Hello everyone, welcome back to a new session on Dentistry and More. So today we have a topic, black control which is a continuation of epidemiology of periodontal disease. This comes under the prevention of periodontal disease. So we have learned what is agent host and environmental factors for the periodontal disease especially the black and its hypothesis. So in this video, I will be explaining about the various measures of black control, what are the mechanical and chemical black control strategies, materials, compounds we are using. So let's see what is black control. So by definition, it is the regular removal of microbial black and the prevention of its accumulation on the teeth adjacent to the surface. So as we all know, microbial black is a major etiology of periodontal diseases but the patient cooperation is a fundamental key for a long term success. So we have mechanical and chemical black control measures and mechanical, the most common is toothbrushes and interdental cleaning aids. As in chemical it is chloroxidine, essential oils and other few products are there. So toothbrushes are started by Chinese in 1600 BC. So hypocrites even mentioned about removing the deposits from teeth. So the first bristle toothbrush was introduced by Chinese. So in mechanical black control, we remove the biofilm via toothbrush. The most common use is a manual toothbrush. So well designed to remove black from the facial, lingual and occlusion surfaces. So the toothbrushes are designed to remove black from the facial surfaces, lingual surfaces and occlusion surfaces. So basically every toothbrush has to follow these specifications given by American Dental Association. Its head should be 1 to 1.25 inches long and 2 to 4 rows of bristles, 5 by 16 to 3 by 8 inches wide, 5 to 12 teffs per row and 80 to 86 bristles per teff. So depending upon the hardness we can classify as soft, medium, hard and extra hard. What is 0.007 to 0.009 inches, 0.010 to 0.012 inches is medium and 1 3 to 1 4 is hard and 0.15 is extra hard. See commonly we use medium to bristles, for sensitive teeth we can suggest soft to bristles. So we have very common method that is modified bass technique we suggest for patients to follow that is apical 45 degree to the long axis. It helps circular cleaning of abdominal health. Steelman it is different directed apically and it is similar to bass method but it placed partly on cervical portion of teeth and partly on adjacent ginger. It is most commonly used in ginger recession. Charter's method is exactly opposite of these two because its angulation is towards the crown not towards apex. So it is for orthodontics and surgical sites to not disturb the ginger. So roll stroke is nothing but directed apically and rolled occlusively. Fonds technique we apply for kits that is a circular motion. So power tooth pressures are came into market in 1939. So we can suggest for people with lack of fine motor skills and small children's or handicapped even hospitalized patients with orthodontic appliances and some may prefer it. So we have various types of motion and power tooth pressures like reciprocal that is back and forth, circular or elliptical for a combination.  So these are the aids for cleaning and polishing teeth. They can be used in powders based on tools. So it has composition. The first one is abrasive calcium carbonate or calcium phosphate, humectants like glycerin, sobitol, mannitol, it creates a form thickening agent is sodium carboxymethyl cellulose. So this humectant it retains a humidity and forming agent is sodium laurel sulfate. So humectant is actually property which retains humidity that is a wet ability. So when we use a toothpaste it is very easy to apply compared to the tooth powder. So that is humectant we can use a glycerin, sobitol or mannitol. So forming agent sodium laurel sulfate preservative benzoic acid there will be flavoring agent like peppermint, saccharin, desensitizing agent like potassium nitrate or sodium fluoride anti-carousage and sodium monofluorophosphate and even anti-calculation which is pyrophosphates or zinc compounds. So we have various interdental aids. This is basically a simple chapter because tooth brush so we know tooth brush we see it a daily to daily in our daily life. So we can't easily correlate all the products. So tooth brushes actually doesn't remove the interdental plaque. So dental flows and other interdental aids such as wooden or plastic tips or interdental pressures can be used to remove the interdental food debris. So how we can use a interdental aid based upon the type of interdental papilla that is type 1, type 2, type 3. Type 1 is very close, precious over it has always advised to use a dental flows. Type 2 there is a papillary recession so miniature interdental pressure or wooden tips can be used. Type 3 is complete loss of papilla so unit after precious can be used. So dental flows is nothing but nylon filament or plastic which may be waxed and waxed or thick tint. So unwaxed is always preferred. So it is two method can be applied by spool method and loop method. Spool method is 12 to 18 inches taken and 4 inches around the middle finger as you see the picture 1 to 2 inches held tightly between the index finger, index finger then as the picture seen you can apply it. This is spool method. Loop method is different. Loops of loose is made about 12 to 18 inches with 3 knots passed between the contact area. So that is loop method. So interdental brushes are in various size and shape can be conical or tapered. So designed to be inserted into plastic reusable handle that is there will be handle always we can reuse it. So these results always inserted at 90 degree as you see the pictures. Move in and out motions and wooden tips can use it. It will be triangular in cross section base of the triangle oriented towards the gingiva. So this base should shoot the gingiva and the small sharp edge should be towards the coronal side. So unit after brushes can be used for type 2 and type 3 embrasures, gingival massages will help for improved circulation, keratinization and epithelial thickening. It should be pointed 45 degree coronally the rubber tip should be pointed like that. So water irrigation devices we hardly seen this, valuable supplement for mechanical plaque control because it removes unattached plaque and debris. So it looks like this picture is shown here. So it has a built-in pump and a reservoir. So next we move on to chemical plaque control. Most companies Clorexidene, then essential oil, antibiotics, quaternary, ammonium compounds and enzymes. Clorexidene is a cationic bispeganite it has a superior anti plaque activity it is known as substantivity because it retains to the oral structures for a period of time. We use at low concentration it is bacteriostatic and bacteriocidal in high concentration. So single rinse will be having an antibacterial activity for at least 5 hours. So it prevents actually pellicle formation by blocking the acidic groups on glycoprotein and reducing the glycoprotein adsorption on both surfaces and prevent adsorption of bacterial cell wall on tooth surface by binding it to the bacteria. So it binds to the bacteria and it prevents adsorption of the cell wall to get attached to the tooth surface and it prevents binding of mature plaque by precipitating agglutination factors in saliva and displacing calcium from plaque matrix. So essential oil is very has very long history of use and safety demonstrated plaque reduction in very long term clinical trial. Examples are listerine, thymolucaliptole, menthol, antibiotics are vancomycin, erythromycin like that but bacterial resistance and hypersensitivity are some problems enzymes would be able to break down already found matrix of plaque and calculus. And certain proteolytic enzymes are bacteriocidal to microorganisms like mucinase. So quaternary ammonium compounds are effective against developing plaque posterior organism like benzytonium chloride. So these molecules react with negatively charged membrane phosphatase, destruct cell wall of microorganisms. And some other agents are like trichlosan it is a phenol derivative, broad spectrum activity against both gram positive and negative and which act so on microbial cytoplasmic membrane and causes leakage of cellular constituents and it also delays plaque maturation and inhibits formation of prostragalantins and leukotrines. Telmopelan also it is a ethanol derivative it interferes with plaque matrix formation and reduce bacterial adherence. It used as a pre-pressing nutrients. So that's all about plaque control. We have two types of plaque control one is mechanical and another is chemical plaque control. So it comes under prevention of, prevention of pyridontalysis. So we have learned prevention of pyridontalysis under primary, secondary and tertiary. So this plaque control comes in primary prevention. So we are using it for primary prevention of pyridontalysis and various levels that is individual professional and community level. So at even individual and professional level it can be applied. So thank you. We'll come up with a new video on Tentistry and Moral.


My name's Giles, I'm a senior environmental officer. Life growing up in Cairns, I suppose my childhood was doing this, experiencing this every day. It's really great that I now have a job where I'm working every day to protect places like this. At uni we have these grand ideas about being on the front page of the newspaper, being on the front lines, protecting the environment, driving the change. It's not always like that, and I guess in this role we see it. We're behind the scenes somewhat, but we have huge impacts. I'm proud to do this job. I started at the bottom. However, I'm achieving results for the betterment of the environment, for the betterment of the Queensland public, for the future of my daughter. It feels really good to be a part of that. And in the ten months that I've been here, I have progressed quickly to a senior environmental officer. I'm really passionate about the outcomes that we achieve day in, day out. It's such a fantastic place to be a part of, and everyone's really supportive. The best part about working for the department is the diverse array of experience and knowledge and skill sets that are working here. You may not have even known it, but we have some of the brightest scientific minds in Queensland working as part of a government organisation. Not only are they some of the brightest minds, but they're really, really open and willing to help you achieve your goals and your development. We may not achieve the insane environmental outcomes that we're always striving for in a single day, but every single day we're making steps in the right direction. That's a great day for me, and that's a great outcome.


Hey everybody Forest here ripping 2022 triple threads baseball hobby 18 box master case number 10 tier random teams you can always find the results of lane sports cards.com good luck everybody let's go ahead and get started here talk about decadence mic open it some time for personless i'm not quite sure what it's all about we're gonna see good luck everybody fragmented 299 stroze and a 125 willy mage giants philly's triple relic howard utley in a harper 18 that's a cool one and jersey auto rookie redetmer's angels 7 of 75 299 bae bruth yankies into 150 Clemente pirates one of nine triple base relic auto kyle tucker yordan alvarez and jose altuvay great hit astros the magnus one game used base relics awesome hitched roes and jumbo jersey jd martinez the 36 red sox sound the doggers and there's no sign of the aliom r3 cases have been sold out for a couple days now they'll be breaking tonight uh lou garg to 299 yankies and 150 berry larkin reds triple relic astros jose altuvay one of 18 and jumbo jersey auto cubs he and hat 44 out of 50 it's for eminence man it's wild great excited 299 urney bank's cubs and two 125 ricky wander franco rays yeah book in every case yep or just about triple relic auto bernie williams yankies six of nine first pitch bernie williams jumbo jersey filly's riz huskens to 27 i'm watched any be opened well i am even more excited i've only seen a few hits here and there but i haven't seen any be opened and i won't keep it that way till we open our first one dance v swanson jersey braves the 36 the whole bomb i just drained a three let's go hey chris how's it going on man chris happy holidays 259 clayton kershaw dodgers to 299 stanton yankies paul gulchman triple relic to nine for the cardinals 25 game hit streak you can watch some eminence later chris and jersey auto dodgers will smith to 99 brookie shane boss to 99 rays and to 259 tom siever metz triple relic auto anthony rizzo yankies seven of nine yankies having a nice break so far rbi arrival and brice harper jersey filly's the 36 it's been a great few weeks releases in my opinion fun stuff man to 199 melott for the giants to 99 jared kelnic mariners triple jersey filly's brice harper to 36 power surge and mariners rookie auto on card 105 of 199 julio rodriguez there goes that man julio rodriguez rookie on card auto steve m with the mariners biggest draft pull so far for me there is a red wave sterling thompson a i only ripped like two cases chris everybody else has done a bunch more here here red wave sterling thompson is good j rod base rookie to 50 lindore metz and a 259 hank erin braves triple jersey auto nullan hour and auto to 27 cardinals hot corner cycle the age is not cut out here look at that well it's cut out it's not popped out there kind of looks cool though and jumbo jersey glaber torres the 48 yankies try thank you i ripped like so for personals last night there was a personal order of 14 jumbo boxes and a case of super jumbo that was here to like 330 there were some nice pulls i just can't remember dude got a case of super jumbo tonight for personals like 500 or something like that all right two 199 ryan sandberg cubs into 99 clomente pirates triple relic to 27 trade turner dodgers what do you mean the easiest product to break and reds redemption rookie auto hunter green you go reds can't tell if that's sarcasm or not the 75 tide cob tigers and a 259 quarry seager rangers right we don't ship paper but we have to skim through real quick cody ballinger 10 of 27 triple jersey auto for the dodgers we got i got it down last night i was real quick to 48 bat relic kyle louis mariners i just can't make sure you don't miss like a numbered paper yeah it should be it's usually right against it drew six five stars easier i don't know two cards versus 500 million cards two 99 berry larkin reds let's go magic oh dude they're taking a big lead what the heck happened in the fourth quarter you know i'm like what's going on rolling right is 75 the astros dolbeck triple jersey auto red sox to 75 and jumbo jersey orials treyman c&e to 48 it's 150 shane beaver guardians into 199 don mattingly yankees null and iron auto triple relic to 36 cardinals award streak and white sox redemption tim anderson triple threads auto uh single jumbo relic for white sox i still think chrome is easier it doesn't my hand hurt as much i don't have to hold as many cards in my hand it's easier than like a bowman hobby i'll say whether it's like 24 pack it's easier than that that's for sure it's two 99 one soto padres and a 125 saboteur pares royals triple jersey auto joey barton 99 giants yeah and he throws super jump packs you get like breakers claw holding them hand just stays in one place holding something for that long get the claw jumbo jersey man c&e to nine orials yeah i agree i agree with that i agree with that two 99 hosel to the astros and 150 j rod mariners eloy hymen as triple relic to 27 white sox and louis castillo reds jersey auto to 99 all right ready for a big hit that's so i'm ready for ready for a cut auto ready for a book cold to two 99 yankees and a 150 j rod calinic mariners to eat a candy cane is there just like one way oh you mean like what's the end you start at i always start at the uh the longer end not the hook end that's why i always start triple jersey rookie auto reds 20 santi on the 24 of 99 and jersey card and that steven strassberg to 18 what do you eat a candy cane yeah the longer end yep not the hook the handle yep that's what you want to call it you open it up throw in a trash get Reese's peanut butter cup ready jacks and a 259 a's and a 299 of latin jr blue jays not a peppermint guy on triple jersey show hey to 36 angels yeah you have to make it sharp exactly it's like a like you do you treat it you eat like a lollipop at first but you make it like a jailhouse shift yeah you make you never know yeah you gotta get somebody look at that again mariners to 199 hulir wajric as rookie on card auto times two times two eat the hook end first just a baby chomp on yours yeah i agree with that kyle even the hook end first is absolutely outrageous that's preposterous behavior you get put on a watch list if you do that i'm sure they definitely stop you at the airport if you eat the hook end first they're not going to door once a month just to check on you ricky henderson at 299 a's and the 299 akunya braves wood card rookie auto triple patch one of one jackson koa royals auto on the wood dude i bet a wood chuck wood chuck this car is so hard dude woodchuck woodchuck wood he wouldn't for sure chuck this wood card there you go royals one of one jackson koa love the wood cards and jumbo jersey urias dodgers to 36 yeah wood chuck could for sure chuck that wood but what would the wood chuck chuck the wood but how much wood would the wood chuck chuck give a wood chuck wood chuck wood i don't have the answers these questions 99 korea twins it's a 259 vato reds triple relic buster posi to 18 giants super versus south pause and to 10 patch auto mani machado three color padres patch that is sick congrats padres three of 10 on the mani we'll get that magged a wood chuck knob lock let's go magic whooping up on him now take it one of the cleaners hey it is it is push mobamba to the ground plagued to plagued to eject the whole team red card yeah red card to 75 kershaw dodgers in the 259 mike schmidt fillies i think when a basketball player fouls out they should only have four players for the rest of the play like the next like like have like a have like a like a one possession power play triple relic akunya soto and vladdy braves natz jays the 27 well let's see if anybody has two-thirds majority here braves is brandon h blue jays is matthew r and nationals adam el we're gonna random that at the end jersey auto will smith dodger seven of 75 oh he's already there so you're gonna miss us no you're just gonna get all the cold yep sorry my life sweet none of the fun bobby wit jr rookie cal the 199 orials in a 259 vladdy or no vlad not vladdy xbos go to the gnats nolan aronato triple relic auto 4 of 18 hot corner cycle cardinals nice nado and jembo jersey mitch hannigar mariners the 36 guys what's the worst christmas song what's the worst one for years like as long as i have known my wife i would always play the paul mccartney wonderful christmas time song because you couldn't stand it and now i got i got her to like it like she likes it now really yeah i that song is a little different but dude love that one the mariah carry one yeah well the mariah carry one just got ruined it's just got driven at the ground by pop culture that's what happened it it's a fine song it just got destroyed by pop culture once you start making like commercials and stuff like acknowledging like outside of like the you know like you know start acknowledging like bits then it's over our pools to 150 cardinals and a 199 abrams for the nationals dominic the donkey triple jersey auto to 27 yankee cc sabathia prime cc the shoes one what's the shoes one jersey kyle tucker to 48 astros kyle scrooge in chat christ music is terrible the air is a scrooge definitely not all christian music is terrible scrooge mcduck over there the 299 yankees mariana revera and a 125 cubs ryan sandberg yeah rocking around the christmas tree is is is is ballin that's like the best song or t's pooholson cabrera triple relic the 36 very nice red socks cardinals tigers red socks eric e tigers benjamin z and what we got cardinals scott f random at the end on that one yeah that one is two and jersey auto mike saroka braves a 75 yeah those still listen to November 1st shawna like just started listening to christians music like this week that's the way to do it right there yeah like i only hear it if i walk into like a publics or something and then recently i just started actually actively like listening to christmas songs like let me get let me get my fix in then i'll listen to it tomorrow and christmas and then that's probably it oh that's kind of thick that's kind of thick seems to christian songs to the autotune all right give me a sec after the book i got you if that is a book i think it is it could just be an extra thicker card uh devers to 199 uh socks and abrams to 25 rookie for the gnats i'm gonna send a box after the gnats are some peeling here the donny hathaway uh christian song was pretty sick you'll help ozo triple relic auto to 25 rookie for the rangers oh this is christian elvis christmas is pretty sick walker bueller to 18 jersey card for the dodgers there's some christians bangers i'll i'll say that most of it i won't listen to but there's like the good ones are good i don't know how else to say it but the good ones are good it's a 50 vlad for the expo is going to the gnats and the 259 tatis oh let's see all right windows in a greatness relic book card derek jeter four of ten yankees quad relic windows in a greatness book number two eric jeter number two tell sammy everyone someone tell sammy's trash when you see him yeah you want to start there you go yanks and jersey auto freddy perrel to brewers you want to see him turn a different color what song am i singing an autotune i always did have good christmas songs most of the good ones are older there's not a lot of newer ones that are like really good you want to pick one that i can't stand is the john lenin uh so this is christmas or whatever however it goes i can't stand that one dude that's my dude they're just blowing them out now let's go three pointers this quarter magic or eight of eight dude dude can't be stopped imagine it's not a christmas song that card can't play defense oh boy will he maze the two 99 giants and a 150 akunya braves triple dodgers patch here mookie betch trade turner max munsey seven of nine how are the magic atrocious jersey auto joey gallo yankee 78 of 99 how how are the how are they atrocious i'm not saying they're a great team but they're not like terrible anymore like the streak they're on is legit when they're when they're healthy they're they're an okay team like there is progress being made in orlando the two 99 yati melina cardinals which is the first time i've been able to say that in like three years posey to 125 giants triple jersey auto dylan carlson to 50 cardinals and jersey walker bueller to 48 dodgers poser they're not that bad they're really i wouldn't even say they're a bad team everybody's healthy i think they're like truly middle of the road like borderline playoff but it could also end up with like the 10th pick overall kind of that range like borderline play in but probably not if i had to say you know what i mean like they'll be in it until like you know march if they stay healthy if then again we could have these injuries and just start to sit people and then try to tank some more dare jeter to 75 yankees and to 259 gold schmidt cardinals it could happen tray young ones to get traded i mean who wouldn't hawks are trash 27 miguel cabrera miggy and the elite the tigers there matt brash rookie auto mariners to 75 yeah they just have depth now which is good too though like it's not just the starting five is solid like they have some depth to 259 bow jackson royals into 299 to Julia Rodriguez mariners let's trade jonathan isaac for tray young triple relic auto to 18 cc sabat the yankees nice when they're prime cc another prime cc you pull like three of those tonight so far and jersey for the blue jays lord is goodie l get women yama and move to florida dude the magic women yama it's a dynasty hello ben yama that's what we'll call them yeah hello yama love to see it magic fans leaving early because the the dub is so big it's freezing here in florida it's a whole 45 degrees yeah there's a lot of there's a lot of top heavy like the ahl has some really terrible teams so does the mda 299 usual for the cardinals and a 125 bregman for the stroze buster posie triple relic to 36 giants tray young into the nix that would be awesome dude he would he would he would not play jersey auto j cornell worth quadrace is 75 nix fans would automatically love tray young though i think they'd boom at first and then after he's just like a baller they'd love him 259 freeman for the dodgers and a 299 lindore metz brewers three of three triple patch auto robin yant christian yellich corbin burns and bat relic one soda to 48 gnats that's a sweet brewer's part man good second uh second tier hit there i mean christ just look at the magic last like 10 games just go look at that we're not going off of what the magic we're trotting out there in november when they were starting it was like sugs bowl there was like admiral scofield was like first off the bench it was bad for like for like a few weeks there it's a 199 hunter green rookie reds to 99 trade turner dodgers huge redemption here hers ken griffy junior edgar martinez felix hernandez triple auto relic combo card emerald parallel griffy king felix and emart which is what everybody for sure called him in the 90s emart congrats mariners have a break jersey card brandon marsh 227 angels yep the kidding king felix baby let's go piazza the 199 metz in a 259 susuki cubs rookie triple relic angels trout otani adel the 36 and jersey auto jt here on muto 21 of 25 for the for the fillies there yeah i'm not sure what the status is of the pig one i don't know if it's like protected or not have i've seen proof a cool grand a cool grandson oh wait yeah that's right that was during the playoffs right there was that a while ago make wire to 125 a's and a 199 diran reds ox top war protected gotcha triple jersey rookie auto matt veering felix at 99 so did the bulls be bad but not that bad you need the bulls to finish like 10th in the east or 11th in the east will be good jersey alex bregman 236 astros hey at at least that's that's the one you want then i love though right chris the 299 tonig win pyres and a 150 hosier emir as guardians vladity jr triple relic the 36 blue jays three grand slams jersey auto austin meadows tigers to 99 dude you know what magic win means 50 off papa john's tomorrow let's go 50 off papa john's i'm gonna get a um uh you know a um uh one of those really good yeah one of those really delicious uh you know from papa john's the uh um can't think of anything uh two liter of pepsi 50 off to 199 erin judge yankies and a 25 berry larkin reds triple relic josh donaldson to 27 yankies jeremy peña to 25 rookie auto astros what a break man the rookies came to play j rodin peña specifically ryan m with the astros papa john's makes some really good napkins oh man it's a 150 frank thomas to 199 show hey otani we're gonna end the break with that that's nice jersey card salvatore prez to 27 royals and redemption on the back windows into greatness autorelic book card erin judge this case is pretty fire erin judge windows into greatness autographed relic book card redemption eric are with the yankies order of papa john's pizza throw it out keep the garlic sauce then buy another pizza for it that's how it'll go two randoms all right redent uh i'm not redemption but uh randoms here red sox cardinals tigers and the orteez poholson cabrera it's a 36 and a 27 we've got akunya soto and um vladdy blue braves nats blue jays luck six and three nine times one or was up top gets him by the way two three four five six seven eight and nine cardinals for the young players one two three four five six seven eight nine nationals every cap time you get nationals here and cardinals here on the triple relics other relics we had salvatore prez vladdy jr bregman triple angels tradutani adel brand marsh wansoto buster posie vladdy jr miguel cabrera triple dodgers betz turner muncie got walker bueller walker bueller kyle tucker mitch hanager buster posie julio orias shohei otani steven strausberg trey mancini illoy hymen as nolan aronato trey mancini kyle lewis uh trade turner glaver torrez brice harper brice harper paul gulch mit riz huskens danzby swanson posey altuvay jd martinez triple filly's howard utley harper autos now austin meadows matt veerling jt realmuto the triple brewers here yount yellich and burns that's a nice one jake chronoworth cc sabathea matt brash freddy peralta dylan carlson joey gallo as a Yankee yo helpozo mike saroka cc sabathea again nolan aronato here to 18 will smith tony santian louise castillo joey bartz tim anderson redemption white socks autograph single jumbo relic bobby dollbeck kody bellinger uh hunter green rookie auto redemption reds noddo again for the cardinals will smith anthony rizzo as a yankee bernie williams as a yankee e and half redetmers get that jeter windows integrate in his book squad patch book 40 yanks much hotter than 10 on the patch auto padres triple base relic auto astros tucker alvarez and altuvay two julio rodriguez rookie autos to 199 one of one triple patched rookie auto wood card jackson koa royals mariners griffy martinez and hernandez a relic combo card emerald parallel autograph relic combo card emerald parallel redemption erin judge windows and a greatness relic book card redemption auto ref relic book card redemption and rookie auto jeremy peyton and 25 astros pretty good case there guys really good case actually we've got basketball coming up next


Okay, so welcome to the Jenkins configuration as code office hours for March 11th. On the call we have myself, John, Adrian and Antonio. We have a few things. So the agenda's in the GitHub channel. Feel free to add anything to it. I've prepared a bit with some of the recent pull requests that have emerged and recent ones that are open. So we have a few items that emerged on master and pending release. Just quickly go through them. So we've got a, we've bumped the minimum Jenkins core baseline to 222 for the milestones pull request that Francisco is working on. And also to allow us to use the system read feature as a side effect where Jenkins core became compatible with the proxy. Proxy configuration quite a while ago. But properties aren't quite the same as they are in JCASC. But the Jenkins core configuration gets picked up first. So there's a breaking change where the password field has been renamed to the secret password. We'll update the release notes before releasing. I don't think it will affect many people, but just to be aware. We have added support for configuring additional user attributes for the local security realm currently. It should be adaptable to other security realms. But some examples. I'll just show a brief example of it in the demo folder. So you can now configure name, description, display URL provider, which is where you want classical blue ocean and your slack user ID. And there's a merged pull request for the SSH public key, but it still needs to get merged into Jenkins core and released time zone and mailer, which all have pull request open. But so I think this will be useful for some people. And I think it'll be more useful once some cut some of the other security realms can adapt it for things like slack user IDs and public keys. There's been a few people asking for it. And fixed a bug on symbol resolution. Previously, we always took the first symbol in the list. So symbols are a friendly name for a descriptor. And if you're class, so we try and detect a nice symbol based on the class name and some conventions. If this allows you to say, don't detect it, this is what you should use instead. It also allows you to supply multiple possible ones, which is a way of backwards compatibility. So you can change it. You can rename it without breaking old classes. But we always took the first one regardless, which meant that when the pipeline model definition plugin was updated recently, they added a new one, which broke any existing users, which had a bit of effect on a few people. So now we allow any of the possible symbols when you import. And we always export the first one. And just been going through trying to get some of the stuck dependable PRs merged. Quite a few enforced problems that I've just been fixing up. So that's it for the recent news. So we still have the milestones progress open that Francisco is working on this one here. There's a couple of outstanding points left on that. One. So one is that the unit test doesn't pass reliably on Java 11. I've also seen it fail once on Java 8. So it's a unit test that's trying to reproduce the race condition. And we need to decide what to do about it. But and the other issue is Oleg is worried about groovy hooks and how this interacts with them. Our last office hours, he said that he was going to take that up and take a look at it and figure out the way forward. I don't think he's had time though. So I think we just need to possibly get together with Adrian and Oleg and discuss what we're going to do to finish this up. It would be good to finally get this over the line. It's been open for a month and a half now, almost a month and a half. Has anyone got any thoughts on this? Not really only about the groovy hooks. I think those hooks are applied here in Jenkins. I mean, even before Jenkins has started. So I mean, it shouldn't be any race condition. So they use the old unit milestone before the new unit milestones were introduced. So before JKS was using the same as groovy hooks. And now groovy hooks stayed on the same one as before and JKS was using a different one. So I'm not fully sure. I'm not fully sure the issue, but it's here. This is the specific line. So users job configured, users job loaded. Okay. Yeah. Yeah. I'm not sure what to do about the test whether the test is finding an issue or whether we need to disable it. It's not reliable. It's not something we can have on CI, I don't think. Whether there's a way to fix it. So system read permission follow ups. We've added support to JKS for it. So you can view the configuration as a system read user. There's quite a few core PRs outstanding. Mostly waiting for the security team to have time to review them. Still stuck on the bomb version bump. CloudBees folder is failing. So CloudBees folder is failing for one of its dependencies, one of the workflow one trying to load the structs plugin of the version that was detached. I managed to get a green build by ignoring the test failure. I'm not sure if that will be acceptable or not. But we've had this open for a long time. So I think Jesse said he's going to take a look and only said last meeting you take a look as well. I spent quite a while looking at it and couldn't find why the wrong version of structure has been picked up. Let's do a PCT in mega war mode and yeah, not really sure how to fix it and I spent quite a lot of time on it. The other is the other bomb issue, which has has a similar issue and has been similarly ignored just so we can try and move it on. JKS demo, we don't know what this is. I think Orleave might have updated his demo or not. I'm not sure. That's from the last meeting. I'll just remove it. I haven't touched the cio.jkenon.io as JKS. For now it was, we're kind of waiting to see what happened with AWS. We've got AWS credits have now arrived, something like 10k a month. It looks like for the moment the cio.jkenon.io is still on Azure but spinning up as many agents as possible on AWS. So I might look at moving that forward and just pulling in the AWS configuration. Plug and compatibility highlights. So file credentials is fixed for the credential. So they file this is a certificate file and regular file I think with the issues. So that's been an issue that's plagued people for a long time. If they had one of those credentials on their Jenkins master then export or fail. So that now works fine. As of credentials two, three, three, and the previous, there was one previous version of JKS that was released. 1.36. No point in when exporting file credentials. And something to do with exporting a user. I think it was trying to re, it was trying to re-import a user without a password or storing a null pointer. That's been fixed as well. And some documentation fixes. And the other one is we've got a progress token on the mailer plugin for allowing and configuring the user's email address. I added incrementals to the PR which Adrian wasn't happy with. But there's now a separate incrementals PR. Yeah, it's fine. I'll manage that later today. Cool. Thank you. Nice. And then there's also one on core for making the time zone. Property compatible JCASC. Waiting for someone to review it. This one was a bit weird that this is the only user property I could find that was explicitly calling save and user.save. And user properties have this transient user associated to them which stores a weak reference to the user. That is, that the property is associated to. There's no way for JCASC to set that. I tried. Well, I tried to set it. I couldn't find a way to set it, basically. But it doesn't seem needed at all. It works completely fine without saving it. And no other properties use this pattern. And the class is fully restricted. So it seems fine to me. And there's no usage of it. There's no usage outside of core. I couldn't see any reason not to just remove this as both the UI and JCASC worked without it. If someone wants to review this change, it would be appreciated. And just to note that there's a GSOC project that has a slide associated with JCASC in that they wish to add support for at least putting the plugins into the same file as JCASC, even if it's not JCASC self-loading it. But yeah, that's it from me. Has anyone got anything else they want to discuss or anything here they want to go back to in more detail? Yeah, I wanted to check something. So I'd like to start working on a couple of things. I want to check here first just to make sure we don't overlap or step in other stores or something. One thing is the extraction of a Snake Jamel as an API plugin. I think we talk about that in the past. I don't know if someone has started to work on that or not. And no, so we plan to do it, but haven't had time to do it. Okay. So I'll start working on that. And I think that's going to be also beneficial for other plugins that are starting to use Jamel more and more. And so we should stop shading the Snake Jamel there. So okay. And the other one is about the configuration that's called management link under manage Jenkins. I'd like to add some minimum extensibility to that page. Would that be okay for everyone? I think that makes sense. I was thinking about adding that in the users PR because I wanted to have that configurator add like a checkbox to the page because for that PR it means that users are getting exported with lots of properties. And I wasn't sure if say an instance with 200 users would want them to be exported. I've added a system property escape hatch, but I would have liked just to have a checkbox on the page. Okay. So it would have been useful there. Okay. So initially I thought about adding some extensibility to the existing actions like you can do some additional action when exporting a bundle or extending the view for the export view or something. But yeah, I think it makes sense to also extend, I mean, to add the ability to add new things to the page, not only extending the ones that are already there. So okay, I'll have that in mind when writing that. Yep. That makes sense to me. Good. Okay. I create GD issues and all that to start working there. If it's just Jcast related, I'll just use GitHub issues as much more visible. Okay. Cool. Anyone else? No, everything's fine. All right. Cool. Thanks everyone. All in that there. Okay.


Hello OscillatorSync here and this is the long-awaited drum log from Korg. I'm fully aware that this is a release day video so it's probably coming out at the same time as quite a few other videos on the subject of the drum log so I'm going to try and stay in my lane and not tread on the toes of my colleagues and friends. On YouTube, a similar plan for this video is to start off with a quick fire FAQ going through all of the features all of the things you're likely to want to know about the drum log and then for the rest of the video we're going to make some beats to get a feel for the workflow and to get a feel of course for the sounds as well. Before we get started with that though in the interest of transparency Korg did send the drum log over to me early to make some videos about but they have not asked for nor have they been given any editorial oversight as to the content of said videos so without further ado let's talk about the drum log. Now I know I'm not a YouTuber known for his brevity but let's see how quickly we can get through this so here comes the big info dump. Let's start by talking about the sound sources here so the drum log is a hybrid drum machine so it has a combination of analog and digital aspects to it the first four parts here the bass drum snare and toms are the analog parts they at the core of them we have analog sound generation which is going to customize to the jobs that we have there on top of the analog part there's also the ability to mix in a pcm transient sample to go at the start of the sound which can help you customize the attack of that sound. Next up there are six sample parts now they're labeled as closed hi hats open hi hat rim shot clap and then to user samples but you can actually assign whatever you want to each of those different parts now the good news is that these are stereo samples I've loaded in a synth hit which obviously pans from left to right and you'll be able to hear it is indeed a stereo sample there. Alluding to what just happened there of course I have loaded in my own user samples so that is something that you can do as well and those of you who have maybe struggled in the past with some core librarian software or the way that for example the opposite has to connect to the librarian software you'll be very very happy to hear that there is no librarian software involved in this you simply start up the drum log with I think the record button held down it turns up on your computer as a usb drive and you can drag the samples straight on the only thing you need to do is name the samples appropriately they have to start with a three digit number but other than that you drag them on you dismount the drive and it just works which is fantastic. Now I will just quickly mention one little grumble about the samples in terms of the way that this current version of the firmware works so on this channel here I've got kind of this string sample going on here and if I set its decay to the absolute longest that's kind of all we get now that sample is like three four seconds long so obviously the decay is not long enough to play the entire sample and there's no way currently to kind of hold the decay open until the end of the sample even if in the parameters you set the start and end to zero and a hundred percent so that's a bit of a limitation at the moment to my knowledge corg are aware that people think this is a limitation so hopefully in a further firmware update we'll be able to hold the samples open for a little bit longer the final part here is the multi-engine which comes pre-loaded with a vpm which is corg's kind of take on FM the variable phase modulation there's a digital noise source which is very flexible with filtering and saturation and bit crushing and the like and then finally there's a user multi-engine which is making use of that kind of log SDK that we've seen on the NTS1 the Millog XD and the Prolog so hopefully once the drumlog has been released people will start making user oscillators to load into this particular slot here which will be really good news it comes pre-loaded with a kind of virtual analog sound made from maybe sound vibes I believe to be clear you can't have the phase modulation the noise and the user algorithms all working at once there is a single multi-channel here it just happens that you select what you're doing with it with these three buttons so there's only one channel there you can see from the front panel that we have quite a lot of hands on control over the parameters of the different parts here we have volumes all across the top and then a selection of parameters for each of the channels in this matrix of knobs here but on each of the channels we can also go into some menus here to get more in-depth control over the sounds and how they're rooted and that kind of thing in terms of effects we have send effects for delay and reverb there's some delay and there's some reverb we also have a master effects section which comes loaded with effects like EQ compressor filter there's a really good sounding saturator on there as well you can only load one of these master effects at once you do have to pick the one that you want to use for a particular beat but importantly each of the parts that we have here can bypass that master effects so for example if you want to use the compressor with sidechain you can sidechain the bass drum and then have the bass drum bypass the master effects so that it is not getting squashed by the compression which is really really useful good thinking there cork the other thing is that the effects here are also making use of the kind of log SDK that we've seen on the NTS1 and the Minlog XD which means that hopefully a number of the user created and third party effects that are out there already will be compatible with the drumlog so there's going to be hopefully a whole bunch of different reverbs delays and other master effects like filters and choruses and whatever else that we will have available to us pretty soon I would hope there is also an audio input which can be routed through the effects just a separate jack on the back here the sad thing about that is that it's not a sequenceable track so you might remember on the electrives for example they had an audio input which you could then like gates with the sequencer which is a really really nice thing to be able to do to create sort of rhythms within there that's not currently possible on this version of the firmware anyway I've kind of touched on this already but I think it's worth repeating the drumlog is a stereo unit so each of the different channels have panning they also have this kind of spread which is just like a delay offset effect on most of them the samples are in stereo and the effects are in stereo this is a stereo unit in almost every regard let's talk a little bit about IO there's a main left and right output on the back as well as a headphones output excitingly for a lot of people I'm sure there are four assignable outputs on the back as well so you can send you can only send one track each to each of those outputs and when you do and you plug that output in it will be removed from the main BS we have assignable outputs so if you need to process a kick separately or your samples separately that is something that you can do hooray there is MIDI on the back with proper five pin din I'm no snob when it comes to TRS mini jack MIDI but okay no I kind of I kind of am and I'm really glad to see full-size MIDI connections on the back sadly there's no MIDI through however there's only MIDI in and a MIDI out so in terms of integrating this into a wider a wider setup either this needs to be at the start or the end of a chain of clock basically it's not the end of the world or you get a three box I suppose but it's worth bearing in mind if you're looking to integrate this into your setup it's also an analog sync there so you can use this to clock or be clocked from for example the volkers or other analog gear modular gear or whatever it needs to be and as kind of previously mentioned there is an audio input as well we also have two USB connections on the back there's the standard kind of connection that you would expect to have there to connect the drumlog to your computer this will not pass audio unfortunately it doesn't act as an audio interface it passes MIDI and it's also used for sample management and firmware updates and the like the second connection on the other hand rather excitingly is a connection that will allow the drumlog to act as a USB MIDI host so you can plug in a USB only MIDI controller or for example an iPad and control the drumlog that way so for example here I've got the nano control two here plugged in it's just USB it hasn't got any power it's been powered by the drumlog as well and I've got it set up to be able to control some of the channels and in this case give me control over panning because that's not something that's on the front panel it's got volume there so you can get control of stuff via USB and the MIDI implementation is pretty complete there are some parameters that currently are not represented as MIDI CC control which I would like to see so things like there's a filter per part that's not currently MIDI controllable I'd love to see that MIDI controllable cork if you're listening please on the home straight here let's talk about the sequencer quickly it is a 64 step sequencer the length is assignable per part as is the rate and indeed whether or not it's working in triplets so you can do all those polymeter tricks that I personally like a lot there is probability and per cycle step conditions so you can set it so that a particular step will only fire 50 percent of the time or you can set it so that that step hits every third time that the cycle goes round if you are familiar with the electron workflow that will sound pretty familiar to you I think it's safe to say that cork are at least aware of electron so that functionality is there which is great especially for someone who is an electron fanboy like me there's velocity per step and that velocity can play into the synthesis on the analog channels in terms of the sweep amounts and and the like we've also got ratchets or repeats so you can do those lovely trills you can also set those to ratchet up ratchet down or stay even as they ratchet that's really really cool great for adding complexity to your sounds we'll be playing with that very shortly something that was surprising but very very gratifying to discover when I first started playing with the drum log is that every single parameter can be motion sequenced and I don't just mean the ones that are controllable by the knobs here as you go into the menu those parameters can be motion sequenced as well and you can record those live or you can set them by step by holding down a step again if you're familiar with the electron workflow that will be very comfortable for you even the sample slot on the sample parts can also be sequenced per step which is pretty exciting we also have a looper if you've played with any cork sequences previously you'll be familiar with the idea of holding down a few steps and having those loop we have it on the volkers we have it on the sq1 and the sq64 it's a really nice performance tool in order to create roles fills variations breakdowns that kind of thing and you have control over how those steps are going to be played back whether they're going to be played back in sequence or random finally we have pattern chaining you can chain up to 16 patterns but there's no sort of full song mode on drum lock hopefully that's everything you could possibly want to know let me know in the comments if you have any other questions it is definitely definitely time to start playing with some sounds i think right then let's make a beat so i have initialized the pattern and i'm currently in live mode which allows me to play everything live as it were and allows me to select a particular part if you want to select a part without playing it we can hold down the part button here and select it without it making a sound which is great if you are in the middle of a jam you need to adjust the parameters on the go let's set our bpm to 130 let's turn the bass drum up nice and loud and let's lay down a a bass drum let's just go forward to the floor let's keep it simple for the for the moment so i'm going to go to step mode here i've got the bass drum selected and i'll just pop down my four to the floor there there we go good stuff so let's um let's craft this sound a little bit more um so on the front panel we have controls for tune decay nice boominess and we also have drive here and a little goes a long way get pretty nasty at the top end there cool um let's um take a look at the extended parameters here a little bit so um we've got this idea of the transient on the front end here and we can select different transients uh so um if i just cycle through them you'll hear how it affects the sound and so on quite a few here i like the bell accent one and the fork one yeah um now you can adjust the amount of attack we're hearing here so if we turn the attack here down to um zero percent we're just hearing the analog sound here and we can adjust the sweep amount and the sweep time make a freak tight there and we also have this hold here which holds the kick drum open for a little while but we can turn this down if we want to get more of a a tacky kind of sound even with a longer decay we'll put on a little bit of hold and maybe go back to one of the more conventional transients there cool um we also have on most of the parts a filter that we can apply here um you can either have it turned off where it says through we can high pass it in one direction and low pass it in the other direction maybe give it some uh filtering with some resonance to get that kind of attack at the cutoff the resonance incidentally will self oscillate which is kind of cool because you can really get a lot of character into the sound something like that I think uh so let's put a couple of incidental hits in there as well like uh one of those perhaps but we probably don't want this one to hit every single time so um actually first of all we probably don't want it to be as loud as the other ones either so if we come into the accent page here we can change the level for each of the steps so we can cycle through the accents like this but you can also hold down and set the accent amount or the velocity if you like uh manually as well so let's maybe accent each of these so they're full velocity and we probably don't want this particular hit to happen every single time either so let's come into the step here and we can hold down here this is where we have control over our uh our trigger conditions if you like so we can adjust the probability if you want like that but I think probably with this kind of sound we probably want to set it to happen on the fourth of four on two three like that and we also have the ability here to offset our hits so if you want to make this one a little bit later sort of humanize it a little bit don't think it sounds good though um so we'll keep that sort of bang on there maybe also have one here uh but again maybe we don't want this to happen um very often so we can maybe just use probability for that one cool we've got a bit of a kick drum happening let's move over to our snare and we'll just keep things simple to begin with and we'll just pop some stuff down on your five and thirteen again this is just the default sound so on the front panel do we have control over we have control over the attack of the body of the sound it's going over here ringing there a bunch of snappier there we have control over the tuning of the ringing and we have control over the decay of the noise element if we come into the controls here we can change the type of noise we have here so here we have the eighth model there's the nine model you might be able to read between the lines and work out what they're talking about there and we also have white noise red noise pink noise blue noise and a couple of lo-fi noises as well quite like that one inside here we can also control the level of the snap so if we want to take it out all together can and we also got this tone control which adjusts the adjusts the detuning between the two oscillators here to get kind of different body sounds and we then have our filter here as well let's just make it a bit darker get some resonance and we'll turn down that decay a bit so that's where you get some ratcheting going in here as well so we can have like a so at the moment we've got a single hit here which doesn't sound super interesting but if we come into the accents this is where we can set our ratchets so we can hold down this step have it ramp up and we probably also want to have that snap a little less longer there because we're kind of missing some of that sort of ramp up so we can come into motion here and we can motion sequence on a particular step if we want to so we're on step 10 here so we can hold this down and we can maybe turn the snappy down we probably also don't want this to happen every single time so we'll come into the step here and we'll set our probability down maybe like 30 something percent we can have that one at the end there as well maybe we'll set that one to a low probability as well and we probably also want to lower its velocity so we can also start thinking about sending stuff to our effects so maybe we'll send our snare to our delay a bit maybe the reverb that's a very big reverb so let's just save this quickly into one of the hit part here so that reverb is pretty big at the moment so the reverb delay and master effects kind of are tracks in themselves so if we select the reverb part here we can change the reverb parameter a little bit so let's uh those are all going the wrong way though let's go to a room once it's a bit shorter don't want a big big one for this one okay okay what next so next up i think i want to add in some tom sounds but i want to kind of give it that kind of techno poly meter kind of vibe going on like maybe only one or two steps per pattern but have those patterns different lengths to the kind of four four that's going on at the moment so let's go over to our low tom first of all so to set this up to work with poly meters we want to make sure that these tracks are selected to work that way so we can hit shift and 11 here it's just says poly just on here we've just turned on shift hold there if you hold down shift for a period of time i'll disable it now okay if you hold down shift for a period of time it turns on shift hold which means you don't have to keep holding down shift with your other hand to adjust parameters that require the shift or to fire things off on here be aware however that if you accidentally turn shift hold on and then hit for example step 16 you're going to in it your track now what's really important to realize is that if you hit it again it undoes that in it or undoes that's clear so i didn't realize that's beginning with and i lost a grid pattern earlier when i was playing with this so yep just a little tip there you tap it again to turn that off so we want to come into the poly here and what we now can do is select parts that we want to be poly metric so to begin with it's going to be just those two there the high and low tom so we're on the low tom here and to set the length of this particular part we hold down part and we tap time and that gets you into the part time if you don't hold down part you just get the global time here so they're the master length of the tracks which is currently 16 so yeah if i hold down part hit that i can now set the length of this part pattern rather than the whole pattern so let's maybe set it to like 13 i'll just choose that arbitrarily and i'll just come into that mode and just pop down a step so let's have a listen to how that now sounds so you've kind of got that kind of phasing sound going on there which is cool let's pan that somewhere so we'll come into its parameters here and if we come through to the mix and root page let's pan that off to the left a little bit so it doesn't get lost underneath the kick just mute our snare for a second right so in terms of the sound we're going here i want to go for something that's quite sort of clicky so quite short maybe in the settings here we have control over the attack again we have a click that we can layer in here let's maybe take the attack out and maybe try and just do it with the analog sound on its own we have on here control for the detune of this sound which is going to there's two oscillators going on here we can detune them and we can also tune the overall sound and let's maybe use the the resonant filter here to give us some character as well get that resonance up and it's going to ring a little bit oh yeah i've also got a drive here see how that sounds could be cool i think i'll leave it off so we get more of that attack nice and let's do a similar thing with our hi tom as well so let's start by setting its length here to something different again so maybe like 11 or something and we'll just pop down a step okay let's pan that off to the side a little bit let's turn its decay down a bit so it's not ringing a bit much maybe let's do that same trick with the resonant filter give it some sort of length by pinging the filter let's maybe put a ratchet for this one as well so maybe you come over here set a ratchet for this one a bit quieter and maybe not every time there that right that probability put the snare back in a bit too much uh reverb on that snare probably let's just take that down a little bit maybe get some delay on that higher tom so at the moment the delay is uh kind of working in mono i think set it to uh some dotted eights and set it to ping pong put a filter in there cool this is starting to feel pretty interesting let's see what else we can do i think this will be an opportune moment to take a look at the master effects a little bit so let's come into the master channel here so we can select through a number of different uh effect types including bypass so we have a compressor we have a filter we have what's called the boost which is my favorite this is probably one i'm going to end up using and we also have this eq 3 which is a three band eq so let's just set that little pattern going again so here's the eq 3 so we have you know a three band eq and on the second page here we can change where the uh kind of the the crossovers for the eqs happen so we're on lowest lows to be lower and the highs to be higher we can certainly do that so you've got eq there which is master eq and again we can bypass the master effects if we don't want any particular part to go in there so if we come into a particular part so we didn't want the kick drum to go through here we could come through to this page and we can say master uh bypass you can hear that kick drums bottom end is going to drop down now and it's going back through um so that's the eq 3 which is nice sounds kind of lame without it now doesn't it so we have a compressor uh like uh that um so um that's compressing everything all at once as i mentioned we can do sidechaining so if i turn the sidechain on here um at the moment the sidechain isn't getting anything so not sending anything into the sidechain so the way we'd probably want to set this up would be to come into your bass drum part here and if we come into uh the mix and rooting page here um so um the first thing we're going to want to do is turn up the sidechain amount for the kick drum so they can hear that that compressor's really hitting down on everything but we can um turn the kick drum uh to rather take the kick drum out of the master and now our kick drum is sidechaining um everything else i'm particularly set up the um we can certainly sidechain against the kick drum for example uh let me just put um this back to where it was let's turn the sidechain down so the next effect that we have in here uh is uh the filter so this is a master filter across the whole mix unless you take stuff out of course um so again this might be a situation where you want to take the uh the kick drum out or uh you want to take the snare out or whatever happens to be but we have uh basically a bunch of different um filter types here low pass filters band pass filters high pass filters and the like we can of course change the cutoffs the resonance this one doesn't resonate quite as hard uh this um cutoff uh is actually controllable by an external controller so this is a situation where you could sort of set up a dj filter kind of set up um and have that on a slider including switching to the mode which isn't um filtering anything so that's pretty neat uh the final one however is the final one yeah the final one which is my favorite which is this boost one and so this is kind of like a um saturator with a filter built in um i'll show you what i mean so so we've started to get some nice boost and saturation there but then we have this centering width control which is essentially like a eq control with a q and we can sort of center the um distortion around a different area wider the width the more it's going to get distorted and this is such a great way to get dirty viby sounds especially love it sort of you can hear that the reverb is going through the the master but you can i believe if you wanted to yeah send it post the master if you wanted to and just like dirty stuff so you don't have to be quite as extreme as that if you don't want to of course but yeah that's my favorite i have to admit so i'm probably gonna stick with that one right a couple of things that now we've got to this sort of mastering uh stage that i want to adjust before we start bringing some of the other parts so the first thing is um i uh think that my snare is currently a bit too um bit too bright with everything else now we've got a bit sort of grungy and and lo-fi so i think we're going to just come into its parameters here and just bring that cutoff down a bit might try a different reverb sound as well okay that's cool right let's get that offbeat simple thing going on there so let's um it's still too much reverb isn't it so let's come over to let's get that that offbeat hi-hat in there we can record this one live i guess so let's hit the record button bring and i'm not sure about that sample so let's choose a different sample uh so uh so we have samples which are arranged in uh banks and then we can choose the sample from there like a tambourine do you like a tambourine so we have control over the tuning of all our samples we can also change the start and end points for the samples uh we have our filter the same way we have with with our other channels still can be set to kind of resonate groovy and we then have a bit reduction if we wanted i don't think it's appropriate on this one and a drive doesn't need it not this time it's a panic bit so we also have this spread control here which creates like a stereo delay between the two which can kind of give you that stereo widening without sort of um doing anything else which is which is neat um don't think we need it for this sound i'll do it i don't know that's kind of cool with just a little bit of it and let me kind of just turn it down a bit just a tiny bit and then we'll have like a poly metric thing with the uh with the close actual that thing going on yeah let's try that let's just save this quickly save the kids yeah so let's uh go into our poly meter let's put our closed high hat in the poly meter pool come over to our closed high hat and let's set its length to uh seven i think is what is in my head and come into the steps here that's exactly what i had in my head perfect great um a little bit as well so we're going to our accent here and just sort of have these uh ramp up a little bit each time come back into the steps to set the probabilities that to be pretty low what do we need to do about the sound here don't we need to maybe darken it a tiny bit bring the resonance up to emphasize the cutoff uh we could also choose a different um uh sample of course let's play with the uh loop a little bit now that we've kind of got into this kind of so with the uh loop mode we're going to loop mode and we hold down a number of steps and they're just going to loop round and round around the way it's set up currently with the resume set to be synced it's always going to start back in the right place so we're not going to like um mess up the groove and this can be as simple as just holding down a single um step you'll notice there that our probability is still in play when we're holding down a single step we also change the speed that we loop round cool uh all make it faster or much faster that could fun um we can also change it uh to be random rather than uh looping round forward which is going to give you kind of different effects depending on what the the beat is and we can also set this to um actually um when you take the last one out it goes back to playing back um i personally prefer it in momentary okay um let's maybe put some uh samples down so let's pop a sample down um so if i come over to this sample track here and we can choose let's i'll grab one of my samples perhaps uh maybe just that uh a little yeah let's just grab that panning synth it's got some nice stereo movement built into it uh which is good uh so let's uh get that playing maybe let's um just mute a couple of maybe just something like that hit record yeah that's something in it um so let's have a look at how we can mess with the sample a little bit so we have um controls for the attack and decay probably for the by the nature of this sample we probably want to keep things pretty open um we then have our um standard sort of filtering stuff here as well and let's see what we can do here um let's try the redux hello there's something something good there so the cutoff is before the drive so you can't really take the high end of the drive so we might just have to compensate with some volume there instead of character not so much there's so much a bit reduction there can't really get anything done there but that's okay probably want to get some of that in the reverb on step 12 we've got this uh second step we want a motion sequence the tuning of that to get that other note happening so unfortunately we're going to be uh tuning um just based on tuning um we'll just have to get it to the right point that's what we wanted we don't want that every single time we probably want that every so we can come into the alternative alternating one here i want to get a bit of chaos into this with the uh other sample perhaps um so we come back into live mode here and we've got um sample going on in there at the moment something like that might be fun cool uh so that kind of pattern yeah okay uh so let's come into the motion control um 9 12 and 15 you want to change the sample slot on so to do that we come into the motion here and we just make sure that we're on the right uh set up here for what we want to uh parameter lock and we can just hold down and we can also set the tuning on a per step as well uh before we don't want that every single time do we so we want to come into the steps here and maybe set these again to like just on the sorry i'm incredibly for some reason very very tickled by that let's give that uh some shape a little bit you've got to remember that filter plus resonance you can actually be used to boost the ion as well as cut it so again uh to do the panning we just need to make sure we're in the right page here which is this one and then we can just come into the motion sequencing and maybe we want like loads of reverb on the art here so we've got filters we sorry we've got samples we've got the analog let's take a look at the multi-engine just to finish this off so as i mentioned towards the beginning of the video and we have this multi section here which allows us to choose between a couple of different um oscillator types if you like um we can only have one of these active at once so let's take a listen to what kind of sounds we get from the multi-engine so this is the vpm which is kind of the fm side of things now the multi section for the vpm and the user is the only section where we actually talk about notes so we can sort of program in particular notes when we motion sequence rather than just try and deal with the tuning which is pretty interesting so here we have basically a little two op fm synth so ratio is the ratio between the two operators indexes the modulation amount like so and then noise allows us to um noise modulates the operator as well so we can kind of noisy hits in here as well if we mix that in with like a higher ratio we get some pretty intense sounds there we then have a an envelope which we can then use to modulate the index or the operator mount so maybe if i bring this down a little bit and we turn the index mod up we can hear we can kind of get that cool kind of hit sound you can want it in as well if we turn up the attack and that's basically it in terms of the controls you've got here but it's actually quite a nice way to get a range of kind of especially percussive fme sounds we can also change the eg amount to actually hold things we can also set the eg to gate which means that we can have it affect the index but not the volume uh i like it as a are they to get those kind of knocks and cracks can get those nice fm tom sounds what's missing uh for me from this is that there's no way to detune um the other operators so you can't get this really metallic sound so easily you can kind of get them by going with the other higher ratio amounts but still it would be great to be able to get more sort of metallic sounds and then after that we have our normal controls for sending it to the reverb and the like so that's the vpm it's a nice thing to have i quite like it for percussive sounds although you can as i say use it to sequence it like a scent so the next one along here is the noise which is a digital noise source which has a filter built in or a decimator built in so for example we go to the bandpass here got the color control which allows us to adjust the cutoff we have the peak which is our resonance here without having to attack and release here which just affects the volume not the cutoff but it's good for getting those kind of windy hits and we could motion sequence the color here to get pictures in as well and we also got the decimator here which gives you kind of that decimated sound and the color here reduces the bit depth instead sample rate even good stuff so the last mode here is the user by default that gives us nothing because we haven't loaded a user oscillator it comes from the factory with this one called nano which is kind of a virtual analog type thing so we can use it to create baselines or lead lines or whatever we want to do when we come to the user oscillators here whatever is presented here is going to be per oscillator essentially so in this case we've got a way to choose which waves we're using the dg between them the balance between them yep we've got a filter with key tracking and resonance of course different filter modes there and then we have control over the the envelope generator where we wanted to have an attack or not and what it's going to control and then we also have an LFO here as well so it kind of got like a kind of a pretty comprehensive sort of comprehensive basic virtual analog setup here which is a really nice thing to have so we can set up a something like that and we could lay that in with our beat perhaps so so we could come into our motion sequencing here so the user the multi engines I should say are the only ones which will allow you to create sustained notes instead so if we have a look here in the step here we have a length here which you don't have any other ones personally I think there should be a length for the samples as well but so it goes so we can choose now to set the notes to these else we're going to change the probability of some of these as well so I think this one's probably a every other and this one's every fourth again now of course we could do this with longer pattern lengths but I'm so invested in the electron way of working that I ended up doing it was a little it was a mistake but I like it so we're going to build up getting off like a full groove here with various different parts let's go back into that master and see what else we can just do in terms of dirty things up a little bit and of course we can sort of bring things in and out with our mutes as well just so we haven't got our toms in anymore and yeah it's it's just a good fun performable drum machine it very much sits within the ethos of the of the logs here as I think it's a nice addition I don't tend to do reviews on this channel and and this is very much a demo not a review but I think it probably is worth just talking a little bit about what I think is good about the drumlock and where it sits within the pantheon of other modern drum machines the first thing I'll say is that it really feels like the drumlock has a particular character to it I have a particular preference towards sort of slightly more gritty dirty lo-fi sounds anyway and it feels like the drumlock likes those kinds of sounds as well that's not to say that it's it can't sound more refined like I intentionally went for a more gritty sound with this particular beat that we've built today but that is kind of the way that a lot of what I'm doing with the drumlock kind of goes the way that the filters respond the way that the master effects especially the boost master effect which is my favorite kind of responds it does feel like it moves you towards this sort of dirtier kind of sounds obviously you can load any sample you want into the samples but yeah it kind of just have that character and I like instruments with a particular character I think that's a valuable thing most of the stuff that I particularly like has a character to it whether that's in the way that you perform it or with the sounds the ethos behind the drumlock definitely feels like it is designed to be a drum machine and not a a groove box of sorts even though in this particular jam we kind of got some other aspects in there to make it kind of sound a bit more sort of full track jammy kind of thing going on but some of the limitations around the way that you can play in notes for example or rather the fact that you can't really play in notes and you have to motion sequence them the limitations around the way that these samples maximum decay means that we can't sort of do sort of longer samples on loops this is not a box which like if we compare to the flexibility of say the the dig attack or the syntax you're not going to necessarily be creating whole drone pieces on the drumlock which is something I have done on those devices I can conceive of ways that you could get interesting draining characteristics with the resonating filters and the like but it's kind of it's a little bit more pared down in terms of the surface that you have to play with in terms of that side of pushing its boundaries that's not a bad thing per se because it leads to it being a more focused device but I think it's worth making that comparison one thing I do really miss on the drumlock when comparing it to something like the dig attack or the syntax is an LFO or a couple of LFOs a lot of times I kind of wanted to reach for an LFO to automatically sweep certain parameters whether it's the decay or the tuning or the filter or whatever even the the volume and personally coming from that electron world I found that occasionally a little bit limiting of course you can motion sequence those kind of LFO curves and perhaps that's more the way you should approach it especially given that you could essentially if you were willing to motion sequence all the parameters you wanted to be controlling many many more parameters then would be possible on those electron boxes so it's kind of limited in one way but more flexible in another in that regard but it was just something coming from that world of being an electron fanboy that I particularly noticed now that might feel like I'm saying that the drumlock generally is less flexible or capable than than my two beloved electrons but there are some definite advantages that the drumlock has over those firstly and I think the key thing here is that this has synthesis and samples in one box that's a big difference between the drumlock and the electron boxes another massive difference of course is that we have the individual outs on the drumlock and although I wasn't using them in this jam you certainly can I would also say that the side chaining on the drumlock works better than the side chaining on the dig attack as well if I'm being completely honest you also of course have a much wider range of a potential effect the dig attack and syntax delay and reverb are good sounding delays and reverbs but you are stuck with those particular algorithms whereas on the drumlock even out of the box you have multiple different reverb types you didn't really touch on them so so much in this jam but we have like the the shimmery verse we have the octave down reverbs and all that kind of thing and then you also have the multi-engine where you can load in many different types of oscillators and sound design tools and hopefully as this is released into the wild people will be building those oscillators which kind of puts it in the same sort of ballpark as the syntax with its machines I guess although of course you can only have one of them loaded at a time on the drumlock I think fundamentally though the drumlock just sits in really well with the other log devices that Korg have brought out those devices have always been about fun and focus for me the mini log remains one of my sort of favorite polysense despite its limitations and despite some people's qualms about its sound it has a character it's very focused to get to the results that you want and the drumlock kind of maintains that way of working there's a little bit of menu diving which can be occasionally a little bit distracting but once you get into that workflow like with most things once you get into that workflow it's pretty quick to move around all in all I've enjoyed my time with the drumlock and I will I think continue to use it as an alternative to my electron boxes when I need something that is a little bit more focused or just with a bit more of the character the drumlock has if I want that character that kind of more sort of dirty gritty character that it does so well I think you know I'll reach for the drumlock rather than trying to replicate that character on another device so yeah it's not a flawless device as it stands but with a few firmware updates and Korg have been good at supporting the log range and there have since in general over the last couple of years I think with a couple of firmware updates in the next sort of 12 months I think the drumlock could be even more interesting and become potentially quite a special device anyway I hope you enjoyed this dive into the drumlock if you did enjoy the video found it interesting and useful then as always if you could leave a like and hit that subscribe button that's always really really appreciated but otherwise until next time take care bye