and welcome. The Sofra Marine and Management Association was established in 1995 by Cabinet Conclusion and subsequently it was registered as a non-profit. It has as its mission to contribute to national and local development, particularly in the fisheries and tourism sectors. Hi, my name is Vojilianti and here with me to discuss the plans, the achievements and the activities of the Sofra Marine Management Association is its president-chairman, Mr. Harold Dalso. Welcome, Mr. Dalso. Pleasant morning to you. It's a pleasure to be here to discuss issues relating to the SMMA Sofra Marine Management Authority. My pleasure. Thank you so much. Well, first you could start by telling us, giving us a little brief description of the SMME. Well, the SMMA started out of community consultation and discussion from the way back in 1995. There was the need to look at your marine resource and its attributes, its ecosystem, and then try to manage it in a sustainable way to create livelihoods for people, making it sufficiently attractive to create a kind of diversification to our tourism product. So that this marine space becomes a tourist attraction in itself. And for that to happen, you have to have some management authority, some management instrument in place, hence the creation of the SMMA. Okay. You speak about the marine conservation. Could you just elaborate a bit on that? What does it entail? Okay. The same way we have our beautiful waterfalls, we have the surface springs, we have all of the beautiful sites in this country. Marine life is equally beautiful. In fact, there is no more beauty in the marine area in under the water than you probably will find on land. And if we are able to take a good look at it and identify the areas that are sufficiently attractive and develop them and then make it attractive to visitors, then what is going to happen? People are going to come to St. Lucia, visitors will come to St. Lucia, not only for the sea and the sun and the sun and the hotels, but they are going to come to go into the reserve, to the diving, to snorkel, to do all kinds of marine related activities. Wonderful. So how much progress have you made and what are some of the challenges you have encountered in trying to conserve that marine life? Like anything else, when something has started and people do not understand it, there tends to be a lack of appreciation for it. And consequently, you get conflicts and then you get resentment and you get bottlenecks and all of these negative vibes just come creeping up. Over the years, the SMMA has done extremely well. The SMMA was a model for the other regions. The documentaries on the SMMA or the marine protected areas were emulating the SMMA. But over the years, its prominence kind of declined and COVID gave it a serious, serious blow to the point of almost closing shop because the SMMA depends on tourism mainly for its survival. We do not get a subvention from the government. So it's our revenue generation to sustain the operations will come from tourism. And since tourism was almost gone during COVID, there was a very serious blow. Since then, we are trying to resuscitate the organization and doing a number of initiatives. And what I am doing right now is part of an initiative to communicate to the world, to solutions, to people in Souffre, what the SMMA is all about. Because people, they've heard of the SMMA, but they do not know what it is, what it does, its significance. And so I felt that it is important to bring out that message. So through GIZ, this is a German agency, we got a grant financing and they put together a consultant for us to do promotions and marketing of the SMMA. And that is why I am here today. We have had several other activities. We've gone to the schools to tell the school children about it. We have been on TV. We were on NBC not too long ago telling people about it. And today I am with GIZ doing the very same thing. We are going to have stakeholders. We are going to be meeting all of the users of the marine space. The boat drivers, the boat charters, the catamaran and the snorkelers, the hotels. We are going to have one huge meeting to do the very same thing with them. Because we believe by communicating with people, they better appreciate what you are doing. Okay, so to the ordinary man in Souffre, to the ordinary man in St. Lucia, how would you explain that the activities of the SMMA can benefit them? How does it translate to their benefit? What would you tell them that the SMMA is, how is it significant or important to their well-being? Okay, let us take it by sector. Let us take the tourism sector. Let us take the hotels. And lastly, Sugar Beach. They have a very diversified product. They attract as many persons as possible, visitors. And the niche market focuses on the marine aspect of St. Lucia. So, you have Anchor Steve, for all year round they would have visitors coming, but they were coming specifically to do activities underwater, water-related activities. And as I said, they were going to be snorkeling, they were going to be diving. There were lots of beautiful sites in the area and nice coral, so they would come and they would see that. So the hotel then is sustained, and because the hotel is sustained, because it has this attraction, then people remain in employment. Jobs are created at the hotels. All of the hotels are on Souffre, who have this water support activity based on our marine resource. For the fishermen, they do benefit. Some fishermen believe that we are pushing them out, but it is not that. It is a reverse. Because there is what you call the depletion of the fish stock. If you extract from a resource constantly and you don't replenish, it will disappear. Now, we know internationally the rate at which fishing is done, massive catches, huge or modern equipment, and at the same time, how do we replenish that? And so, based on the marine reserve, we have marine protected areas primarily for conservation. We assist in planting coral, growing coral, creating nurseries, putting fish devices to allow young juvenile fish to spawn and to grow, and so with the hope that when they reach a certain size, then they will just move away and then the fishermen will be able to go. So we are actually trying to restock by putting the coral back in the water, because the coral is the nursery that is where they spawn. And so, if we create that environment for them, and we have pictures of the effectiveness of what we are doing within the SMMA. If you go to Instagram, SMMA, Instagram, you will see a device. That one is in the library, but we have a few in Sufra, and you will see young juvenile lobsters in the device that we built. A very simple device. You take PVC pipe, you buy conch shell in the library, put a few blocks on it, and a layer of conch shell, and we drop it at the bottom of the sea bed. And then it begins to flourish, and then the fish begin to spawn in it, and you get quite hundreds of them, as you can see on the, if you want to go to Instagram. I understand that recently you all have been faced with a, I don't know if you could call it a new situation, but a challenge of spearfishing. Would you like to speak to that? Yes, this is getting serious, and I want to make a special appeal to the Divers Association, ABAGLO and its members and all of the other people. It is illegal in this country to do spearfishing if you do not have a license. If you want to do spearfishing, you need to get some authorization from the Chief Fisheries Officer. What we are experiencing is that a lot of young guys in Sufra, they are top operators who are marketing a package, a top package, which includes diving. Now the visitors who are going to be using the spearguns do not have a license, and so they are operating illegally. You don't want people to do spearfishing for several reasons. Number one, it's risky. The area where you're going to spearfish, you may have people snorkeling, and you may miss and accidentally hit somebody with your spear. The other reason, the coral is so sensitive.  You are on doing all of the efforts that we are putting into creating an ecosystem that will help fish to spawn. It's very, very, very, very dangerous. And that is why when you apply for the license, they will tell you where you can go, where it is safe, what kind of spear you can use, and everything like that. But some operators are selling the tool, and they have spearfishing as part, as a component of the package that they are promoting, without necessarily understanding. The law is very clear. The Fisheries Act makes it abundantly clear that you are not to do spearfishing in this country if you do not have a license.  We have a wreck somewhere by Ascochon, a sound conchip, and that is an attraction for visitors. They dive, they snorkel, and this is the very simplest that the spearfishers want to go to consider conflict and the potential hazard that it is creating. So you are saying that those people who are interested in spearfishing should first apply for a license as mandated by the law? By the law, yes. We are not saying that you are going to do spearfishing. All we are saying is that get the license, because once you get the license, you will be restricted where you cannot. Thank you for that answer. And we do for a break, but when we return, we will be discussing some of the areas of conflict which the SMMA has had a serious hand in resolving back in a moment. We consume and we don't spare a thought for the damage that they'll do. The damage that they do. No, children. Think about the children. Culls and GMOs are not the solution. Use organic and join. Excessive agrochemical use, additives and genetically modified foods are harmful to health and the environment. Join the Good Food Revolution. Grow, buy and consume organic. A message from Rye St. Lucia and the Ministry of Sustainable Development with funding from the GEF Small Grants Program, UNDP. Welcome back. We are speaking with Mr. Harold Dalson, the president-chairman of the Souffre Marine Management Association on the activities of the association. Just before we went to break Mr. Dalson, you were speaking about some of the challenges relating to fishers who do the spare fish. I note here that one of the missions of the SMMA is to resolve conflicts. Conflicts within yachts and fishers. Conflicts within commercial dive operators and fishers. So your association principally has to deal with a lot of management of those resources. Now, I know of late or recently there have been conflicts, if you will, between the local community and perhaps hoteliers. Could you speak to that in terms of building sites that are perhaps prohibited in terms of land sale and does your association have any oversight or any influence in those kinds of conflicts? Yes. The mission of the SMMA primarily is to provide oversight in terms of what goes on and what does not go on within the protected area. The protected area is about... For people, some of us may not know. We have the SMMA which starts from Pointe Blanche. That's close to Ascochon and it extends all the way to Asiba. That's about 11 kilometers. There's also Kama, which is the cannery's ancillary management authority which starts from Ascochon going all the way up to Ruzu. Kama, to a certain extent, does not get the kind of oversight that it really deserves because of the absence of adequate resources to extend ourselves that far. So right now we are showing a presence there, but it is just a presence. We are more integral in the SMMA management authority. When the SMMA was conceived, there were lots of conflicts. Conflict between hotels, fishermen and guests, yachters and boat boys, a lot of conflict. And this conflict still persists. What we do from time to time is to intervene. For example, there is a serious conflict at Tikai and Anshasne and Sugar Beach because these places are inundated. They overpopulate this place during the peak of the cruise ship season and at peak time during the day. So you have your good boys, you have water taxi, you have the water catamaran, you have snorkelers, you have divers, all of them congested in one area. And then what happens? A guy is diving, a fellow comes at full blast with a speedboat. The potential for a disaster is right there. So what we are doing right now, we are embarked on an initiative to try to regulate that, to put in more surveillance, more management control. And now we are focusing on the Anshasne Beach. So we are hoping by the end of the year there will be some measure of control. And if it is successful, then we use that as a blueprint to operate or to control what's happening at Tikai. Tikai is going through a lot. Tikai is a beautiful place, but the volume of people in the water are doing water-related activities is just too much. And the problem these hotels are experiencing is that the visitors who come, they use their washroom, they use their facilities and they didn't cater for so many of them. And then they have their own guests who are totally dislocated. So that creates some kind of a conflict. You need to have somebody to provide some oversight and to regulate and to ensure that things are done properly. We do not want to deny people access to say the beaches because every beach in St. Lucia is actually accessible to everybody. But when it becomes overcrowded, congested, you need to put some measures in place. Anshasne, we are looking at the possibility of... What are some of those measures that you are putting in this? Could you elaborate on that? Right now, we are just working on, we are just trying to source they call it a bathing, a swim area. So we need to get a swim line about 40-50 feet from the shore. And then once you install the swim line, then the boats cannot go in there. The snorkelers cannot go in there, it's just for you to swim. So you minimize the conflict, you minimize, so everybody is in just one area. Sugar Beach has one, it's working perfectly all right. But at the same time, Anshasne is a fishing priority area. So you see the conflict. So the fishermen must have undisturbed access to that area so that if there is a catch and they see the catch, automatically they have the right to go and open up their eclipse, to open up the fish line and take the catch. And that must be understood because it's a fishing priority area, it's for them. And also we use it for recreation and so on. But the fishermen must get priority in those areas, not only that. Not only that, Sugar Beach also. And it works well. It can work well with understanding, with proper understanding and proper mechanisms in place, it can work well. So that's one of the things that we are doing is what I'm doing right now. Communicating, appealing to people. Those of you who have the vessels, please be more considerate. Stop playing the loud music when you go into the beach because they are guests at the hotels. We are appealing to the users of the facility. If we say it's a fishing priority area, consider it as a fishing priority area. If it is a marine reserve, you cannot go inside and do anything. You cannot go down snorkel, you cannot go and dive, you cannot go and fish. So we are providing surveillance underwater. We need more, we need the help, we need assistance. We do not get a subvention from government. It's the legal that we collect. And I hope you'll give me a chance to explain how we generate our revenue. You could go right ahead and tell us how we generate your revenue. So the legal that we have, we are trying our best to manage the designated area to prevent all of this, but you have to bury first. Because we are not there to push anybody out of the industry or to deny somebody an opportunity to make a dollar. We are here to manage a natural resource, manage an ecosystem, manage what is, this is so critical for our country. And it's not only St. Lucia. You go to Honduras, they have Rua Tan, manage Dominica, has the Dominican management, marine management, Caymans, the Trinidad and Tobago, the Tobago Keys, St. Vincent, everywhere there is a marine protected area. And they all manage on the same principle. In fact, there is a regional, I would say almost international organization of all marine protected parks. We call it MPA Connect. And St. Lucia is part of it. SMMA has a very prominent status within that organization. And most of the other people are looking upon us, asking us for advice, because we are long. Some of these organizations are just starting, but we have been there long. And they want to emulate some of the things that we are doing. So we are pleading to the users to cooperate. Do not move your vessel with all of that speed when you don't have to. If you are going into a beach area, bathing, be more considerate. If we say this is no diving in that area, do not go and dive in that area. If you are a visitor, do not go and interfere with the fisherman's net or ports, because we have reported incidents where visitors, they go and dive and they see a fishing port in the fishing priority area. And they go and interfere with the ports. They open it up and release the fish. So all of these are conflicts that we have to manage. And people must be aware of the sensitivity of all of these issues, all cropping up within a small area. And that's why the SNM is so important. Our revenue is limited, because all we are asking from the operators, the debut operators, the debut charters, the water taxis, anybody who travels the protected area, from Marigold to Asiwon, just for every guest you have on the boat to make a contribution of one US dollar. One US dollar. That's for the boat operators. Every boat operator should do a head count and make a contribution of one US dollar for now. And from 2014, it has been one US dollar. And then we are trying to increase it and we are getting a lot of resistance. And one of the reasons that they advance is the fact that what are we doing with it? Now I have explained all of the things that we are doing. We have two vessels. Just to go and do oversight on surveillance, $300 in petrol. Two of them. So how do we sustain? We have nine staff members. How do we pay them? We need to put marines. Very expensive. We have rangers. Our rangers, they go and maintain the marines, change the route. We have to build the blocks to keep the marines on the ground. A batch is going to charge $15,000 to $20,000 to go and install the marines. How do we raise it? So the appeal is if you are using the marine area, if you are coming to Souffre, apart from paying the jetty toll, because we have nothing to do with the jetty, but for traversing the marine park, it is called a user fee or an entrance fee.  A friend of mine came from Tobago, and he told me he had to pay $10 per person. And here we are asking for one US. And we are getting resistance. We are getting people who don't want to pay. What are we doing? How can we do if we don't have revenue? As we're winding down in your same appeal, perhaps you could explain to people how all of your protection, all of your conservation, all of your management of the marine unit redounds to the socio and economic benefits of the community in particular and the nation at large. Could you give them an understanding of how it actually benefits them, what the SMAE is trying to put in place? It's a life, a general principle in life. Whether it's be a home in the office on the street, if you do not have regulations, if you don't have oversight, if you don't have management, there is going to be chaos. And you just have to see the SMAE in that respect, that we are managing the resource with the hope that it is going to be attractive and entice more visitors to come, create more water sports activities, more marine related activities, like a day charter, like a cruise, a sunset cruise, it is going to do that. And by so doing, we're bringing more visitors, more visitors with departure tax, they rent a taxi, they go to the hotel, they do all kinds of things. So by managing it, we are supporting livelihoods of the community. Just imagine the area I mentioned is just loose. Anybody can come and do anything at any time. Can you imagine what would be there? Chaos. And so to get it done, we need to have a base and office. We need to pay rent, utilities, we need to pay staff, we need to buy moorings, we need to maintain our boat. And that is why I'm making the appeal. And those entrepreneurs are saying, what are you all doing? We're not saying you're doing anything. We are doing. It is just that we are limited. And we are asking you, in fact, I'm taking this opportunity to announce that there is, there was an amendment to the Fisheries Act, which allows us to regulate the collection of fees and to do other things. Now the document is in draft. Once it is in the, once the drafters have reviewed it, I want to invite all of the stakeholders, divers, knocklers, both to our meeting so that we can discuss it thoroughly. Thank you so much, Mr. Harold Also, President and Chairman of the Suffer Marine Management Authority, speaking to us there on some of the activities of the association. And we know with the cruise season about to take off here in October, we'll be hearing more from the SMAE. Once again, thank you.


Yeah, I was talking to somebody yesterday about the lava flowing in Hawai'i. Yeah, and getting ready to flow over a highway. The only highway on the island. And someone said, well, can't they just build a bridge over the lava? And the lava is very hot. It's 1100 degrees Fahrenheit. So it's not easy to build a bridge over the top of the lava. But it's very symbolic of the light in your mind coming to the surface. And wiping out anything that's in its path. It doesn't matter if it's a house or a tree or a rock. When the lava hits a house, the house goes up in a giant flash instantly. And this is what's happening in the mind. The darkness has no place to hide. And the personality self is starting to shake the bridge. And of course in Miracles, Jesus says there are two tiers, two levels to the false self concept. The first one on the top is the personality self.  This face says, I'm a decent person. I'm on a spiritual journey. And I'm fairly nice. But sometimes there are injustices in the world that happen to me. So the face of innocence is often went with tears. At the injustices that the world offers. It could be being offended or perceived to be mistreated. And this is the surface of the self concept. And underneath is the unconscious mind. It is very, very dark. In fact, Jesus says it is draped with sin. So the top of the surface was made to not have to look at what lies beneath.  Sometimes you will have very dark emotions. And that is really the goal of what we have going on right here. This is not a place necessarily to learn only of metaphysics. This is a place to go through the process of transformation where you feel safe enough. You trust enough to allow any emotions to come into awareness. It could be your irritations or annoyances or it can be rage, a vicious sense of anger. You have to be willing to just welcome everything up into awareness. Because it takes too much energy to repress and deny these emotions. And we really have not been trained to reveal our emotions. The mask of the personality is to keep a structured world together. And it's about a world of accomplishment and productivity. A world of reaching financial goals. And it's even a world of improving the mask. A lot of self-help books and workshops and stuff like that. A lot of self-help books and workshops and seminars on improving the mask. But when the volcano of emotion comes up it has to find a place to flow. And it can seem to be very destructive to the ego but we must have allowance for this to occur. So a song is coming to mind, an old song. Whenever it doesn't have to sing. Some of you might remember in olden days a glimpse of stocking was looked on and something shocking now heaven knows. Anything goes. We are going into that with emotions. Anything goes with letting these emotions up. So you get to practice here. That's what the morning sessions are about. As if you've got nothing to hold you back. No one will be asked to leave for expressing emotions. And you see that's a little different from your families and your careers and jobs. Where you can't express emotions to the boss. And oftentimes you can't express emotions to mom or dad. In those cases you could have your walking papers. But this is very different.


Hey, because I tried something new when recording this video, unfortunately it has become a slideshow. So feel free to minimize it and maybe take a look every once in a while. There isn't going to be much movement outside of my camera and occasional outdoor inserts. Yeah, never using hardware encoding again. Hey, it's Anfa. There is a new distortion plugin on the block. It's called Chow BYOD or Build Your Own Distortion. Let's go. Hey, I'm Anfa. This plugin is relatively new. I have heard about it like a couple of weeks ago and I wanted to make a video about it because I think it's pretty interesting and can be very useful. Let's go. So here is BYOD. It's a node-based pedal board pretty much. So I'm fitting a sine wave into it right now and as you can see we have like BYOD is this top part of the screen by the way. The bottom part is X42 simple scope and spectacle spectral analyzer. So we can see what's going on and we'll see the differences between both signals when we start applying some processing.  Basically a built-in set of processors that you can arrange in any way you want.  So we're gonna have some fun with that. Okay so what do we do is we right-click in here to add a processor. Look at how many different distortion algorithms we have here. And yeah, let's go with Centaur because that's the first one. This is Centaur. So to act like add this into this signal path we need to remove the connections and now create new connections. And now you can see a difference between the red or orange and green signal. So green is processed, red is raw. So you can see if I move the saturation all the way down we still have a little bit of saturation here. We have like a first harmonic and we certainly have some latency added. As you can see that the phase of the sine wave has changed. If you increase the gain, it's interesting because it seems like the latency is lowered. Probably it's just a little better aligned with the frequency if I play a different note. Actually it seems like it's lowered. That's interesting. By the way, this is the intermodulation distortion phenomenon. If you have a single sine wave or a single tone, pure tone, let's play a higher one. Or maybe I will enable most tracking so I can play gentle notes. And now we add a second tone. If we play this louder, you can see we have all this weird inharmonic kind of stuff happening. That's because our two tones when distorted together create a bunch of inharmonic tones which are derived from the difference between the frequencies of the two tones etc. This is what's inharmonic. This is what's called the intermodulation distortion and it's relevant if you're trying to play back clean sound and then basically if you put distortion on to anything like your master or a piano or a guitar, as long as there are just one tone playing, there isn't going to be any intermodulation distortion but there is more than one tone playing. And the important thing is that the tones can't belong to the same harmonic series. If I play an octave so this acts like the same harmonic series so there is no intermodulation distortion but if I play one of the notes off, you can see we have all this weird kind of dissonance stuff going on and that's intermodulation distortion. That's a complete tangent. This wasn't even supposed to be in this video. Anyway, so this is Santar. I guess this is post gain. Okay, we have a cogwheel. What is there? Traditional and neural. Okay, the neural version seems to be much more gentle. Maybe I need to push the input harder. Let's see if I can get something like a utility. Is there like an amplifier that will just clean gain? Perfect. Oh, that's very nice. It's good that we called it clean because you know, this plugin is all about distortion. So normally, yeah, doing something clean isn't really typical. Whoa, wait, is it? Oh, no, it's just me using playing different notes. Okay, I'm going to disable input velocity sensing. This is really nice. Let's compare this to the traditional. I like the neural much more. It has a certain rasp to it. Wow, like just a sine wave and lots of clean gain and the Santor on neural at 100% and it's just like, this sounds cool. What about adding a little bit of white noise to the mix? I'm using Vitalium, by the way, under the hood for actually making the tones. Here it is. Okay, that's way too much. Oh, nice. You can also bypass. Interesting. Even when the gain is zero, you see we have a high frequency loss, which makes a lot of sense. And we do have some saturation. You can see these saturation peaks are there. What happens if we go even lower with the signal? Okay, so that's Santor. That's just one module. Let's add another one. Drive, diode clipper. So this is going to create asymmetric distortion, I believe. Now you can see the cool thing is we can branch out and have multiple signal paths. We can't, however, merge them easily, but we can use a mixer, so utility mixer, and here we have four channel mixer. We can plug a bunch of things in here. And then, sounds awesome. Then we have, I think it would be nice to also have a mute button for every mute and solo for every one of them. That's a thing for a future version of Chow BYOD. Whoa, the diode clipper. It's not what I think it is. Wow. That's nice. That sounds really cool. Diodes, number of diodes, 0.3 diodes, type of diodes. Wow. I see barely any difference. Let me tweak the oscilloscope a little bit. So now you're seeing the inner workings of my carefully tweaked setup to give you a, oh no, that doesn't work very well. Ah, the noise is throwing it off. Okay, because of the noise, that should be a little better. What's the cutoff? Okay, so that's a low pass. I'll turn up my headphones. Now I can hear this. Let's see what happens. What is here? Replace. All right, so we can easily emulation of a simple diode waveform clipper circuit with options for different configurations of diodes. Okay, and what about the centaur? Emulation of the clone center overdrive pedal. Use the right click menu to enable neural mode. Ah, the right click. I think they meant the cogwheel. Yeah, mixers together for input channels. Okay, so we have diode rectifier. I'm gonna maybe not use the mixer for now. Holy snap. Okay, that's asymmetric. Or is it? I mean, I know it is because I can see it. We don't have an output level control, so I'm gonna use the mixer for that. Yes, it is asymmetric distortion. So you see, the cool thing is, because this is all modular, we can just do something ridiculous, like pipe all of them one into each other. And we have something like this, which interestingly has gotten away with a lot of our noise. Interestingly enough, it sounds kind of mid-rangey. We can bypass any of the modules.  What is identity tube might show me? That's quite simple. This is interesting. I wonder if the noise is coming from the tube or not. I need to actually check my, check vitalium. Where is it? Oh, there it is. I need to disable the input noise. No, dirty tube does not add any noise, but look, well, the white noise is very revealing. It's interesting because it seems like there isn't much actual saturation change, but there is a lot of compression. Look how our noise comes to the forefront. I don't know, interesting. Each of these processors has a very different characteristic. One thing about BYOD is that the canvas is not stretching. It's a fixed size. However, you can change the zoom level. Right here, you can see the zoom. I wonder if there's, oh, there's also here. We can zoom in and out and zooming, oh, we can actually zoom way more. I'm trying to keep it as big as possible, so it's easy to watch even on a phone. So at some point, I will have to zoom out to see more of the modules. Maybe I'll arrange it like this. Input, top left, output, bottom right. All right, so what are we doing now? I could turn down the noise a bit on the input. Now, another interesting thing about BYOD is that it has some really cool settings. Look at this. We have oversampling, which by default is times two and it goes up to times 16 which is insane. But we can also disable that. And there is also mode filter mode selection. We can, by default, we are of course using minimum phase and we can also switch to linear phase. I mean, we can try, but it just crashed hardware. Okay, so we had one go at BYOD and we determined that switching to linear phase is going to crash your entire DAW. That's good to know. Let's explore further then. What do we have here? Distortion plus. Distortion plus what? Virtual analog emulation of the MXR Distortion Plus Overdrive pedal. All right, let's hear it. Whoa, that's rowdy.  Look, it has a very interesting characteristic. Like, this is distortion. I would normally think that distortion is going to like push the signal into a square wave. But no, look, this makes our sine wave into a triangle wave. How is that even possible? Of course, the wave is going to change differently. Like, it kind of becomes a square with like, lots of slew limiting. I don't know. It's interesting. I'm playing two notes, a symmetry on the part. I think, yeah, then Vitalium's noise sampler is not randomized. So it, um, yeah, let me randomize it. That's, that's a, that's a Reese. I've heard that a long time ago, when there wasn't a lot of complex sense to go around, people were just playing, you know, two notes at a sense, like a saltive oscillator to make a Reese. It's kind of like that. I'm playing two notes. So like the resulting pitch is actually somewhere, um, in the middle. So if I wanted to play a C, I should actually play two notes lower and higher. Yeah, so I'm playing H and B. Sorry, I'm gonna play. I'm playing B and D and C sharp. And the perceived pitch is, is in line. Yeah, that's a trick. That's something you can do. It's not perfect in higher octaves, but it works. I could live with that. So that's distortion plus. Let's see what else there is. Guitar ML. All right, so guitar ML is a completely, like a separate thing. It's made by Keith Blumer and Jatin Jatton Chaudhury. Chaudhury, I don't know. So, um, an implementation of the neural long, short-term memory guitar amp modeler used by the guitar ML project. Yeah, that's really cool. Actually, the author of guitar ML has reached out to me some time ago, asking if I would like to make a video about his plugins. And I wanted to. I never got to it yet. So, hey, now we have a chance to kind of talk about his plugins because his plugin guitar ML is included, like the processor is included in BYOD. Let's hear it. Whoa. That is a, an amp sim if I've ever heard one. Wow. Oh, that thing has bite. Wow. Look at this. That's amazing. It's like a, it sounds like a, like an internal combustion engine. Really, it creates these pulses. How does this even work? I have no idea, but it sounds really cool. Wow. I'm really learning that there's lots more to distortion than just making signs into squares. Wow. So, we have a model called Blue's Jr. and also TS9. Oh, wow. Sounds really cool. Let's play a Reese. Damn, that sounds so cool. Also, I've just realized that the knob doesn't have actually, uh, the knobs. Um, can you see that the center of the knob isn't actually in the center? Something isn't perfectly straight here. Something's a little bit crooked, crooked, crooked. I don't know how to say that. Okay. Guitar ML and make zane stuff. Wow. Chow BYOD is obviously intended for use with guitars, but what can it do for other sounds like synthesizer bases or drums, maybe even bottles? I don't know. Hysteresis. Well, that looks like, uh, like something from chow tape. Let's see. Chow tape model. Interesting. What is width? Nonlinear hysteresis distortion, similar to the distortion created by magnetic tape or an overdriven transformer. Huh. Neat. I'm really enjoying these, uh, these information notes. That's really useful. Also, I've just realized how cool is that the color of every, um, node creates a gradient between like, wow, that's so cool. Cable visualizations. What if I, what is cable visualizations? Oh, I think I know what. So cable visualizations means the cables are getting thicker when there's sound coming through. That's interesting. So that is hysteresis. I don't know what is the width, but I don't think it's about stereo. By the way, we're in the, in the mono mode, but you can also switch to stereo or just left or right. I think that means the other channel gets bypassed, like passed through without processing. Oh, we can also change the input and output gain. It's just doesn't, okay. All right. Yeah, I see. That's make a lot of sense. So if plus 18 decibels of gain on input and plus 18 decibels of gain on output max, there's also dry wet. I think if, um, the linear linear phase filter remote would work very well with dry wet because then any filtering would be, you know, could be transparently mixed back with the clean signal without introducing any phasing phase canceling because there are, there is no phase offset depending based like the phase offset is uniform for each frequency. But I tried that, it didn't end well, so I'm not going to try it again. I'm going to check if everything is recording still because it will be a little bit of a pain to realize. Oh no. I've been talking to nothingness for the past half an hour.  Actually, I have been talking for half an hour, but that's good. I, I said I'm going to do longer videos because making shorter ones takes too much time. There you go. Some of you were happy. Oh, did I crash it? Hello? No? Okay. I think it became unresponsive for a little while. Let's go further. I want to just go through everything here. Let's, let's explore. Junior B, okay. Why did I read it like janitor B? It's not a janitor. It's a junior. I wish I could click and drag it over and like replace the connection. Maybe we've shift alt or control. No. First, I need to click to drop the connection. Okay. Junior B. Whoa. That's hot. I'm going to have to turn the output gain a little bit. Yeah, maybe by six decibels. What do you think? Man, I think this video is going to be all over the place. Tube Drive and Tube Blend. Is that dry wet? I think so. That's nice. Stages. Whoa. That was really hardcore. Okay. This goes extreme. That is really, really extreme. In the end, I'll probably try to like chain every single one of these together and see what happens, but that's going to take some work and I'll need to zoom right out to do that. Metal face. Let's see what metal face does. I think it does a lot of band pass. Yeah, it cuts out the low end and the high end. That's interesting. Yeah, so increasing gain drowns out the noise. I think that is if I disable the noise for a while. So no noise. It's interesting. Like look like how the character of the waveform changes. I'm going to up the gain, up the output. Very interesting. I'm clicking in here hoping there's maybe will be another plugin with some extra options like the Centaur Muff Drive. I think I'm going to turn down the output a bit again. What we need is an auto gain. Hey, maybe there is that something like that. Utility. DC bias, DC blocker. Okay, I don't think there is an auto gain thing, but we have a compressor. No, I don't, I don't know. I don't want to obscure the character of the processing we're doing with a compressor put afterwards. So it could make it easier to like hear everything. We could try, make sure it's very clean. All right, so in harmony with the tone. Okay, so I can maybe just make it, if I make the attack and release quite long, then yeah, I think I will do. I can turn out, turn up the output now. Yes, I'm going to try and match the input level. Let's see. Yay, that's, that was a weird voice crack. Yay. All right, I think the compressor is going to do a good job. Does it have any settings? No. A dynamic range compressor. It sure is. I wonder if Chao is French. So should I say J'attends? Is his name J'attends? I don't know. If you're French, tell me if that's true. And if you're J'attends, tell me if you are J'attends and if it's true, I'd love to know. All right, this has some settings. Sustain harmonics level and stages. Let's go with level. Okay, so that's post gain. It seems so. It seems like this is just, wait, it's not just post gain. Or maybe it is. My compressor is just taking it down. Yeah, it is. Yeah, see, this is the problem of running some processing. I'm not really sure what's happening. Gotta be careful with that. But the compressor is a nice thing. Okay, so this is just output gain level harmonics. It doesn't seem to do anything. I don't hear any difference when the harmonics are at 100% or at zero. Let's try at four stages. Maybe that's gonna accentuate it. Nope. I don't see any difference at all. What is this? High quality. No, I enabled high quality. It seems like the only thing it changes, I mean, the harmonics, not the high quality, is it just delays the signal by a tiny bit. Look at this. So no harmonics delays the signal a bit. And yes, harmonics pushes the signal a little bit back. So like decreases latency. And because of that change, like the spectrum also shows a change. But there really isn't a change. You see, if I just go slowly enough, there isn't a change in the harm in this spectral at all, because this is just wiggling face. Okay, that's weird. I don't know why that is. It doesn't do what I thought it would do. Okay. Muff drive is buff. High quality. I wonder why high quality. Let's read the info. Fuzz effect based on the drive stage from the Electroharmonix Big Muff Pi. Okay. That's why the Muff. It's interesting that this plugin has a high quality mode. What does it mean? Is this oversampling? Because the entire BYOD plugin has oversampling. So is that on top of that? I would like to know. I mean, I'm interested. It's puzzling why there is a high quality setting on this plugin and not on everything else. Okay, let's add another one. Ron, I guess that's some neural network thing. Because to ends, that's got to be a neural network thing. Okay, maybe I'll skip the compressor for now. Also, I think I may have to start deleting these modules at some point, but they're so cool. Let's listen. Oh my goodness. That's loud. I'm going to put the compressor on and enable it too. Yeah, that's better. Random seed. Okay. Is this really random seed? If this is totally random, why not let me put any number in here? Or at least like give me an option to put any number. I mean it's cool to have presets. And I guess these are numbers that sound good. Or are these just random numbers that someone chose? Maybe the info is going to tell us more. Ron is a randomized overdrive neural network. First proposed by Christian Stainmer-Metz. This implementation uses a convolutional recurrent neural net. Sweet. Interesting. There's so many different kinds of distortion. It's crazy. Range booster. What is a range booster? I'm going to read first. Range booster effect inspired by the Dallas Rangemaster pedal. Okay, so that's a pedal emulation. Or at least it's inspired by a pedal. Okay, that's quiet. Uh, is the compressor making it quiet? No. This is called a booster, but it's quieter than everything else. That's interesting. I'll use some input gain then. 18 decibels should do. Okay, this seems to apply a little gentle saturation. Let's add noise to the mix and see what that happens. I'm going to turn on the compressor. That's what I'm going to do. Oh yeah, I'm going to enable portamento and make this monophonic. It's strange. Let's see if it has any extra options. It has a high-quality mode just like a muff drive? Yeah, a muff drive. What does it do? Okay, I'm going to get away with do away with the compressor instead. I'm going to lower the input volume. I wonder if this is, is this a high-pass filter fed into a distortion or distortion fed into a high-pass filter? I don't know. Something interesting, but kind of strange. I don't really understand. Let's try again. Try some more. Tone the king. I think the plugin is becoming a little bit less responsive. Maybe if I close the existing modules, it's going to feel a bit more, I don't know. The frame rate isn't great enough. And the UI. Let's try at zero with the drive. It's interesting. That doesn't even start to saturate the sine wave. Overdrive, boost or both? Let's try both. Weird. Okay, I'll make this polyphonic so I can disable glides. Does this create any saturation at all? It seems like all it does is accentuate the noise. See? All right, I guess it's meant for more of the high mid-rangey things. Oh, that's that's loud. That's like a perfect signal when you know, receive a message. I don't know, that's horrible. The nastiest signal message signal ever. I think that would work well on a guitar. Guitar. Maybe let's turn down the output. By the way, these interesting inharmonic tones are what I've already told you. This is the intermodulation distortion. And it sounds a little bit like the DTMF tones from a telephone line. Actually, it sounds very much like that. Hello? Okay, so I guess the tone king is a very mid-rangey thing. That's very distinct. A very clear description. Tube screamer. That sounds familiar. I believe that's a pedal. Virtual analog emulation of the clipping stage from the tube screamer overdrive pedal. Fantastic. How many diodes? Three diodes or point three diodes? Let's try it on the lower thing. Oh, let's bring up the gain or the output. Sounds familiar. Is there any extra setting? No. Drive. Warp. Okay, that's something a little bit more range. What do we have here? Maybe I'll reduce the amount of noise in my input signal. So now it's this is the clean signal. I'm gonna mute the sine wave and so we just have the noise so we can see the interesting. What is that? Let's read. Drive effect based on nonlinear feedback filters. I thought there's some band pass filter or a bell filter. Interesting. Drive wave shaper. Okay. Ah, all right.  If we disable the noise, we can actually see the exact wave it's gonna give us. But I'm gonna turn down the output thing. Whoa, maybe not as much. Oh, interesting. It's a little bit asymmetrical. Fuzz. So fuzz is like a wave shaping function that saturates and also has a little bit of noise printed in it, which is kind of weird. What if I add a little bit of actual noise? This sounds like frequency modulation. Oh, we can have a, if I maybe just mute the noise at a decay. It's interesting. Look, the input signal is just a sine wave. It sounds like the, what's it called, the very old retro gaming FM synthesis sound card ad lib. Yeah, that's that. That sounds like ad lib. Interesting. I'll bring back the sustain. So I'm doing the re-strike by playing neighboring notes. So two sounds at once. So the clean signal, if I play it two octaves higher, three. Oh, sorry. No, I'm playing this. This is really interesting. So this is harmonic. I wish there was a, there was an option to, oh, there is an option to do that. Yes. I can use keys left and right to switch between the presets. That's fantastic. Now we can check them all. Let's go so low. I'm just playing two notes. Clean signal. It's so low. You can even hear it. My octaves are negative. Interesting sound design techniques I see. Why is it called West Coast? This is quite extreme. What about noise for that? A little bit of noise. So that's wave shaper. I think BYOD is a really interesting plugin. And I think the good thing is that you can build a pretty complex effect and then just have it as preset in a single plugin so you can very easily plop it onto new things. You don't need to haul an entire track preset or something. One thing I hope will be added in the future is some way to modulate the parameters. Maybe a bunch of macro controls that can be automated or bound to MIDI CCs and then assigned to different knobs and buttons within the patch itself. I think that would really bring out the cool factor and allow for some really crazy stuff. Let's see what will happen. Anyway, that's a really cool plugin and I'm going to be trying it a bunch. Let's go YEN drive. That's the all the last saturation plugin. Sorry, the drive. Wave shaping effects borrowed from the venerable search synthesizer. Oh, that's why the wave shaper has all the familiar waves. Aha. Okay. So that was about the wave shaper. But now let's read up on YEN drive. I have no idea what that is. Virtual analog emulation of the Zen drive overdrive pedal by Hermida audio. No idea what that is. But that's cool. Okay. Dude, there is three other categories of modules here. Oh, let's go. Let's do it. Do it. My wife already know what I'm going to do. What am I going to do? She was laughing even before I did it. Amp. So Amp amplifier impulse responses. So this is a convolver. I'll turn up. Okay. Fender. Marshall. Bognar. Custom. How do I put a custom wave shaper? Maybe there is some file dialogue opens. Let's me load. Oh, there is. Oh, man. There is a file dialogue that lets me holy snap. Something crashed. All right. So loading your custom impulse response is dangerous.  Not great. Let's try again. So that's two crashes already. I should have had the crash counter on screen and I did not. That was a mistake. I didn't have a crash counter. I did not. Yay. Oh, I've put a little light to shine on my face. Shine on me face, my. But it should be brighter. A little bit. Yes, please recover from crash. I'm not so fond on losing my progress. So are you will. Yeah, good thing. We're only trying out things. No, please wait. Okay, so trying to close the preferences dialogue while Ardor is waiting. Sorry, loading isn't going to work. Now I have to see the log file. Yes. No border. Keep above others. No borders. Keep above others. No border. Keep above others. No border. Keep above others. No border, keep above others, no border, keep above others, no border. We're back. Ready to whack. All righty, tone, amp, impulse responses. So it's a convolver. You can load your custom impulse response. I wonder what format it is. Is it like just a WAV file? I don't know. I don't want to try. Is it crashed? Base cleaner. What is base cleaner? That sounds like, that sounds fishy. Is that a high pass filter? Is that what it is? Okay. I'm going to disable the sine wave. I will increase the noise. Yeah. All this is, is a high pass filter. Why don't you call it a high pass filter? Unless it's doing something extra, a filter to smooth and dampen bass frequencies. Sounds like a high pass filter. Why don't you call it a high pass filter?  So you need to call it base cleaner? Sorry.  I'm not really angry. I just kind of puzzled. Why is it called base cleaner and not a high pass filter? There is a high cut. So a low pass filter. Why not a high pass or low cut? Calling it low cut would be already easier. Basement tone. I'm going to enable my sine wave back. Okay. I think that's kind of, there's some form of the cue. All right. See the frequency response, which we have in the top in here or here, I don't know. The frequency response shows that this setting, which means base at 100% tilt at zero and treble at zero is a transparent setting. It doesn't change the frequency response. It does change the width or does it? It doesn't change the width. If it changes the waveform, it's just a tiny bit of delay. Okay. Is this, let's see if this, is that their neutral setting? It is. Okay. That's good. So again, that's a tiny high pass or a low shelf. This is strange. It's some form of a cue. I'm not sure what it does. It's kind of weird. Backs and doll cue. Who are you? Backs and doll cue? Any cue filter based on backs and doll cue circuit? Ooh, okay. That seems more useful. Like you can actually certainly boost the blows with this. All right. Graphic cue. All right. So here we have a simple six band graphic equalizer and it doesn't do anything about 5k. So it's not like a shelf. This also isn't a shelf filter. It's just a, yeah, e tone, high cut. Yeah. That's a low pass. I mean, it does what it says. It cuts the highs. I'd like the, I'd like the base cleaner to be called low cut, to be consistent with high cut. And also like it's easier to find low fi impulse responses. That's interesting. KC01. Wow. That is a steep low pass. Low, low. Yeah. That's a steep low pass. Casio 2. Cassette speaker, toy circuits, toy mic. Yamaha.  I think that's, that can be very useful. Low fi IRs. Muff tone. Okay. We have, we had something called muff drive. I think these will come together. Let's try that. So first, muff drivers alone or clean signal, muff drive plus muff tone. And now without, without muff drive and now clean. Let's just muff, try just muff tone. This is some form of a high shelf. And this is some form of a low shelf despite being called mids. Oh, but it's differently. If you have the tone, okay, so mids do nothing. The mids knob does nothing. If you don't have the tone knob up, okay. There's also a bunch of different models triangle, I live in Poland, so I need to try Russian. Okay, let's read about this. Muff tone and emulation of the tone stage from various big muff style pedals. Okay. So I guess it's not, what about muff drive? A fuzz effect based on the drive stage from the electro harmonics big muff pie. So maybe these aren't so closely related after all. Oh, well, SVF, SVF means state variable filter. And this is kind of, I'm, I'm double puzzled because I was earlier, I was looking for a filter or a, a general filter effect. And there is none. I mean, there is a high cut, which is a low pass. And there is bass cleaner, which is a high pass. And there is SVF, which is low pass or, yeah, I mean, you'll see. I kind of don't understand because I assume bass cleaner is, is called that to make it easier to identify what this does. But SVF is called, like, if you're, if you're not technical, you're certainly not going to know what SVF means. And so I don't know, bass cleaner seems to be named for people who are not technical, but SVF seems to be called for people who are technical. So it's like, either it's not inconsistent or it seems very inconsistent. I'd prefer this to be called filter or state or SV filter or as state variable filter, just a full name. I'm going to turn off the, the sine wave. So what this is, is a low pass filter with resonance. But if we move the mode up at 50%, this is a band pass filter. However, at 100%, it is a high pass filter. So this is three filters in one with a smooth transition between, between them. And that's something I would find very useful. One thing I am missing is a notch filter. But yeah, I guess it's, it, it would possibly be, it would post. It's probably possible to do a notch filter by combining two state variable filters with a mixer to create a notch, but I, I'm not sure how to do that. Okay. So that's a state variable filter, multi-mode, oh, oh. So we also have a mode where we can choose one or another. And there's a multi-mode, which is enabled by default where we can smoothly transition. Like under the hood, I, I'm pretty sure this just changes the values. And you can even see that the spectrum response, a frequency response is animated. It's not jumping immediately. So it's not switching anything. It's slowly, slowly. I mean, it's quickly, but it's smoothly interpolating the value that we had before if we disable the multi-mode. So you see, I can achieve the same effect by quickly, swiftly, jolting the knob as to changing the switch. That's cool. That's fun. Okay. Tone. T-S tone. What is a T-S tone? Seems like it's a low pass. It goes from quite dull to not so quite dull. It's probably some, something modeled after some pill that was made somewhere some decades ago. But yeah, I think, I, the color also suggests to me it's, it's a pedal emulation. Maybe I'm wrong. Let's read. Virtual analog emulation, ha! Of the Tube Screamer's Tone Circuit, aha! I wonder if it's just a filter. Maybe, maybe not. Maybe it does saturate, for example. For that, I would need to hit it with a hot signal. And I will do that. Hitting it with a hot signal. No, it does not saturate at all. This is just a filter. Nothing to it. It's just a filter with a reduced, just a gentle or a single pole low pass with a reduced range of, of frequency, of cutoff frequency. Nothing special here. At least nothing special that I can tell.  Treble booster. So I guess that's a high shelf. It is. A high shelf. A treble boosting filter based on the, on the tone circuit in the Clone Centaur Distortion pedal. Okay. I wonder, you see, I am feeding super hot signal into that. I can be feeding even more super hot signal. Maybe at some point it will, it will saturate. Let's, let's find that point. Oh, let's give it another 18 decibels of clean gain. Maybe then it will saturate. No. It will not. This is not anything sophisticated. This is just a high shelf filter. I mean, it does what it's, the name says, I just don't know what is it about the emulation of a circuit. It seems to do exactly what a simple high shelf filter does. It's not a complaint. I'm just kind of puzzled. Utility. Clean gain. DC bias. I can create a DC offset. I wonder if we'll see that on the, we probably can, but I need to, yep. I will turn down the, I think I can mute the noise. So you can see this creates a DC offset where this is useful in such a plugin is that we can drive, Junior B was a hardcore one. Let's do that. We can drive anything. Okay. It's going to be super loud. Let's turn this down. By introducing DC bias, we can change the tone of distortion quite a bit. Why is turning the tube drive down making it louder? Yeah. So adding DC bias is, and there's another thing called DC blocker, which is just a high pass filter, a steep one, I guess. So basically if we, and DC is direct current, it's, if we apply DC bias, we can use a DC blocker to remove it. And it's just a high pass filter and really to block DC, there is no need for a frequency control. As you can see, we have blocked DC already. I mean, if it's, if it's quickly changing DC, then that's going to be useful. And I think that might be the case because if we have a distortion type that is highly asymmetrical, maybe a way kind of some kind of wave shaping, half wave positive. Yeah. I think if we use some kind of wave shaper, highly, highly asymmetric, you can see that adding a DC blocker is going to help us make the waveform, shit, I don't want to do that. It's going to help us make the waveform more centered. And yeah, we can up the filter to 50 Hertz. So we are cutting off lower stuff, but this is actually a high pass filter. So yeah, it's just the one with a very specific, probably it's quite sharp. It probably has a lot of stages to have as high slope of frequency response as possible. But other than that, it's just a high pass filter with a specifically tuned frequency cut off control that has, you know, a very specific range doesn't go higher than 50 Hertz utility frequency splitter. Ah, that's an interesting one. So this is a crossover filter. So we can separate high, actually, we can separate it into three different, wow, that's cool. By the way, what does it say about the DC blocker, maybe something special, a DC blocking filter with adjustable cut off frequency, yes, splitter, a crossover filter with three outputs splits a signal into three frequency bands exactly. So now we can have different distortion on lows. Yeah, we can let's do that because this is basically what the plugin is about. We can have different, I mean, it's about building your own distortion from various building blocks and there's so many different building blocks, like that's so cool. So we can distort lows with junior B, mids with wave shaper and leave the kais clean, for example. Now we add a mixer, utility mixer. Now we mix together these three, we can add a DC blocker after that. And now our, I don't know what noise, oh, that's the other way around. Okay, so this is the low frequencies. That explains everything. It makes sense, low frequencies on the bottom of the window, it makes sense. So I'll do it like that. So high frequencies on the top. I can see some people being skeptical about BYOD when there is something like cardinal where you also have a bunch of modules, you can also wire them however you want and actually you have way more freedom. But I think the strength of BYOD is that it's also very simple and cardinal is quite intimidating, especially for new users, plus I think cardinal could be more CPU heavy and also it's definitely a much larger install, like you're going to need a lot more disk space just to install cardinal. Plus BYOD has some unique features in that you can configure global oversampling, which you can't do in cardinal. Individual modules may do oversampling, like it's up to them. And you can also configure how the filters behave. They can be either minimum phase or linear phase. And with linear phase filters you could use a state variable filter or a frequency splitter and process different bands separately and mix them together without any phasing issues. Of course that would cost you a little bit of latency and optionally possibly create some pre-ringing. I don't see an option to do this kind of stuff in cardinal. So yeah, I think cardinal and BYOD can do similar things, but they are different and I think it's worth giving both a try and deciding which one works better for every individual purpose. From this point onwards my video capture started dropping huge amounts of frames and has turned the rest of the video into an incoherent mess. Feel free to just stop watching here, but I've decided to include the remaining broken part just in case you might find it useful anyway. Sorry. And I hope this video was worth your time, up to this point that is. Okay, I'm gonna go now. Don't make a mess, leave the key in the mailbox when you'll leave. Mids in the middle and lows on the bottom. And the fourth channel, the mixer is unused. Sweet. Let's hear it now. This thing slaps. Okay, we can't kind of, I mean, we can't solo the channels. I wish there was a solo in your control for every single channel. That would be very useful to check what we are doing. So that's the highs, this is clean. Okay, yeah, we can't really solo this. The only way I can do that is, unless there's a switch. Splitter, merger, tuner, other switch. Don't see a switch. Yeah, so our highs go unprocessed. Let's hear just the highs. So everything above 6.3 kilohertz goes unprocessed. Then we process our mids with a wave shaper. Yeah, we can get off a little bit more. And then we process our lows with Junior B. And then we sum everything together. Now we can apply the DC offset mover. I'm just starting. No. And you can see the DC blocker actually is very useful. And the extent range is actually very useful here. You can see with the DC blocker disabled, we are like our waveform is overshooting way far. And you can make the waveform much more compact and therefore efficient. So it peaks lower, doesn't need much headroom, but it sounds pretty much the same. And that's very, that's actually very important because if like solo, it's okay. But in the mix, when you add drums, leads, vocals, synths, whatever. This extra headroom that this requires without the DC blocker is gonna just gonna be a problem. So using the DC blocker is a really good idea in here because it gets rid of the unnecessary amplitude while it sounds the same. Almost the same. I think the change is well worth it. All right, so that's how you can use a frequency splitter and a mixer to process your sound in multiple bands. For bands, we could also, of course, use another frequency splitter to separate one of these bands into three and say use another mixer to like spread out. I'm not gonna do that because we could spend all day just doing this. Mixer oscilloscope. Oh, we have oscilloscope. That's so cool. Is there any settings? There are none. But that's, it does use oscilloscope trigger like X32 simple scope I'm using, which means it latches onto the wave side. I'm gonna show you without oscilloscope trigger, your oscilloscope would dance around like this. You see that? And with different frequencies, they will be different. That's nasty, I don't want that. I mean, it's hard to look at. So I'm using continuous trigger. Whoa. Oh, it's not frequencies, the DC blocker no longer catches the geeks. Okay, I think we're gonna need some extra saturation to, or we could use a phase rotator. I don't know if there is a phase rotator here. It would be sweet if there was a phase rotator. Oh man, that would be so good. I don't think there is though. Oh man. I'm sorry, no, no. Oh, ciao, please add a phase rotator or an opus filter to be why it would be so useful. Opus filters, especially you can stack them in large amounts are so good for changing the tone of your distortion. That's a very useful thing to have. I really hope it can be added to the body because it's an opus filter. Or also called, also known as a phase rotator would help us get rid of these crazy peaks because it would like to slap the waveform making it, and unless we distort it afterwards, it's gonna sound pretty much the same, but it's gonna be more compact. It's sometimes done on the radio, I think, as I'm able to be sure that the signal modulates better. So it's applied to human voice also, because sometimes when you speak to a microphone, your waveforms come out not exactly symmetrical and then can use either a DC blocker or a, yeah, so basically a sharp high filter or an opus filter, also known as a phase rotator to push it, like, slap it, and make the peaks dismount and be more compact. Anyway, that's a tangent, that's per se. Yeah, and that's, the oscilloscope is really cool, nice. What else is there? Paner. Oh, oh, it's an auto-paner, it's not got any pattern. It can, it can oscillate. So that is a auto-pan processor, really cool.  There's a pen, this is called pen law in DWs. So how do you calculate the difference between left and right channel, the pen with pen? And there's stereo mode, which means it's either stereo, which is what you have now as dual mono. Panning effect with mode and modulation options. That's a really cool pair, nice. I am gonna go back to mono though, because I set my mono, my analysis for a mono signal, but where it may become pretty wrong. Stereo merger, left, right, or mid-side. That's great, oh, that's so cool. Stereo splitter and stereo merger, oh man. You can split your signal into mid-side.  That is really cool, awesome. I'm gonna play with it now, but that's so cool. My cat is making strange noises. That's really nice. Tuner. Let's see what that's saying. That's so cool. Oh, fine. It says all of these are off. But I'm really, I guess you should play the tuner to the dry signal without an distortion first. Oh, it says it's not in tune. Maybe the noise is throwing off. Let's see the noise. Okay, with noise it's working fine, so the tuner can have noisy signals. Very well, all of that is cool. What else do we have? We have other, chorus. If there was a flanger, or if there was a phaser, we could use that as a, we could possibly use that as an all-pass filter because the phaser is built on top of an all-pass filter. It's just not in the all-pass filter and it's mixing the dry and wet signals together because all-pass filter creates a phase shift which is the end of the frequency. It creates a series of notches when you mix this together with the original signal because of phase translation. But we don't see, I don't see a phaser here. All right, so that was utility and other chorus compressor. So chorus, pretty self-explanatory. It's chorus. Does it have any extra settings? Clean and low-fi. I guess low-fi saturates. I wonder if we make it mix 1%? Oh, I think it's all, it's not all wet. It's dry-wet. Okay, utility, other envelope, delay. I think I close the tuner and the oscilloscope because I don't need them. Close these two as well. Today, this opportunity with delay is letting it sync to, or maybe it does. Hold on, I didn't check. No, it doesn't. It does not detect the tempo from the DLQ or plugin host and doesn't let you sync to the tempo which is a big miss opportunity because that's quite essential in any delay plugin in my book. If I'm gonna use that delay musically, it has to sync the tempo. Otherwise, what am I gonna do? Like do it by ear and waste my time just dialing in no second and then having it slightly off and doing some weird stuff. No, I want it to be on time. Of course, not everyone does that, but that's just my preference. So I'm not gonna be using the delay at least not for musical effects. You can still use for some other stuff, we can. And it also has a low-fi mode. I think I'm gonna crash. Yeah. Doing some nasty stuff here. Actually, I'm feeding delay from the chorus. There's also a ping pong mode. Oh, that's great. Ping pong means it creates a reflection left in my channels. How do you say that? It switches left and right channels. So ping pong is more stereo. Okay. And a low-fi filter. That's a really cool thing. And I think it's really nice that it was included. This is, you could say it, sometimes this is called auto-wow-wow. I guess you know why. Because it says wow, wow. It's not as bad as. Wow, wow. There's a speed. This controls the attack and release times of the envelope follower module that works inside. So higher speed will cause it to move faster and sensitivity. It's like the gain of the signal before the envelope follows the loop. Like change the frequency, cut frequency of the filter more with less input. It doesn't have any extra special direct control, what does that mean?  How is it different from SVF or state variable? No, not this one. Stereo, I have it, so no, I call it from state variable filter. We have frequency, check, we have queue. It's resonance, the same thing, check. And we have mode, which is type. Chow, do you think the naming could be unified between these? It seems so. Why does it have a manual mode if it's the same as SVF then? I really don't know. Okay, there is one change. If you turn the speed low, the envelope following is still going to occur with respect with like appropriate attack and release times. It's just it's not gonna take the input from, it's gonna analyze the amplitude of the input. It's gonna analyze the level of your, I think what would be really fun here is a sighting input. So I see that they're plugging, there are modules that have multiple inputs. A sighting input, I'll let you apply the filter with an amplitude of another signal. That would be an interesting thing here, I think. So that's another idea I have for improvements. Okay, let's see, is there anything else? Gate, so that's a standard noise gate. So there's some shifts in your guitar tones and you can use this to get rid of them. I don't want to spend too much time covering a gate. It's great that it's here. Sorry, that's a rotary emulation. Oh, I think that really cool thing is that, actually. Yeah, so the cool thing is, I didn't actually pay attention to this, but it's really nice that BYUD packages, stereo signal and a single noodle. With this virtual cable, you don't have to plug in left and right cables, like you do have to do in color, for example. I mean it gives you a little less control, but overall it makes it way easier to do stuff. You still can split the stereo signals tomorrow. You have to saw this and you can merge them together, but you don't have to. So it can convey a stereo signal or maybe a stereo signal. Does the rotary have any extra stuff? Doesn't seem so. Let's read it. A rotary speaker effect. Yay. No, make it. Oh, I accidentally clicked on the, about, I think about for the envelope filter. A envelope filter. I don't think that's, I think that's a mistake, sir. It should be an envelope filter or A envelope filter. English isn't my native language, so. Even if you guys speak English natively, maybe you can correct me. Is it, should it be an envelope filter or an A, or should it be A envelope filter? Reminds me of some British car show. The envelope filter with low pass, band pass and high pass filter types use the right click menu to control default modulation directly. Again, it's not a right click menu. Right clicking doesn't do anything. It's a rocket button thingy. But that's minor complaint. Rotary spring reverb. It's interesting that the only reverb we have here is a spring reverb. So this seems quite vast. I think I'll need to zoom out a little bit because I don't think I can fit all the modules. Actually, I'm not using these. I'll get rid of the modules and I'll actually be using to process the sound of the device. Let's put this to the screen. Let's see what it does. Oh. The problem with connecting these cables is that you need to plan ahead because if I just want to, oh crap, there's a plan to be output. No, you can't. First, first need to click on that to disconnect it only then you can try to connect it. That's a little bit of a problem. Ooh. I'll plan a higher octave. Oh, that's nice. I think I'll turn down chorus depth and rate and mix. Maybe, you know, I'll just feed it raw input. That's gonna be better. Yeah, so the, I can also raise the end with level level. So this is the dry signal. Just a sine wave and this is with the effect. So I'm gonna switch there. I'll add a little bit of attack and the release for my sine wave. So there isn't this hard click. Okay, that's better. So this kind of, see, size, reflection, spin. Let's add a little bit of white noise. Okay, thought maybe if I disable it and enable it again, it's gonna cut off the tail but no, it keeps going. Let's make it all wet. I hope. Oh, no. Oh, I can't make it all wet. Can I? Oh, no, that's a bummer because being able to process the wet reverb signal separately and then mix it back with your clean signal where it is would be very useful. So if I may suggest another implemented plugin, please get so that the mix can go to all wet and not just 50% wet and 50% dry. That'd be awesome. Okay, so let's get this. What is, what is shake?  But this is quite a distinct sound. But let's put this into our frequency splitter and pipe it up the other end, see what happens. I guess it's gonna be super loud when I turn it down. Oh, something is clicking. What if we change the sine wave to a sine wave? Let's hear just the reverb. I'm gonna make this click, make it click. Could use a chorus maybe. Okay, so our, start like a joint, yes, okay. So this is my input signal now. Just a pulse of saw, saw, tooth with a bit of noise. That's all I have for you today. Thank you for watching. I hope this video was interesting or helpful. 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Voltages across series and parallel capacitive circuits. Welcome. In this video, we'll discuss voltages across series and parallel capacitive circuits. When a DC power source is connected across a capacitor, as shown in this illustration, the following conditions occur. First, the electrons from the negative terminal collect on the bottom plate of the capacitor. Second, as each electron collects on the bottom plate, it repels an electron from the top plate. Third, each electron that is repelled from the top plate flows to the positive terminal of the power source. As the capacitor is charging, the current flows as if there were a complete circuit. The current does not actually flow through the dielectric between the plates. Current flows until the charge on the plates causes a voltage to develop that's equal to the power supply. The current stops because there's no difference in potential. This means there's no difference in potential between the bottom terminal of the power source and the bottom plate of the capacitor. There's also no difference in potential between the top plate of the power source and the top plate of the capacitor. The size of the plates determines how many electrons need to collect on them to cause a given voltage to develop. A capacitor half the size of a second capacitor requires half the electrons to collect to cause an equal voltage to develop. Since the capacitor used in the circuit on the left has half of the electrons as the capacitor in the circuit on the right, its LED will be half as bright when it discharges. When capacitors are connected in parallel, a voltage equal to the power supply develops across each of them after the capacitors are completely charged. The three parallel 10 microfarad capacitors function as if they were one 30 microfarad capacitor. When the capacitors are connected in series, the same charge forms across all of them as they are being charged. This diagram shows how this occurs. As seen here, there's only one path for the current to flow. Each time one electron collects on the bottom plate of the capacitor, one electron from its top plate goes to the bottom plate of the top capacitor. Because the top plate receives its electrons from the bottom capacitor, it can't obtain more or fewer electrons. Therefore, it obtains the same number, and therefore the same charge develops across each one. When capacitors are connected in parallel, a voltage equal to the power supply develops across each of them after the capacitors are completely charged. When equal value capacitors are connected in series, the same voltage is dropped across each one. When unequal value capacitors are connected in series, the smallest voltage forms across the largest capacitor, and the largest voltage forms across the smallest capacitor. The larger voltage forms across the smallest size capacitor because the smaller capacitor has more dielectric. This means that the greater the dielectric, the more voltage that is required to develop an equal charge. Let's review. When two or more capacitors are connected in parallel across a DC power source, the voltage across them after they are fully charged is A equal or B not the same. The answer is A equal. When two or more unequal capacitors are connected in series with a DC power source, the charges that develop across them are A equal or B unequal. The answer is B unequal. Can you figure out the correct voltage for the capacitor shown in this image? The correct answers are 60 volts and 30 volts. Congratulations! You have completed watching the Voltage Across Series and Parallel Capacitive Circuits video.