's something that's really missing from the research agenda here at this point. The sort of fiscal conservatism that has been a part of the narrative of economic policymaking, IMF advice, the way the European Union is set up and certainly debate in the US tea party and so forth, that fiscal conservatism, whatever form it took, it's just radically diminished or eliminated from the debate, right? So we have a situation where the discussion about fiscal policy is more about, okay, how aggressive should it be? What exact composition should it entail rather than, okay, should we have fiscal austerity? There's not a lot of people advocating for fiscal austerity now certainly not people who have an important voice.  If you're gonna forecast inflation, that political dimension, I think it's gonna be really important, right? If we knew there's gonna be fiscal stimulus that is gonna be well beyond the COVID relief packages in the US and Europe and so forth, that really would put demand on a different trajectory and inflation potential on different trajectory. And maybe I'll just make an additional point on that, right? So we've been in a regime now for at least a decade, but you can argue two decades where monetary policy has been used aggressively but we have very few examples where aggressive monetary policy was actually able to really generate a significant inflation impulse. We've had a lot of examples of essentially failure to generate a very significant inflation impulse but not really very many examples if any at all where okay it worked. So why was that? Like that monetary policy that perhaps was very aggressive in Japan for example but also recently in Europe and in the US, it was mostly based on getting interest rates down to a very low level, whatever each central bank perceived as its lower bound being at zero and Europe slightly below zero and then combined with a form of QE. But this QE that was done in many different places was a type of QE that I think is important to sort of label. It was like an asset swap QE. So the central bank bought some assets, typically bonds, took those assets out of the market, injected central bank reserves. So there was this asset swap, right? But what happened to those reserves? Like what happened to that extra liquidity that was generated? Did it really impact the economy, right? It was a financial transaction and the idea was okay, now the banks are gonna have more ability to lend and so forth, that's gonna be second round effect but it was not a very direct impact. What we're seeing in this cycle is a much closer coordination between monetary policy and fiscal policy. So you've had a situation where the central bank has to generate the liquidity but at the same time, you've also seen that the fiscal authorities have literally transferred cash and you can argue that same cash that was generated from the central bank authorities to households, right? So it's not like in the end, if you sort of consolidate the fiscal authority in the central bank, it is not just the asset swap anymore. It is the liquidity injection that also entails the transfer of that liquidity to actual entities in the real economy that can potentially spend it. This is just a huge difference, right? So if you're forecasting inflation and just looking at what the central banks are doing alone, you're really missing the most crucial part of the picture here. There's always a debate about whether the dollar's reserve currency status is somehow in question, right? And it typically takes, this is the debate we've had for decades and clearly like the reserve currency status has not disappeared from one day to the other, but there are some things that are totally new and the one aspect is what's going on in China. So China for the first time in 2020 and into 2021 as well, has been able to attract a significant amount of foreign capital into its local bond market. This just never happened before like the bond market used to be closed and they opened up were not very successful, but for various reasons, yield advantage, inclusion and global bond indices and so forth, that has now happened literally 100, 100 billions of dollars that come into that market. So for the first time actually, there's a reserve currency element of the Chinese bond market that you can argue is important. The Chinese currencies also been starting to behave in a way that from a sort of correlation matrix perspective also makes it look like a reserve currency. It's very stable. It has an appreciating trend and when there's risk aversion in the market, when something bad is happening, it really doesn't weaken. It's incredibly stable in that situation. So the Chinese currencies starting to have more attributes that make it feel more like a real competition to the dollar and then there's also potentially a new piece coming into the equation, which is do a technology. So China is creating a digital currency. It's being tested actively around the country. It entails essentially consumers having a wallet of a type that is a central bank wallet where the central bank can inject this liquidity direct into citizens holdings and they can spend out of that. This has implications for how clearing is happening, how trade is settled, transactions are settled and China definitely wants to have a digital currency where potentially from a technological perspective, they can compete with the traditional sort of banking based settlement of dollars and euros that we've known for decades, but which is not blockchain based and not a digital currency based. So they might, because they're leading in that space, have an advantage in terms of essentially being the first to build a digital currency. And that could also create some advantages in terms of like attracting other countries around them to sort of use that as a more efficient way to settle trade. So that could be a part of the picture.


What's up, everyone? Take down here. Welcome back to another comic video. Today, I'm going to be going through some more X-Force comics, and I absolutely love that. Once again, I get the opportunity to share my love of comic books with you guys and showcase what I have. If you guys remember a while back, it did purchase over 2,000 comics to resell, but some of it is staying in my collection. It's just a matter of going through it, seeing what really I want to keep and what I'm missing in my collection and kind of filling the blanks, but also to see if there's stuff that I don't want to sell, if I should hold onto it and see if the price goes up or see if I can fill in the blanks before I sell. So, a lot of interesting stuff happening, but today is going to be some more X-Force comics that I'm going to be sharing with you guys. Now, again, not all of these are going to be bagged and boarded. All of them are at least bags, but I think for the most part of today's video, none of them are boarded. If they're ones that I end up going to be keeping for myself, I am going to board them and likely change the bag as well, but let's just get into sharing these comics with you guys. In the last video that I shared X-Force, we did issue 1 through 33, and I think there was only six missing in between before having a complete run. So, today we're starting off with issue 34, which looks like an amazing battle scene. I absolutely love this. So, again, these are going to be hired for me to sell, but that is why I purchased them. Issue 35 here. I'm not sure who this is here. That's going to be interesting, and at least I'm going to be reading these comics before I sell them. So, regardless, I am going to get my money's worth out of them and then make money on top of that. So, issue 36. Don't know what's happening here. That's definitely going to be interesting to check out. Very cool. I absolutely love the cover of X-Men and Spider-Man comics. That's usually what I collect. Mostly 80s, some 90s, 37, but very interesting. 39, so we're missing 38, and that's so far the only one that I realized. It might have been another one that we missed, or I missed. From there, we jump up to issue 41. I believe that's correct, right? 39, and then we go to 41. A little change in the comics. I believe this is 90s style. I'm not 100% sure there is no dates. I'm going to guess this is when we're getting into the 90s for X-Force. I might be completely wrong, by the way, but I thought Marvel, whenever they did it up here, like that. I thought that was whenever they're getting into the 90s. This is issue 42, and their X-Men, these are deluxe comics, so I'm not even sure if it's a continuation or anything. Issue 43. This one actually doesn't say, oh, if you didn't know in the barcode, you can try to kind of figure out which issue it is. This is 44. It just doesn't say up here. It just says July, so that's interesting that they decided to go that route. Again, with August, same thing, but this is issue 45. You can tell in the barcode here, issue 45. It's really cool. I absolutely love these comics. They did change up the fonts, the design of the comics, going into more modern, but they still look amazing. This issue 46 looks really cool. The next one here, I absolutely love. This is issue 47, and it has, my god, Deadpool right on the front. That is amazing. I love that X-Force. The name X-Force just pops in this comic. We have issue number 48, not 100% sure what is happening in this one here, but it does look pretty cool. I'm definitely going to have to give this a read. On the back, that is amazing. It has Jane Silent Bob on the back. I absolutely love Kevin Smith. I did get to keep some other stuff from Kevin Smith that I found in the slots. Maybe in the future if you guys are interested, let me know. But I'll make a video on that. Issue 49. That looks amazing. I like that they changed it, and the name X-Force just pops on each comics. Issue 51. We're missing issue 50.  We have issue 43. So we are missing a few here and there. Issue 52 is missing. Yeah, this is issue 54. This is 96. The year I was born. This comic is over 25 years old. That is really cool. So I usually stay away from the 90s stuff unless it's of interest to me, like X-Forces, which is, you know, I might end up keeping these. This is issue 57. A lot more are missing here or there. Issue 58. Really cool stuff. I am so glad that I bought these. 59. And we jumped to December 96. Issue 61. It's really cool. Looks like the artwork is going more anime, which I am not into at all. And the artwork definitely has changed from the other ones to these ones. Artwork has really changed. 64. Characters look different. So I think these ones, the more modern ones, early or sorry, mid 90s, I think that's going to be the stuff that I'll likely end up selling. Some of the earlier ones I might end up keeping because they are amazing and that's what I collect. This is issue 70. Just I'm not into the artwork really. I like the older stuff more for the artwork if that makes sense. 71. Doesn't really do anything for me. 74. I do like that. That does look cool. And on the back, Men in Black, which I absolutely love. That's really cool. Issue 75. Didn't even know this was in here. Bash featuring more mutants, more pages, more trouble. That's really cool. And it's a thicker comic too. So 75. Gonna have to give that a read. Let me jump up to 81. Really changed the font of this one. But the next one isn't as bad. Next one, they went back. This is 84. Still amazing. And the last comic that I'm going to be sharing today that is X-Force related is X-Force issue 90. That is really cool. But honestly, I must say I like some of the earlier ones better from issue one. I absolutely love that. Some of the later ones, like this one here, I do like the font has changed. I do like the story progression, but the artwork really doesn't do as much for me as some of the earlier ones did. So this for me, my decision on whether or not I'm going to keep the X-Force or not, some of the earlier ones, yes, I'm likely going to keep them and try to fill in the blanks and have a complete run. But some of the later ones, the mid to late 90 ones, aren't really of interest to me. I don't really care for the artwork so much. I might read them and get the story and try to enjoy them that way before I sell them. But ultimately, I think the older ones, like the 90s, I think I'm just going to honestly sell them. It doesn't do as much for me as some of the earlier ones. So I think that's ultimately what I'm going to do. But I hope you guys enjoyed this video, me sharing with you all of the comics that I purchased in the 2000 comic lots. Today was the last of the X-Force. Now I do have X-Man, I do have Spider-Man, I do have a lot of other stuff and I'm going to be uploading them sporadically until I have them no more. So I hope you guys enjoyed this video. Comment down below what you would like to see next, whether you'd like to see Spider-Man or X-Man or some of my other stuff or some of my more expensive comics that were in the lots. I'll leave this video here. Please take care. Peace.


Hello and welcome. My name is Odin Parmax and I'll be talking about packaging Rust applications for Arch Linux. So here's a little bit of introduction about me. I'm a free and open source software enthusiast, which means I like to create open source projects and contribute to others. I'm a Rust developer and I like to learn new stuff. You can find more information about me on my website or on .dev. So Rust programming language. Rust is a multi-partline programming language focused on performance and safety, especially safe concurrency. Version 1.0 of Rust released in 2015 and since 2016 is the most loved programming language according to the Stack Overflow Developer Survey. So why Rust? In this section I'll be covering some of the reasons why we should prefer Rust. So first one is performance. Rust is blazing fast and memory efficient, with no runtime or garbage collector. It's reliable because it's type system and ownership model guarantee memory safety and thread safety and it enables you to eliminate many of the bugs at compile time. Rust is a general purpose language. It means that it's appropriate language for any type of programming. It's project oriented. It has an integrated build system and package manager called Cargo. And Cargo comes with great tools like auto format and lint checker. Then lastly it's well supported. It has a wide community and great documentation. So applications. We can do pretty much most of things using Rust from command line tools to embedded programming. And it's well suited for low-level Linux systems, user space programming. So you can write them services and command line tools using Rust in Linux. And it's because that Rust provides a robust configuration. It will deal with namespaces and formats for us. It can generate manual pages for the application automatically. And it has a lot of logging libraries and you can configure them with different targets and with different styles. And it's easy to distribute a Rust application in Linux because everything compiles down to a single binary. And there's no need for users to have a runtime or libraries installed. Everything is handled by Cargo. And lastly, you can communicate with machine using Rust which means that it supports many of the output formats. And actually there is a quote from the UNIX philosophy that is in the official Rust documentation. So because of these features, there's a meme on the internet called We Write It in Rust. So there is a packaging demo and I'd like to give a disclaimer before I start to demo. And more up-to-date information may be available on the Wiki pages. Here are the Wiki pages that I'm using right now. And latest standards can be found there. And when in doubt, ask for help in forums, mailing lists and IRC. So I'll start by installing Rust. I'll use the Rust app package for installing the Rust tools. Then I'll use the stable tool chain for the demo. And I'll create a new project. I'll name it Conf. It will be a binary. Then I'll use the Git as VCS. So it will utilize a Git repository inside the project directory. Then we can go in the directory and see our Tamil file is pretty much empty. It contains just the basic package information and dependencies section is empty. Then we can see our main.rs file is just a simple hello world program. And I'll go ahead and run it. Then I'll commit the changes. So I'll be using a create call device query for demonstrating, for creating an app actually for printing the mouse coordinates. The device query uses the X server for querying the mouse and mouse coordinates, mouse details, and keyboard details, etc. And I'll use the device query for simply printing out the mouse coordinates in my little Rust program. So I'll go ahead and assume that it depends on libxcb, which is actually a false assumption, but I'll be checking the libxcb for now for proving a point afterwards. When we create the package, I'll show you how to detect some of the things like false dependencies afterwards. So I'll go ahead and check if the libxcb is installed. It is installed and I will add the device query create to the dependencies list in the cargo Tamil. I'll update the main.rs file for printing out the mouse coordinates. It's actually an example from the device query create. It's from its documentation. Then I'll go ahead and run the Rust program and it will print out the mouse coordinates. We can run it multiple times to see if it works. Then I'll use the fmt tool for formatting the code if it's now formatted. Then use Clippy for checking the links for seeing if my code contains any of the common mistakes. Then lastly, I'll check the code again, which is not necessary, but I'll check it and I'll build a release binary from the little conf project. Release binary is created in the target slash release directory. You can go ahead and run it if you want. We will be installing this binary and other details in our Arsling package. The other details are the license and readme. I'll add an example license and readme to the project. License is mit and readme does not contain anything fun. Then we go ahead and commit the changes. Then we'll create a tag for versioning our application. Then we can use the git archive command for creating an archive from one of the branches. I'll use the master branch, which is the default branch. It will create an archive in our project directory. Then we can start writing our package. I'll go ahead and create a package directory and I'll copy the archive into it because we're going to use the local files for our package build. Package build is what we need for Arsling's packages. Package build essentially contains package details like package name, description, and it contains some functions for installing that package or building that package on our Arsling system. I'll go ahead and create our package build here. I'll explain some of the fields. The first line is actually maintainer tag, which means I am the maintainer of this package. If we push this package to AUR, it's important to add the maintainer and contributor tags to the package build. Then we will have basic information like package name, package verb, which is the version. And package drill is the release version. And the description is, it should be simple because it should not self-referenced package itself. We should use the simple description, architecture, and URL will be empty because we don't have any upstream URL that we need for this case. So it's empty. The license is MIT. My package will depend on the libxcb package, but as I said, it's not true, but it will build anyway. I'm going to show you how we can detect the actual dependency when we proceed with the package. So make-depends is cargo. We will need cargo for building our Rust application. So source is the archive we just created. And sha512 sums, it will be skipped for now because I want to show you a really convenient way of filling this array with the correct sums. We can do it manually, but I'll show another way. And the functions are build, check, and package. Build will check the code for compilation arrays or if anything like that exists in the code. Then actually a target there is here is not necessary, but I wanted to add this because I wanted to talk about it because most of the time it's missed. Actually, the default directory for the Rust applications, the default build directory is target, but we can actually change that with the environmental variable. So if that's changed, we use the target there with the cargo build command for indicating that we want this project to be built in the target directory. So in this case, our target directory, the default build directory is already target, but we can change that. So it's unnecessary but it's there. So we go ahead and cargo build with release, flag and locked will mean eventually the cargo locked file should be up to date. Then check will run the tests, although we don't have any tests. It's just running the tests. And the package function actually installs, it copies the necessary files to the correct locations. So we are copying the release binary inside the target release directory to user bin. And we are installing readme to user share doc. And license is important because normally if we are using a license like GPL3 or GPL2, we don't have to install the license because it's in the user share license, license is a common directory. So if a license is in that directory, we don't have to install because it's installed in the system as a default license, but MIT is not installed. So we have to install the license to the user share licenses manually here. So we are doing that. And we can go ahead and use Mac package for building the package. See if it's going to build. Then we can see it's fine. Everything looks okay. But we are missing the SHA 512 sums. So I'm going to use a script from the Pacman country package, which is update package sums. It performs an in-place update of the check sums in a package build. So I'm going to use the update package sums for updating the check sums in the package build. Then we can use a tool like NAMCAP for checking the common mistakes in package builds. It can give false positives sometimes, but it's overall a great tool. So we can go ahead and say NAMCAP package build. It didn't print out anything important. Then we can go ahead and check if our file locations are correct. Basically we can do that with the tree command. We will just go into tree the package directory to see if anything is not in place. So we see that everything is fine, but the more convenient way is using the tar-tf tar command with the tf arguments. t means list and f means we're going to give it a file. So we are giving it the archive we just built, and it will print out the contents of the archive so we can see what we did with the files everything looks in place. Cool, then we can create our SRC info if we want to push this package to AUR. Then I'll go ahead and create another package here, which will be a VCS package. I'll use the latest state of the git repository for building the confpack application, confrask application. So I'm going to create a new directory called VCS package. I'm going to copy the package build we just created because we just need to update some of the variables here, like the package name. It will be conf-git because we are using git as VCS. Then we can update the package description if you want. Then we can go ahead and add the conflicts and provide sections. Inside there we are using bash parameter expansion for removing the git suffix. So it will conflict with the conf package and provide the conf package. Then I'll update the source array, which will use the local git repository. Then sha512 sums will be skipped because we don't need that. Then I'll update the package word function for the package word is actually invoked when the package is building. So it will be invoked for updating the package word variable itself. So I'll go ahead and update that. Then the rest is the same except we are removing the git suffix from the package name. So we can go ahead and use NAMCAP for the package build we just created. And this time it will show something because I missed something on purpose, which is the git make dependency. So we need git as make dependency because we are building a VCS package. So I'll go ahead and add the git here. Then we can see it's built just fine. Then we can check the file locations with the tard-tf. Again, everything looks in place. Cool. Then if you want to, again, if you want to create the SRC info, we can go ahead and do that. And like I said, I used the libxcb for the package dependency, but it's not actually correct. So I'll use a true, I'll create a true environment for building our package in a clean arsenic setup. So in Dell tools, we need some of the tools in the Dell tools package. So I'm going to go ahead and install that. Then I'll create a truth directory and set a environment variable for it because we will need it. And I'll use the make arch-root script for creating an arsenic's truth at a specified location, which will be our truth directory. And I'll install the base-developed packages inside it. Then I can use the arch-n-spawn command for truthing in the directory and running a command inside it. So I'll go ahead and update my simple arsenic's clean arsenic setup inside our truth directory. Then we are ready to building our package inside a clean arsenic setup. So I'm going to go into the package directory and use make-truth-package tool with the C and R. C flag will mean it will clean the truth before building it. And R means we are using the truth directory with the environment variable we just set. So we go ahead and run this command and everything should be fine. But we are seeing that the package didn't build. So this is why we used libxcb, but libxcb can be installed without the eq server itself. So we need libx11 for the package to be built. So I'm going to update my package build and add the libx11. In fact, libx11 depends on the libxcb, so we don't need libxcb at all. So I'm going to remove the libxcb from the package build. And when we use that same command again, it will build just fine. And I'll update the VCS package as well. And we are ready to go. But there is a regular convenient way instead of the classic truth, which is built, which is extra x8664 build, it will use the presets from the presets directory. And it's actually easier for us to use this command because we don't have to deal with the other truth stuff. And we can go ahead and do that if we are actually, this command is used for the official packages because it's convenient. We don't have to, like I said, we don't have to deal with the truth itself. That was the classic way. So that is it for the presentation and demo. I try to show you how to create a Rust application from scratch and package it for arsenics. I wanted to show some points with the missing fields and the false dependency. And I think I showed how to detect the false dependencies and how to detect other mistakes in the package build. So that is it. Thank you.


I have trust in the good judgement of the Scottish people. I have faith in your commitment to their service. And I am confident in the future of Scotland. The maturity of the legislation passed in this chamber and the well-tested process is giving rise to it. Our evidence of the Scottish Parliament having truly come of age. I have spoken before of my deep and abiding affection for this wonderful country and of the many happy memories Prince Philip and I always held of our time here. It is often said that it is the people that make a place and there are few places where this is truer than in Scotland as we have seen in recent times.


OK, so good afternoon. I'm Commander Barb Archer with the Major Crimes Division. I'm going to give you a brief update on the incident from 8 Fox Street that occurred Saturday morning, about 2 40 AM, which was October or October, August 27. So officers were called to 8 Fox Street with information from a female inside the house that there had been a disturbance inside involving a male, and then this male also had warrants for him. On the way to the call, officers verified that this 49-year-old male was indeed wanted on several warrants. When they got to the house, they were met by the female who had called, and she said she would have the man come outside. The male came to the door. He saw the officers, turned around, and ran back inside. The officers recognized this male as a person they had researched on their way to the call and whose picture they had looked at. So as he ran in the house, the officers followed him to the second floor. Officers ran up some very steep and narrow stairs to the second floor of this house. The second floor is a converted attic space, so it has a very steep-pitched ceilings and very cramped area. When the officers get upstairs, they hear a female screaming inside the room where the male had ran into. So they kicked open the door, and they see that the male has armed himself with what we're calling a hunting knife with an approximately six-inch blade, and he begins swinging at the officers and making slashing motions towards the officers. At the same time, he starts throwing different things at the officers attempting to get them to leave. The officers gave him repeated commands to drop the knife. He refused. He continued to make slashing motions with the knife towards the officers. They attempted to de-escalate the situation verbally and ultimately deployed less lethal options. The threat continued, and the male continued to advance towards the officers. Officers created distance while backing up and continuing an attempt to de-escalate him, telling him to drop the knife, to comply with their orders. The male continued to verbally challenge officers and advanced on them and was within six feet of where the officers were standing. Officers at this point had no choice but to fire at this very dangerous and aggressive individual. One officer fired several shots from his handgun, and the male went down. The male was transported to a local hospital where he later died. There was a female in the room that we talked about that the officers heard screaming. She was taken outside and found to not be injured. There had been another male in the room, and he climbed out the second-story window and crawled up to the peak of the roof, and he laid outside up there refusing to come down. We identified that male later as Antonio Ruiz and had to call our Metro SWAT officers in to get him off the roof. While we were working on getting Mr. Ruiz off the roof, officers on the perimeter were contacted by yet another male who walked up and had established.  He indeed had a stab wound to his body. He was transported to the hospital where he was treated for non-life-threatening injuries. So in the meantime, the guy in the roof, Mr. Ruiz, officers with the assistance of fire department equipment were able to get onto the roof and take Mr. Ruiz into custody. He turned out to be wanted on several warrants and was taken to the hospital for evaluation and then later jailed for his warrants. As to the officers involved in the shooting, we will release their names later today. I can tell you that both officers are assigned to patrol in District 3. The officer who discharged his weapon has been with the police department for three years, the other officer for two years. The officer who discharged his handgun has been placed on administrative leave for our usual practice. So the coroner's office will release the identity of the deceased male later. During our investigation, though, multiple witnesses relayed that this male knew he had warrants for his arrest and that he was not going to go back to prison. We determined that he had an extensive criminal history. The investigation is ongoing. We do our officer involved shooting investigations cooperatively with the district attorney's office and members of the Aurora Police Department per established protocol. So at this point, if anyone else in the public has information that would be useful to our investigation, we encourage them to contact us. That concludes my statement. The deceased party had multiple warrants, various felonies. I don't have the specifics. He also had several felony warrants. Yes. The deceased parties were within the last month, I believe. Was the woman in the attic the same woman who answered the door when the cops got there? No. So there were two women in the house? Yes. Do you know how many shots the officers fired? There were several shots fired. The details of that will be released when the investigation is concluded. It's very narrow, like I said, very steep ceilings. The steep narrow staircase leading up to the floor, the officers were within six feet of the suspect when he lunged at them with a knife and then they fired their weapon. So they were out of room to move. And how dangerous is it going into a space like that? When you can't get out, when you can't, literally their backs are up against the wall because of the space confinement. How much to the fact there was another woman in that tight space playing with their decision making or would have played in the decision making? The officers were clearly concerned for her safety because of the male being armed with a knife. Just to hurt the officers or the woman as well. I'm not clear on that. Thank you.


So, last Thursday morning around 9am, these cowards decided to show up to my business knowing I was not there. That first person that entered the building was the sheriff. There's another cop there. Behind them is the USDA inspectors.  Sheriff car pulls up to the business and they had a search warrant everything sending half of the NYPD to shut down a healthy food business. And the ants come crawling in swarming together. There's three more cops there after two entered the building. You got three USDA inspectors. There's two other inspectors from Department of Agriculture. Looks like there's another guy there. I think that was one of the USDA personnel. They said he was training. I don't know if that's the truth, not if that's their lawyer. And this is the other view of the same thing we just watched. This is the sheriff walking in first of the building. I'm assuming that's the search warrant in his hand. We got one cop. That lady with the backpack on is the Department of Agriculture inspector. The two guys behind her are the USDA inspectors.   So four inspectors, two cops in the building, then there's three more cops on the left there entering the building. So we have five police officers and five inspectors, two from Department of Agriculture, three from USDA. And guys, this is not normal. Usually if there is a food safety report or a health issue, they'll send one or two inspectors over and see what's going on. This is crazy. So on top of the 10 people that entered my building, there's two more cops coming in. So New York City sends a dozen government agents to harass my business. And then after they enter the building, these are my guys working. There's some meat delivery just came in on the right there, those two pallets. Just like a lot of stuff. So Thursday morning my guys aren't sending out too many orders. I guess they had a few that were delayed that they are sending out, just local New York which are in the pout that's above the meat delivery. So my guy walked over to answer the door and Sheriff NYPD comes in, more police officers walking in. So they're probably telling him something but my guys don't speak English. So I'm assuming the officers are speaking Spanish and he was able to understand what they were telling him. That's the lady from the Department of Agriculture Inspector, pay attention to those cops that are walking into the back of my building because those are probably the guys that turned off the cameras. So these guys are basically telling them, hey we have a search warrant, we're going to go through everything and see what's going on. They never told me who filed the complaint, what the justification for the search warrant was in the first place and my lawyer doesn't seem to be helping too much. I find it very unusual the set of circumstances that happened here in addition to what's going to happen after the cameras were turned off. So the lady is still talking to my guys, USDA inspectors are next to her. Looks like the guy is taking pictures on his phone of everything going on and I'm assuming the Department of Agriculture took pictures of stuff too which they're probably going to send to my landlord to try to get me evicted which I think that's some shady inside stuff where government agencies are sending pictures to my landlord for court cases but that's probably what they're doing. So now the USDA inspector which is a federal agent is opening up my meat shipments to see what's inside which is all USDA inspect and meat because that's all I purchased. And then this is that cop that walked out of frame. There's actually going to be three cops that walk back here. So there's two ways to get downstairs to my office, one is through the back which these guys are going and another is through the front. So he's looking around seeing what's going on, third cop walks into frame and then after these guys go downstairs all the camera footage shuts off until I get back on the next morning, Friday morning.  So what exactly happened on the one day I've left the state in like five, ten years? I don't know. The point is, too many coincidences. My landlord has been trying to evict me. He's billionaire, connected beyond belief. He called the Department of Agriculture on me a few months ago. I didn't let them in. That is the New York state government body that regulates food processors. He called the fire department, FDNY, they barged their way in, didn't find any violations. And the reason someone is calling those places on me that are attempting to prove I'm cooking in my facility, which is a violation of my lease, make it easier to evict me. A judge granted a search warrant to the Department of Agriculture who then entered my premises with the USDA, the USDA being a federal agency regulating meat. Even though they weren't on the search warrant, they came in with the Department of Agriculture. The one day I leave New York to visit a potential property to actually relocate to, these cowards showed up. They didn't want to be movie stars, I guess, right on time for the delivery from the Amish farm shipped by New Holland Transport. My workers actually tried to decline the delivery, but the truck driver forced them to take it and release the product to us. So technically myself as a business owner, never even received or saw that product from the truck. The meat from the Amish farm was what they seized. And then some other stuff in my freezer as well. So all of those products seized by the USDA were never actually sold on my website. Never. But they're claiming the products are co-mingled with the rest of my meat so they think it's for sale.  So the salmon, roast, durian, caviar, beef, tallow, pork, lard, lamb, tallow, as well as the collagen broth and chicken stock. So hopefully within the next week or two we can get these products unseized. And whether they want to release them back to me or destroy them, it doesn't matter. I take financial hits every single week and I will still keep going. The issue is this harassment will not stop. I have been trying to buy some time to find a new place and relocate exactly why I visited that meat processing facility last week. But it looks like I'm just going to have to label everything as pet food, not for sale or whatever, just to get these government cocksuckers out of my building. That's really what I'm going to have to do.  So we're going to talk to them this week, see what happens, get the product back and hopefully we can relocate as soon as possible. What really killed me was I didn't realize my liver was really not healthy enough to take that flight out to Pittsburgh to see that slaughterhouse. I can't do it guys. I'm not physically healthy enough to relocate out of New York. The traveling in a car or on a plane, I just can't do it. So maybe we can find a place nearby. I'll talk about that in the next video I make. I got a few hours of sun today. I'm feeling a lot better. I'm less stressed. But it was really that combination of this happening and me being very physically sick from the traveling. So I'm getting a little better over these past few days. Although I did lose about 10 pounds from all the stress, I haven't been able to eat. In the three days I had two loaves of bread and a few apples. Couldn't stomach any meat, couldn't stomach anything. But no more dad bod du funnel I guess or do I still have to lose a few more pounds. Anyway, I'm going to give you guys an update on what's going to happen with the meat business moving forward probably tomorrow. And then we'll do a vlog on Tuesday just to show you guys more of what's going on in the facility and these people can enter whenever they want now because they have probable cause. And I think my lawyer doesn't know that I'm 5% Jewish. So maybe someone should tell them that.