I'll do I'll do the I'll talk a little bit about it. I'll do some demonstrations you go But wow I love the creativity and I love the fact that it's I like the idea It's about imagination. That's why I think it's so cool about it. Yeah Yeah, sorry, I'm a little mind-blowing doesn't but you need to like water on the face or anything after that No, it's really cool. Thank you so much. So I'm I'm I'm Dirk Stromberg I'm a musician of a variety of kinds. One thing I'm into is is designing instruments So today particularly what I'm going to do is I'm going to look at Which I just realized I need something more This instrument that I've decided to be working with which is kind of culmination of some work But particularly I'm going to be looking at the synthesis. So I'm going to have to break it open so To get it working So one of the big things I'm interested in are things like are basically as an instrumentalist I love this idea of what is an instrument. So this is actually very much an instrument Which you'll see later. Some of you have seen this before And so on Okay, so a good number so I'm not going to go into too much of a demonstration of that You can play it later if you want I'll put in orders if you prefer, you know Okay, so essentially though, it's a it's an aluminum pipe that I've beautified a little bit You give my Texas out a little bit On one side we have an Arduino Arduino mega Which is essentially capturing all my sensor data and on the other side we have a raspberry pi And it's essentially designed to come apart of one for maintenance to For software maintenance as I do upgrades and so on so I think I've done a couple upgrades since in the last couple weeks Just is an ongoing process In some ways Well, I'm going to do a second version With the hardware so there's some some you know, there's some things they just kind of want to Start over with if that makes sense. So there's going to be Electronic wind controller on it. So so to have wind control is breath control. So that's going to be kind of the that's the upgrade So simple enough raspberry pi 2 the 3 just came out today. No Monday Apparently and I heard there's some available even so Just I'm not that I'm advertising or anything but It can be it can be delivered by the government Yeah, so so anyway raspberry pi 2 very simply and we're just going to plug it in to the HDMI control HDMI input, which is Here and we'll need audio out It's a lot prettier when you don't take it apart actually, but it is it seems kind of gets a lot more cumbersome Well, yeah, yeah It's well, I For some reason I I didn't do that. In fact when I first got it done There was a question of okay, so now I have to take this back apart to get it going So fortunately it wasn't too difficult and we should boot up okay So so what I want to do is talk about the synthesis. I got very much into kind of growing my own Work a while ago what else? And I'm really I mean I'm a musician so so in comparison to some code I've seen today Which I have no idea it probably is all just gibberish anyway. In fact, that's the whole point of Yeah, I can't say the word Yeah, excuse all this gibberish so here we go. So this is essentially This is it just booting up and I'll boot right into my My software there we are I will have to kind of face backwards because I don't have a screen And so this is this uses a data flow graphical object object and oriented graphical Programming language called pure data. Okay. It was designed by a guy named Miller Puckett Who does who his first big project was designing a program called max MSP? Which is a very popular program as well max MSP was commercialized There were some issues that he had with the original people anyone out and did an open source version It's one thing. I'll say I love about pure data is I believe I have it on my cell phone So it'll run on your cell phone It would run on Linux it'll run on Windows. I don't know why you'd want to run it on Windows, but It'll run on OS X or anything else. So it's a quite it's a it's a pretty interesting Language in that sense it does work As you can see we have a number of objects and so on so this some of these objects here Are objects that I've essentially made myself So you can kind of make your own objects or compile or at least make your own abstractions You can actually make your own objects abstractions or anything like this And then of course you have very simple objects Like delay which is very simple This delays something to happen for a second and this is a connecting port through my audio server Linux is great any any art and Linux users in here a couple good. So Linux one of the early things that it did and 2002 was when Jack audio connection Kate came out which is a fantastic tool for audio Won a great award in 2004 and it's really funny because it is a high quality audio over network Solution and it always worked over network from beginning Dante, which is the commercial counterpart to it came out four years ago five years six years ago. I mean just to say you know Linux had something really amazing quite a while ago. So this boots up From here. I'm assuming everything is all in and everything works Okay, so it works. That's good to know Okay, so so what is it though, which is probably a lot more interesting than knowing about this This awesome programming language, which you can check out on your own Essentially, it's a it's a few synthesizers that have basically been put together in a hybrid way. So Everything you see here. This is HID There's an HID input. That's because I've used the synth for other things and so it has an easy hack into my for HID that I'm using It's I'm sure some programmer today and say you left all of your old code in there Yes, I left on my own code just sitting in there as trash. Okay So it's there's trash and has not been edited out. I did recently get rid of there's also an analog control So you can control analog synthesizers out of this I've all I have recently thrown that away. So that should make someone happy that my pack writing is only partial Oh, yeah, okay, so this was something I was working on at one point It's you can see it's actually disconnected. So you can one thing. That's great about PD. You can run shell scripts Okay, so one thing is really and of course shell scripts and you can actually see a couple up there So of course if you're a Linux user and you're not a you know, you're not The greatest programmer in the world you're running a shell script actually can get you a long way Because you can start to do things bigger than yourself, you know, it's and so what I was doing was I was looking at ways of Working on this on the road very simply and and Yeah, and so in that idea was to run it On a VNC server. So just running running a virtual network connection Onto a laptop so I could run it in parallel not great Because I was getting some network. I was getting some issues between the Arduino and the Network was not behaving nicely to it together. So and I didn't spend a lot of time trying to figure it out to be fair I'm sure it's easy to fix per You people okay, so You can see here actually original mapping So here I was you can see the breath control actually was original idea Which is not survived and it's coming coming soon to a theater near you I'm looking at lip position lip pressure. So it was actually I was looking actually at touch pads So some things have lived some things haven't again code that has survived I'm not used to using this one Okay, so if I open this up again, I just get another object now if you're a Musician or worked in analog sins. This would make sense. Why someone why a musician would do some things. They're silly Okay It essentially works the program language works. It's top-down. So it works well in Singapore and then right to left I'm just kidding. I'm joking. Sorry. You can throw something at me at any point So Essentially it works. I guess JavaScript also apparently works right till it's right to left to be found out today And so everything everything has to be kind of be ordered in a certain way You can actually in I've had worked on larger Larger programs which are much like psycho acoustics programs and so on there you actually have to start dealing with a little bit of your timing of Processes a bit so you don't start to so not everything it starts processing and arriving at the same time They are See well patch panels would be sequential Right Yeah, so you go from one one place to another Ah, so we'll get to the physical model a second. Yeah, that's great. So the I what it started off So if you look at this essentially we have we have a number of synthesizers, so it's a hybrid synthesis technique Okay, that we're using At the core of it. I was using a I designed a large physical modeling engine at one point And it was just really fat. I Mean, I mean just was never gonna run on this poor little guy And this is a very unify a very inefficient programming language to be fair And so I was right. I was reading an article on on tristimulus synthesis So the idea is used using like the idea of RGB for doing additive synthesis and Looking at significant partials And what I love about of course are what's great about this is you start dealing with this idea that you can Represent a huge number of sonic color sonic colors timbers in two dimensions, right? I mean if you if you you translate it so So what we have so if I look at it, I think this is my this is obviously my second attempt at it that works better Okay, so here we have Here it is And so what essentially what I'm doing here is I'm creating as you can see at the bottom blue green and red and I'm keep and I'm accepting X and Y essentially and so Let me just clean everything up So if I go, sorry, I can start to kind of do different color things So it's not so you can hear on here actual So what you what I'm doing though is as you can see is I'm Actually, I'm not getting any That's the center so you can start to do things You're getting quite a bit of temple control out of just One process Yeah, so this is this is one joystick. That's just controlling that So this is kind of a this is a nice find in the end because it gives me a lot of control over So I get something I can do something like that. I'll try not to engage another part of the instrument Well, I'd get something Much brighter and you can hear me you can hear the harmonics changing in there for those who are So this was quite useful to me because all of a sudden, you know, I get this this My first part of the synthesis is taken care of very quickly. So I so this is my I use this now It's my excitation source So Representations of RGB What comes out of this are numbers Yeah, so these all what comes out of your numbers and here you can see some at least some of the You can see the numbers right there And you can see that I can When I'm in the right position You can see them changing There you go. So then what they do is I'm just sending him I send him now into three sets of Oscillator banks Okay, so it's a very small additive synthesis synthesizers quite really quite light which I like So here here it is Again things things that are no longer connected really Always good to see So here obviously your fundamental you want individual control over Okay, so so my first set of oscillator banks is not much of a bank. It's more of a withdrawal And it's just this what singular oscillator sitting there, which I'm then controlling the amplitude of it and then I have two other banks and I Essentially work in significant partial. So here the next three partials are important That makes sense What is a partial? Okay, so if you look at a harmonic sound, so that would be a pitch sound. So for example If I go, uh, you can sing back And if I say ah, can you sing back who on the same pitch? Oh Okay, great. Cool. So that's a harmonic sound, right? If I if I ask you to sing back on all you're gonna say Shit, right? Okay, so So a harmonic sound is a sound which can be sung that is pitched Okay, and a harmonic sound will then follow the harmonic series And a partial is then one is one part of that harmonic series Okay so So here we have three oscillators that work together Then and so it it turns out and actually I did I read an article I did a lot of testing and actually this actually works pretty well You connect that when you could you tie these three partials amplitudes together Surprisingly, they work very well Dependently on each other and you can and it doesn't it's not so offensive to the ear So it does actually it's amazing that they actually work quite nicely together So I thought that was quite a nice find and I don't think it's the next set that I decided they needed a little bit more Love and they have one last set Five and up as it's called So this night goes all the way to 11th harmonic Most people say you need to a 24 But I have other ways of getting the harmonics out. So this is just because it's just my excitation source. I Was okay with this in the end Up to Depends probably for man in our in our age probably You know 18,000 if you're lucky Hertz You can lower frequencies and see 20 Yeah, so you want to be able to hear the higher frequencies and the other thing you have to worry about are things like Nacris frequency and so on right if you know about sampling rates nyquist frequencies probably Uh Where essentially if you go over your sampling rate the frequency and frequencies then fold back on themselves And actually this will go over the nyquist and I'll show you I can show you an example of nyquist so that So as I as I so this there's actually a number of ways that you can you can hear it But one way you can do it is when I move up an octave You can hear some frequencies go down some frequencies go up So I go above the nyquist and so by going above the nyquist you have that so then here One thing I did here is I realized that Not all 11 of these Will go up nicely together. So actually I I Did a little bit of tweaking on my own end as you can see I've multiplied them to essentially make them as they go up They kind of taper off And that kind of takes off some harshness that I didn't like about About it. So there's a little bit of musical manipulation From the scientific paper because I thought it was yeah I thought it was good. I like the paper. I just Had problems with it Uh, we're in uh, I I have it in my laptop, but I don't have a laptop with me. I yeah, I as you know Frustrating Yeah, so, uh, so then I have a small physical model This is actually a bit of my of my original physical model from Another product that I worked on And this is actually just one little part of it. Uh, and I uh in so just to take a quick look at What what the difference is one thing is uh any audio signals are on these kind of thicker blue lines that you might see And control signals are on the thinner black lines So you can see perhaps This is thicker. Uh, this is thinner Okay, and uh tilde if you see tilde that's an that's an object that's dealing with signal processing So you can have it separates control and signal processing. You have to realize this paradigm I mean it comes out of a paradigm that was started. Well this idea of control signal and and, uh, audio signal comes from analog synthesizers and then was repropagated in, uh Music one music five programming languages C sound from MIT Eventually max msp and then of course this this so it's lived and even super Clidre in these content more modern programs still have this part so What this essentially what this is? Uh, this is a comb filter Uh, and it's running a comb filter and actually also running into the comb filter. Uh, uh, apparently I like this Uh, I'm using a uh a phaser. So a sawtooth sawtooth wave And so what I was doing is I was reading a bunch of articles on physical modeling and looking at how you create different articulation types And looking at how you can use So if you look at this I use noise Uh, and I use a sawtooth wave mix together big noise and what it is it is trying to create something much, uh a complex input Into the system and so what it does is is the noise emulates something like the breath Uh, or this uh the phaser represents something a lot more like a bow On the string because actually a bow on the string is actually very much like a sawtooth wave Because you're when you hear the bow the string being bowed of course you're hearing the string But actually you're also hearing the sound of the bow over that string So that's what that's where that came from and so, uh, this is kind of uh, this really Hybrid physical modeling idea that I thought because again, I don't necessarily need need it to sound like a clarinet or a flute Or violin that's not met my interest But I wanted to behave a little bit like one if that makes sense You know for me, it's not so much about like it doesn't need like if I want a flute I I know people who can play the flute really well. Why would I why would I waste my life trying to build that? uh But I started looking at the models the physical models of how you can then uh Essentially use those ideas to create more interesting or not. No, that's not a fair a different approach It's not more interesting by any means um And uh, the the original physical model I had also Had a different excitation source, which is in its own way nice Uh, and was a bit more versatile So it could actually sound a little bit more like wind instruments and brass instruments and string instruments And it went then through a several series of resident filters Uh, which uh, which I did as a as a physical modeling experiment But it's very it's very heavy because you start using if you're starting to look at You know, it was hundreds of filters You're very quickly bogging down your system Uh, and and also the control of hundreds of filters Uh, a lot of in the end a lot of music ends up being uh You know, it's a little bit I I would imagine like being a pilot if anybody anybody hear a pilot Great, so I can talk like I am. Okay, uh, I'm not uh, but but you know, you look at at at at this You know one thing they were saying, you know when they're building jets back in the 80s was this idea of of How much can a pilot deal with? How much information before you have information overload? So how many you know if you have if you could You know have a thousand oscillators in front of you. That's great But then how do you interface with how do you control all that? How do you put, you know, how do you tame it? And that's what probably a lot of us do at our technology lives anyway How do we rein all of this in so we can then interact with it? And and so things like this tristimulus Synthesis is one way to work with it this physical modeling technique, which you only see a little bit over here Is how do I is one way I dealt with that? So it's it's how how can I sit there and take? Uh, you know, how do we simplify this information and yet get those still the most diverse Responses from it. We want a very dynamic response. We want, you know, if an instrument can only play one note in one way That's incredibly interesting for a little while. You know, it's a great, you know, it's very neat But really like that's all it's going to be On the other hand, if it's totally uncontrollable and unstable and you can never get to any of the right places Like me on a trombone. It's totally useless If trombone players anybody here Okay So you're right up to the table Oh grain seven. Yeah, uh, this was this was my work over the weekend. Oh great I don't know why I called it grain seven, but I just knew that I had not used that yet that table. Uh, so what this is Uh, that's and that's the next stage. Perfect. Your time is perfect. Thank you um, so what I did was I was I was working with a Some granular synthesis. I I'm a huge fan of granular synthesis where you take Anybody so granular synthesis is where you take sound and you chop it into uh little Bits To put it nicely Uh, particularly I love what's called time threshing, which is a specific approach to granular synthesis where you take inputs and then you Uh, essentially, uh reorder And cut apart those sounds into others into little sounds. Okay It's a real-time process of taking uh audio inputs In this case we're actually in this case, which is the is a very simple granular synthesizer It's actually taking the input here and it's actually there's slices that can go down to Uh, I believe the textbook range is between Uh between Well one millisecond because it's very hard to deal with anything smaller Up until uh 50 milliseconds Yeah time slices, uh, but it's also dealing uh a lot of granular synthesis techniques also deal with uh issues of pitch Uh within that and so on so this one the granular synthesis techniques here I don't believe work with pitch. I have one another one that does but this one here is a very simple one And it's just singular and and you also synchronous and asynchronous. So is it rhythmic or not rhythmic? Okay, so and it's quite nice and I and I in my other physical modeling technique I do use granular synthesis uh to actually I mean to it works to uh, create that sense of instability that instruments have It's a very nice way to do it particularly when you start also then working with resonant bodies So the idea is to take grains and use Grains then propagate like you would propagate sound waves So it's a little bit like this idea. The idea came of course from the looking at is lights Uh a wave or a particle and that's where the idea came from uh back in the I'll I'll do it right here. I'll do now so So this is not the most exciting granular synthesis I have Okay, what I do like this for was uh, I play with the saxophonist occasionally Tim O'Dwyer And I love some of his uh sounds and so I just wanted to be able to steal it So if you know I can get some So that's it's a very simple granular synthesis synthesizer. Uh, that's essentially uh Running some sort of and I think it's actually just running I can show you the the shape so the shape of in granular synthesis the speed of the grains that then density of the grains Uh, the pitch distribution of the grains the shape of each grain So on I think I have a granular synthesis technique which which I think has 30 some inputs to control so it itself is a So this is a very simple table, uh, which essentially this is the shape of my grain Okay, so it's just it's just uh, that's the envelope of each grain is that and and this grain you can't change the envelope on You can hear it's just changing the speed Okay, so that's that this is uh, so now I'll I'll some that you can see that we have this now And then we can start to do So it's starting to get a little bit more complex Now next thing we have, uh Is working with amplitude modulation so what I I just I said this last time I presented here, so I didn't go into it But I have a small uh fetishism for saxophone players. I'm not players actually the instrument itself It's a whole nother thing. It's the players That's a whole nother evening. Well, that's uh, that's later. Okay. Um, but the sax saxophone is and and so a lot of what I look at is Well, how do they work? So one thing I realized that actually a lot of what you see from uh saxophonists we're dealing with Essentially the way that they manipulate their breath through their embouchure is actually trying is actually creating other vibrations so That are very akin to amplitude modulation and frequency modulation Right because essentially you are exciting and getting other harmonics out of it Through through these vibrations. So there is uh, so the first so one of the first things I did added in was uh There's just amplitude modulation So and actually that I'm using in such a way to get the way To get kind of the sub octave which is which can be quite nice And then one thing I said, well, that's nice. It's a good start to something You know what I mean? I have that and I get that and that's nice. It's also very physical So when I play that, you know what I'm doing.   So then the next thing I have is uh, I said Well, frequency modulation is is going to be even more wild, you know, uh, so then of course it was like and so I used uh So I use asynchronous uh frequency modulation amplitude modulation Which means that unlike if you look at synchronous frequency modulation that means We'll know what frequency modulation is Okay. Uh, well, we'll say we do anyway, uh, syncret if you do it With synchronous frequency modulation every pitch sounds exactly the same Which essentially what you want in a synthesizer allegedly Uh In for me though, I'm using I because I think I although I'm not a saxophone player, but I'd like to think I am I'm thinking like saxophone player. I don't need these harmonics to always sound the same I want to have very similar control. I want to be able to control them. That's for sure But I don't need it to be I don't need uniform sound Through the range. So that's why I can get And you hear that I'm getting as I'm the soundering up. I'm getting very different harmonics And that actually starts to sound if you listen to any of them guard saxophone players actually I'm starting to get close Uh, and that's good. And then So this was this was a lot of fun. So Again, what I'm using this is choice stimulus technique. There's some, uh Frequency modulation Some amplitude modulation to start to get a much more complex sound. Let me starting to get somewhere Uh, the last function you're going to see here, uh, is essentially just distortion And it's by pressure So the more I drive drive it, I just get distortion. It's it's just gain Essentially, uh, and so I can drive. So, uh, actually it's just uh, all it does is it folds the frequency back, right? It's if you function 10 h Okay, so it's just taking the signal and mapping it through that. So one it's great. Uh, you know, I won't clip Right because everything is is hard limited through that and it's also not a hard limiting So it's nice. It gives me So instead I just get artifacts. It's very musical. You know, the reason why guitarists love distortion To give color to get to to build a relationship between color and dynamics because otherwise guitars have very little color range With and particularly in relationships with dynamics. So the idea behind this is okay I just want that, you know, I want to be able to sit there and say okay when I'm playing louder I want it to sound like it's louder. You know what I mean? I don't want it just to be like Okay, he's playing he's doing something up there. Uh, which is probably still the reaction to some extent, but Uh, I'm but I'm okay with that part. Um So then that that's the idea and and so if you look at what I'm controlling in the end, uh, my grandest insist I'm just controlling here Which is not my favorite control in the world But that's why I put it right there because I don't need it for a whole lot. Uh, if you look at my, uh Tri-stimulus Just one joystick here frequency modulation and then, uh pitch Answering your question now. So there's a pressure sensor here I'm not sorry, not a pressure uh strip sensor That that accepts all this information. It can be fretted or unfretted depending on how lazy you're feeling Uh, yeah, so if you want to go chromatic, you can uh, or if you're feeling uh more adventuresome you can go unfretted so uh And uh, other than that control, uh, it's pressure sensitive as well. So using fellow stab Ah, I'll get to the next part See, he's he's always you're just like right on everywhere. Thank you. Uh, so and that's exactly it. So what this is the first part Okay, um And this this is essentially my my source now Which I use a lot there is One thing I did develop uh a while ago was another grand grander synthesis technique Uh, this is dry is is derivative of some of the work I did But it was all about It was the opposite idea my my first kind of this technique I did was just There was something I wanted to do and it was just it's a really great technique except for it. Just it's really piggy It's really big This one this was the okay So now how do I make this so it really like is digestible by this poor little bugger Okay, uh, who's you know We're waiting for the raspberry pi 3 is much faster. I'm hoping um So what this is is another granular synthesis technique, uh, what I can do is I can I can fade between them So You can see that's a much more interesting granular synthesizer And what I can do with this granular synthesis technique one thing that's quite Well, I find quite interesting I can change the envelope so there you can see me changing the envelope So if you want to Uh, so again, I'm taking a joystick I found a lot of joysticks at some point. This is not going it's it's kind of joysticks and saxophones. I tell you And you can see I can now reshape that envelope to get very different sounds And you can see it's actually quite complex you can see actually that's so I'm now actually modulating the grain Cool. And so so that's the shape of each grain I've also I and so I got into this this is actually from my original Grand synthesis technique that that comes from Uh, then what I realized is I just said, okay, we'll just do we have sets of grains now um And this is it so it's just What this isn't that one. Okay. See I'd learn something new every day. Um And so this is a grain right here. This is my this is an old process I came up with for a grain so it's it's essentially you have an audio input just to simplify this you have an audio input here And then all of this is processing to make to the length of the grain Making sure that the length of the grain fits it within the speed of the grain And then if it's too long it will at least wait So it's you know all all these kinds it does latching functions and everything like that to ensure that all of the timing works that well That's why you can see Uh, and you can see this is asynchronous. That's why it continues to generate numbers. That's because it's random So it's randomly generating numbers. Uh, you can see random up there actually Uh, and you can see that essentially you can change on this this on the grain you can change the length of the grain The offset, uh, so that means how much off of zero Zero would be the the onset time. So how much are you going to offset from onset? Uh, which is I believe randomly controlled in this version Uh, there's a grain ready, which is not being implemented here. There's a lot of things that we cleaned up in here. It looks like, um, and then you're essentially That is now running An envelope generator my envelope generator, which is essentially an oscillator And then with that oscillator, which is timed to bang It's time to start and stop It then controls my audio input the audio input. It's exactly what you heard earlier In which you can hear it coming through Is chopping it out. Yeah, so it's essentially just taking my original input and chopping it up And so very very simply I take this Uh, four four grains. I didn't realize that I didn't realize this is the version I was using here Uh, four grains chops it up And then sends it out to an output Which is, uh Probably on my main page Output it's a good name for it, which this is very simple. Uh, this just does things, you know, um, I have a mono Stereo version of it. So I have a switch to go from mono to stereo. Mono is particularly useful when you're using with guitar pedals So what I'll do is I uh Kind of hack together a pedal which can be volume or pan and so I can then pan between Guitar pedals or straight salad or something. Uh, so that was something I added Since we out last year volume, you know These things things like volume become become such an important thing with with electronic music of really being able to control that Uh, and this sometimes it's the simplest things that go man. I really just need it to do this You know, I just need it to be quieter You know what I mean You mentioned I was going to ask you about pedals Yeah, are you Still inclined to use pedals or is it I think is attempting to build foods and models in this framework to Before those functions you got controls in the hands Uh, yeah, I do use it with pedals. I mean I I I do. Um The reason why is it with pedals? Uh, there are some pedals out there that that do really nice. It's very specific things And they're they're really well designed to do one thing one thing well. So for example um, I have Granderson's pedal, which I really like Seeing a small trend here With foot control so you can you know, all of a sudden it adds it has a very specific color and to actually program that would be Possible, but is it worth my time at a point isn't that the question? Um, I also have some a really nice analog ring modulator You know what I mean? You go. Oh, it's a nice ring modulator You know, it's it is its own thing. I have an uh a decent so for some of the analog gear Uh, what ring modulation ring modulation Uh, not not anymore. I mean fortunately, I mean electronics have come down in price Uh, definitely. So there I mean they're not necessarily cheap, but but yeah pedals I mean, you know, so I use them because they can do certain things Uh, I feel that they're extend they extend what it is You know, I don't think they're an integral part of what it is, but they can extend it So when I start looking at doing shows that are an hour and a half long I'm very happy to have a little something extra and so it's probably the audience at that point So so in the end, yeah, it's it's actually limited controls Uh, is a big part of it and the idea is just very portable Very small very easy to set up boots right up So a lot of it just comes down to very practical things because the instruments are very practical You know, you you take them out of the case and they've got to work You don't you don't want to see a horn player I you know, I can you don't see you don't see acoustic musicians get out and say, I'm sorry.  You ready to go.  You know, and there's that that kind of robustness that I that I was very interested in Um, you know within the synthesis context, so it gives me a huge variety of colors Uh, and it's quite controllable For yeah for what I mean so great Questions more I'm actually just I've nowhere else to lead the you've been following my line perfectly I'm glad we prepared this Let's say if you want to do like scale runs, uh, I I notice that it's like usually like slow That's not easy Church it it's Yeah, latency is about, uh I think it's five six milliseconds. It's it's more than I would like but but these guys You know part of it's just the actually this is the serious logic chip on here the Which is much Sorry raspberry pi, uh, I love you guys, but uh, uh, it's much better It's a much nicer clock than what's in the raspberry pi But even that clock it's hard to run much faster than that Put anything to make it more sensitive or the which what part I don't use I don't use the built-in audio. So I use a external sound card that What This one is well wolfson got bought by serious logic So yeah on the I use the wolfson on the old ones and then the new ones I use the serious logic and I'm really quite happy with it by the way, I would be They would say I mean There is the onboard stuff is It is it's it's it's terrible. Um, it's an 11 bit Vac, which is like, what are you even doing? Yeah I don't even know where they give this 11 bit numbs. Yeah Uh, this is serious logic and it's made of Yeah, you can buy off of element 14. I don't know. Sorry Yes, yes those guys those guys same guys No, no apparently they just bought somebody too, which I couldn't believe Yeah The dac guys So it's actually a decent chip. It's relatively quiet. I've done I've done some testing on this because I actually was developing a audio card Uh, based off of raspberry pi. So you so they're they're, um network based Um audio interfaces essentially other than I didn't do that. I just did the networking and Essentially just the shell commands for the jack to connect correctly Um, and it's really quiet. They're quite good actually. I've done some Reasonably sized shows with them and nobody's complained about humming his and the stuff So they're quite quiet, uh, and they can when you can run them pretty quick So I'm really actually happy with them. I could really advertise. I really could go into advertising Which part The programming All of the the all of the heavy load is on the pi The chip the serious logic chip is merely, uh, the converter So it's only it's doing the digital to analog conversion for the audio output So so that's that's that's its only job. So of course if you get a chip to do just one thing, of course, it's going to be better at it But you'd hope I mean You can take this off this this velcro here actually I use it to adjust my, uh, it adjusts my, um Action so I can actually make my action more or less loose. So I can take the self actually You want to see this too, you know, I think this is exactly what Leon wants to see from me today Um So this just comes off Yeah, it's just velcro. Don't worry about it. Some people look me like no It's okay if it breaks. It's just again. That's all. So if you come up here if you want to see it, um So here this is this essentially is this is I'm sure you know what this is. This is just a pressure Ribbon sensor not pressure, but just ribbon sensor Right off this obviously right off the store. We'll heat string extra. Uh, and this is the velostat And so, uh, it's just essentially Uh, one piece of velostat Copper tape on both sides.  I heard I heard I heard at a friend. Um Yeah, and so yeah, I'm good at my electrical tape and then this is just these are just here to You know to give me my pass. Yeah, because originally I was actually looking at at just having this uh down but actually it was really nice to be able to to take it off of the Velcro because the velcro just actually adds more It adds more resistance before you start pushing down on it. So it takes a lot more Distance so when you talk about facility and speed and everything you lose a lot of that So that's nice. So it's very it's and the velostat's quite quite good. You um, the only thing about it because it's pressure Pressure resistant fabric. It's like rubber. It's rubber. You can actually feel a little bit of it here. Um The larger the piece Uh You will use you will want to use different pull-down resistors If that makes sense because you can you just need less resistance. So I had a kind of I did some tests to figure out, you know This I think I guess after you cut you have to calibrate.  Um I probably look at it. I bet it's in here You can tell how good my memory is. I actually only did this a couple months two or three months ago And I have no idea what I've done. Okay. Ah, so here it is. So this is what it runs on fermata Uh, and so this is this is raw input right here As it looks, uh, it's pretty well organized actually. I'm impressed. Um So you can see here. This is my Uh, this should probably be oh, it's my neck pressure Yeah So that that's my range. Oh, it's pretty relatively good and then my fretboard Like I have accelerometers inside Three accelerometers you can see over here So you can see that it That's how that's that's that's with that that amplitudes And then just joysticks and then my switches. So it's a relatively, you know, electrically Engineering the software and everything is a relatively simple process. I mean, it's a very, you know Uh, but it's always about how do you make it musical and everything and so that's that's where I really Uh No idea should we take a look though, let's learn together. Let's learn together So interestingly enough Probably Uh, and I actually I I know why the teensy the Arduino teensy uh will output midi So I that is probably why it's in here and they probably designed this With the teensy also in mind although this was meant for the mega I find that most of it is pretty interchangeable. So they want very interchangeable programming That's probably why it's there, but that's a guess. So if you quote me on that It's totally deniable Unless it's right Yeah, you know, you know, you got that word uh, and this is just uh Telling this us what is connecting and how So Yeah, this hasn't really been cleaned up a lot Uh, one thing that's great is you can uh, this is this is obviously totally stolen out of the help file for formata and pure data There's not not a whole lot extra work done on it just cleaned up So is a lot of pd users are famous for doing that. I think that's the only thing stolen out of help file, but man it was stolen So Yeah Other questions Yeah, that's that's that's leon had mentioned this is not the uh cleanest way to do this Or safest Can you tell the wire the yellow wire came out? Let's see what he does Do you know what I'm saying? Okay, here we go again Nice aluminium case What's we going on? Has anybody in this trade? How did they, how did they react? I need to I'm gonna meet up with the violence. I've been trying to meet up with the violence To talk about that. It's all of this All of that's just a body of yellow wires. Yes It's a great idea, right? Yes It's artistic Yeah, I'm not I'm remember. I'm not I'm not alone. I'm not an abing. I'm not an alien. I'm an artist No, okay That wasn't the worst reaction I've gotten from that So And then just yeah running up This one I like is it tells you how much is left I'm very happy about that because there are there are times you're doing gigs you go So how long can I go? These are lost these are lost no power high forever. I have a 10,000 as my reserve and it'll power for um I think I did it eight 10 hours Does that go into your Uh, no, actually it has to go outside. Okay, unfortunately. Sorry. It actually goes on right Right here. Okay, so you get all they get to see how long you know. Yeah, it's not all bad Because you do want to know at a point not that it they last so long actually I mean these things these things run on nothing as you don't use you all know So if you're free to lift it up play it if it comes apart. It's just good learning for me. Okay That's my approach to this I had to build a kernel But I was a linux guy for Over 10 what about 10 years now? You had to press 10 years ago. We got to build a kernel So that's all the hope is Uh, I still build my own kernel If you want, you know The functionality you need for audio You're still building your own Occasionally one will be released. That's good karma. I'm sorry. I didn't see things feel a thing karma's still around. Yeah, I don't use Because if you do this slowly this is kernel. Yeah, it's still good. I'm not a fedora user Maybe because uh, but otherwise I was for a while. I tried it Uh, probably turn the volume down The only thing I know is that I had no idea how this works as well. Uh other way Oh Down is down is down is up. See you remember from the last class Down is up up is down. Oh, oops So, um, yeah karma's still doing theirs There is a booth studio, but they're not doing real time kernels anymore. Yeah This is obviously running on a Rasbian So I everything I do is deviant. So it's easy. Do you take anything out?  No, it's a new kernel So you basically take take the kernel lettuce you hatch it Uh, it's a heavily patch and configured kernel But yeah, it's a patch. I'm sorry. It's not really new Um, so you get the real time patches. So that's easy to do. Um, the other things that to get this to get the seos logic working Takes a little bit of patience That's what I was I don't know where this fella from Is asking me about uh, real time audio on Oh, no It was like, yeah, Wolfson's making a stack, but I don't know how easy the driver support stuff it is. Okay. Okay, I'll tell him that Uh for audio the problem is the only other company that's making audio for embedded systems like this, uh, is uh X It's not axelos something like this. It's a new system Axelody? Yeah The new one right there at the board with that. Yeah, there's a super new one called vela Which was like on Kickstarter yesterday early before from cmu. Okay. Now the axel is been out for a while Axelody's been out for a year because I was just just I rent the guy I don't usually rent the guy when I was in sweden and he had this thing I was like, wow, what you do is cool. Yeah, like make me feel like I mean, this is so important But I I actually need to get one because the programming language is very similar to this because he also designed his own programming language Yeah, and it's built in and it has a relatively high quality quality audio output Good processing power. So it's actually really nice all in one system from that at work Yeah Two or three days ago, there was a new thing from cmu. Okay It's the IMS whatever It's a big old big car. Nice. And basically similar concept and made for real-time audio. Oh great And running and that that will run You just need someone to sit down and make a card that you send back and you know, you get all this together That's Exactly and that's why that's kind of why I'm I'm I've stuck with this and that you know Yeah, I don't know if it's the best solution if that makes sense, but it's kind of the solution. I know this one the solution that works for you is the best I think some folks have used that Yeah, yeah, I've used actually Size is an issue. That's the other thing, but I've used this with I mean other No, you can actually I have run I've run a native instruments card off this a complete Yeah, it's so they then you're actually getting like Because it's yeah, because they don't take a lot of power I'm not sure if I was running out of battery, but even this the battery would see it's Oh So you saw your He makes it look easy, it's not easy, right? No, no You should not have to drink about this There's a guy in his heckerspace in Paris that That My second instrument too, it's it's great stuff Well, it's great stuff. So if you look at so I just move over you can play a bit if you look at this you can see it Uh, you can see if you look at neck pressure Oh, sorry, hold the neck this And they can let go So you can see it you can actually get 27.9 Uh It's warmed up now So what I did is I had I had to build it with a margin because uh The longer you play it It tends to the the range moves up So it has it's it's I worked out how to deal with that for now until I think so So that one pressure and this one is just a position. Yeah So it's actually this so it's actually this thing that pressing on do it. This rubber is the one that's actually pressing Yeah, so it's just the it's the pressure between it between the rubber to you, right? It's actually the rubber that's caused that it's actually Yeah, of course, but there's enough the distribution is decent enough between that it works. Okay and you So you actually have the copper tape and then after that you solder on to the copper tape. Yeah Yeah, so you can see probably see Well, yeah, you can see but the solder probably It's very simple. Yes, it's great because it's it's it's totally pressure sensitive And it's really beautiful. You put one one and you put a five bolts in the outside Uh, it is Why I don't know is 3.3 Arduino has 3.3 Yeah, thanks. Oh, thank you. It's just resistance Because I tried it You can't really see much change in the Yeah, but like when you say apparently the your pull down resistor has a As an influence on it Uh, yeah Yeah And also copper Yeah, so because you have to put the copper tape on so I'm sure that's also affecting your Connection everything Right And Yeah, and you can actually and this is something I spend a lot of time You can actually run the copper off both the same side with it the same end Yep, I thought I thought it had to be end-to-end, but you know, you can do both off the same end. It works fine I just picked my case in point. No, what happened was I was working on this while my my wife was home And so anything I did where like tape was showing she would start dirt while you're being lazy You got the gatekeeper you always have a gatekeeper you understand this


So let's go into the accounts payable aging. Let's look at the summary first. This is probably the most common layout that we would expect similar to the accounts receivable aging. It's breaking out the accounts payable by how current it is. So now we've got our vendors. This is the current amounts. These are the one to 30 days past due 31 to 60 61 to 90. So obviously if we look at this and we start to say, okay, we've got some amounts that are way past due, then those are the ones that you would think need to jump on and be paying. From a cash flow perspective, our goal often would be to hold on to the cash as long as possible, paying as late as possible, as long as we're not giving up penalties for doing that or interest charges or fees like that. And as long as we're not annoying our vendors, we want to have good relationships with our vendors. So oftentimes if you get too aggressive on your cash management strategy, then you can annoy the people you're trying to do business with. And that's not really good either. But that gives you that added level of detail. It's probably not as important a report this AP aging as the accounts receivable aging, because the accounts receivable aging has that added layer where we don't know which customer is actually going to pay us. We're trying to get the customer to fulfill their side of the bargain with the accounts receivable, and we would have to value how much of the receivables we think maybe wouldn't be collectible in that case. In this case, this is our side of the table. We're the one that needs to fulfill our side of the transaction. The vendor has done what they're supposed to do. We need to fulfill our side. So it's not like we have this estimate of how much of these payables are not going to be payable or anything like that. We're the ones paying them. So we're trying to determine which ones need to be paid and when. So that's why the accounts payable aging summary might not be as common of report, even though the format looks quite the same as the accounts receivable aging report or one reason. If I go back up top, you can change the number of periods and so on in a similar way as the receivable aging.


This is one of the truest things I think I've ever read and hear me out. A lot of times, music artists and just creators in general end up being their own worst enemies because of what's in their head. They become so paralyzed by the fear of failing or what other people think of them that they don't even attempt to do the things that would help them move forward. And then because of that, they don't see any results, which then results in them getting stuck in a vicious cycle of self-doubt not doing anything, self-doubt not doing anything. And honestly, that mental barrier is what holds back a lot of artists and causes a lot of artists to self-sabotage and stop good things that are working for them. Or even worse, makes them do absolutely nothing at all. That insecurity and that self-doubt is honestly one of the first hurdles that every music artist has to face. But you gotta figure out where you stand. Do you believe in yourself and this another child to make things happen?  Whether you think you can or you think you can't, you're right.


Last one, another plus money play for a team to make the playoffs. You're going with the Minnesota Vikings. How much of this has to do with the potential of Aaron Rodgers and not being the quarterback in Green Bay? Absolutely. That is definitely part of it here. That could happen. I think that's something you should be factoring in throughout these bets. And I'm not entirely basing it off of that, because right now I am assuming that Rodgers does play for Green Bay. That's my win total projections that Rodgers is there. And even right there, the Vikings ranked eighth in the NFC in win total projections at 9.2. So if you take away Aaron Rodgers, that increases their division odds and also increases their win total projection because they do have two games versus Green Bay. So a couple of things could work in their favor there. It's a second year, Justin Jefferson, their defense last year was bad, but it was also very young. You give those young guys a second year under Mike Zimmer, I'd expect some improvement from them defensively. So I like getting in on this one now before we see what happens with Rodgers. I wouldn't expect it to get a lot worse if it's confirmed that Rodgers will play for Green Bay this year. So I take it now and get ahead of things just in case Rodgers does get dealt. The Vikings won seven and nine last year, just falling one spot short of making the playoffs in the NFC.


First the skeleton of the larynx. This structure is the body of the hyoid bone and posteriorly we have the greater corner of the hyoid bone. Below that we have the thyroid cartilage. This is the thyroid hyoid membrane. We noticed that the middle part of the thyroid membrane, the medium thyroid hyoid membrane is very thick. While laterally it becomes a little thin. So the thyroid membrane is the whole thing, median and lateral parts. This is the superior thyroid notch and this is the laryngeal prominence which is felt as Adam's apple in males. These two flat portions are the lamina of the thyroid cartilage and the thyroid cartilage also has got a superior horn and an inferior horn which is not visible clearly here. This cartilage in the structure that we see here this is the cricoid cartilage. The cricoid cartilage is the only cartilage of the larynx which forms a complete ring and in between the thyroid cartilage and the cricoid we have this membrane structure. This is the cricothyroid ligament. This also has got two parts, a median cricothyroid ligament and a lateral cricothyroid ligament. The lateral cricothyroid ligament as we shall see later is the lower part of the fibroelastic membrane of the larynx which is referred to as a conus elasticus or the cricovocal membrane and then we have the tracheal rings. So therefore there is a membrane between the two also which is referred to as the crico tracheal ligament. If we see an emergency situation where the person is having acute respiratory distress, a strider because of some injury or foreign body inhalation and the person cannot breathe at all. In order to gain time to transport the patient to the hospital we can do an emergency procedure called preco-thyrostomy. We can take a large bone needle and we can puncture it between the thyroid cartilage and the cricoid cartilage exactly shown by my instrument here and we puncture it and we can establish a temporary airway for the person to breathe and that procedure is referred to as the preco-thyrostomy because we are going through the median preco-thyroid ligament. So that's an emergency life-saving procedure, preco-thyrostomy. So we have seen the various cartilaginous and the bony parts of the larynx. This is the skeleton of the larynx. The point to be remembered is hyoid bone is the only bone of the skeleton of the larynx. These are the infrared strap muscles. The most superior one that we see here, this is the sternohyoid and under that we have this cut portion. This is the hyrohyoid which came from the oblique line of the thyroid and went in attached to the hyoid bone. We have reflected them up here. Now let's take a look at the neurovascular structures that we can see in this view. We can see this nerve here. This is internal laryngeal nerve which is the larger terminal division of the superior laryngeal nerve on the right side. On the left side we can see the internal laryngeal nerve here. The internal laryngeal nerve pierces through the thyroid membrane and it supplies sensation to the larynx up to the vocal cord. This is the one which is responsible for cough reflex. This serves as the afferent limb of the cough reflex. Anesthetists use this nerve to anesthetize the superior part of the larynx by piercing through the thyroid membrane before any endo-laryngeal procedure so that the cough reflex will be eliminated. Accompanying this internal laryngeal nerve we have this artery. This is the superior laryngeal artery which is the branch from the superior thyroid artery. This is the superior thyroid artery. We can see it is going down entering through the upper pole of the thyroid gland. Accompanying the superior thyroid artery is this nerve. This is the external laryngeal nerve which is the smaller terminal division of the superior laryngeal nerve which supplies the cricothyroid muscle which I am going to mention just now. External laryngeal nerve is liable to injury. When we are doing a thyroctomy and we are ligating the superior thyroid artery and therefore we have to be careful to ligate the superior thyroid artery very close to the upper pole of the thyroid gland and incidentally we can see a remnant of the superior thyroid vein also here on this side. To come to the left side we can see again this is the internal laryngeal nerve. This is the superior laryngeal artery. We cannot see the rest of the artery but we can see the superior thyroid artery entering here separately in the upper pole of the left lobe. Now let's come a little lower down. We can see these neurovascular structures. This is the right vagus and the right vagus as we know goes posteriorly and it is already started going posteriorly and the right vagus is giving this recurrent branch. This is the right recurrent laryngeal nerve. In real life this hooks under the right subclavian artery. This recurrent laryngeal nerve is giving multiple branches. The recurrent laryngeal nerve supplies all the muscles of the larynx except the craco thyroid and here as it's going up it is accompanied by the inferior thyroid artery. In this particular cadaver we see that the inferior thyroid artery is arising a little variant location. Ideally the inferior thyroid artery is supposed to arise from the thyroceribular trunk which is from the first part of the subclavian artery. Recurrent laryngeal nerve is also liable to injury during thyroidectomy when we are ligating the inferior thyroid artery so therefore we usually ligate the inferior thyroid artery very far from the gland to protect the recurrent laryngeal nerve. This recurrent laryngeal nerve as it travels up, it travels in the tracheo esophageal groove and when it crosses the inferior craco thyroid joint it becomes known as inferior laryngeal nerve and after that it divides into an anterior and a posterior division. The posterior division supplies the posterior crecoiodinoid, the oblique and the transversary noids and the anterior division supplies the remaining muscles of the larynx and it also supplies sensation below the vocal cord. Now let's come to the left side. This is the vagus on the left side we can see and it is going in front of the arch of the aorta and if I lift this up we can see it is giving a recurrent branch which is going under the arch of the aorta and it's accompanied by these branches also and if I reflect it we can see recurrent laryngeal nerve on the left side which I have picked up and this recurrent laryngeal nerve the soak travels on the tracheo esophageal groove on the left side and it is accompanied by this branch here this is the inferior thyroid artery on the left side and it also travels in the same way as on the right side so we have seen all the neurovascular structures on both the sides of the larynx. Now I shall show you the muscles. I'm going to turn this slightly and we can see these muscle fibres. They're arising from the thyroid cartilage. This is the thyropharyngeal part of the inferior pharyngeal constrictor and lower down we can see the muscle fibres are becoming more horizontal. This is the creco-pharyngeal part of the inferior pharyngeal constrictor. So therefore the inferior pharyngeal constrictor has got two parts. Upper part is the thyropharyngeus and the lower part is called the creco-pharyngeus and the creco-pharyngeal muscle is the one which constitutes the cricopharyngeal sphincter or the upper esophageal sphincter. Now I'm going to turn this and we'll see the same thing on the right side. We can see these oblique muscle fibers, these are the right thyropharyngeal muscles and as we go lower down we find that the fibers are becoming more horizontal, that's the cricopharyngeus. Now let's come again to the front. We can see these muscle fibers extending from the cracoid cartilage to the thyroid. This is the cricothyroid muscle and this side also the cricothyroid muscle. This cricothyroid muscle is the one which I said is supplied by the external laryngeal nerve, branch of the superior laryngeal nerve. The function of the cricothyroid muscle is tensor of the vocal cord, so therefore it modulates the pitch of the voice. External laryngeal nerve supplies not only the cricothyroid muscle, it also supplies the inferior pharyngeal constrictor. The inferior laryngeal nerve, which is upward continuation of the recurring laryngeal nerve, supplies all the remaining muscles of the larynx. It also supplies the middle and the inferior pharyngeal constrictor and it also supplies the upper one-third of the isofagus, which is skeletal muscle. So that's all that we can see in the anterior view. Thank you very much for watching Dr. Sanju Sanya, sunny out please like and subscribe. If you have any questions or comments please put them in the comment section below. Have a nice day.