It's ANFA, and you're watching another monthly live stream. And I hear myself in my headphones with a nice long delay. Let's find where that comes from. It's going to be a monitor. It's not this monitor. This is real-time monitor. Found it. All right. Welcome. How are you doing? See how many people are watching right now. OK, there's 57 people online. Welcome. Glad you made it. It's another month, another first Sunday of the month. And it's time to do a two-hour live stream. And if you don't know me, I am ANFA. I'm an electronic music producer and sound designer. And the twist about me is that I only use open source software and Linux, which is kind of unusual in the... Well, it's unusual for artists to go this route. But I'm really happy I can be one of those who do. I've had a few ideas for today's... For today. I have a few ideas. Yes, industry is the name. I have a few ideas about what to do today. But first, I want to talk about things that are happening or have been happening. So first thing is there is something called Liber Music Challenge that was started in a community of my viewers. And it was started a year ago with the first Liber Music Challenge. And we skipped one month because there was no one to maintain that. But another maintainer has shown up and has taken care of leading this little thing. And what it is is it's a monthly event on my community chat, which is either on chat.anfa.xyz, this thing right there. Am I pointing in the right direction? Let's see. Either in this thing right there, that would be the wrong direction, this thing right there, or there is a Discord.  You will then read all about this stuff. And there is also a link to the Discord server. And they are all going their bridge together. So you can either create an account on chat.anfa.xyz and use Rocket Chat, which is a free and open source solution. Or if you have an account on Discord, use that. So if you don't have an account on Discord, I recommend you don't make one. Instead, use Rocket Chat. Also because Discord, in their terms of service, says that if you made an account, you are not allowed, you agree not to sue them in a class action lawsuit. So don't make an account if you don't have one so you can potentially sue Discord for good measure. OK, so here is a channel. If you go and search for, what is that? OK, you will find Liber Music Challenge. And this is the place where all the other things are happening, where people are learning the new monthly topic when they are exchanging information and also linking threads on Linux Musician's forum and archive.org, where all these submissions are uploaded after each month's submission and voting is done. So last month's Liber Music Challenge was called Air Music. And it was about using Air Windows plugins. If you don't know this guy, this is Chris. This is Chris. And Chris is making plugins. And for some time, he's been open sourcing his plugins as well. And he's using crowdfunding. And he's publishing these little plugins that do specific things and often do very unusual things. And some of them are really cool and unique and useful. So that's Chris from Air Windows. And the challenge was to make music, but only use his plugins. And I think that's showing what the Liber Music Challenge is about. It's about taking a theme and learning new tools in the open source audio production space to create something in the theme. And sometimes the theme is just to use a certain plugin that is new and interesting. And not many people know about it. So the Liber Music Challenge provides an incentive for people to check it out, see what they can do with it, and expand their palette of sounds and tools. And I think that's really nice. You can also find all the submissions. And one of the submissions is going to be played later today because it was submitted to the live stream. And that's the winner track, the track that won this challenge that was basically voted by all the people taking part as the best one. And you can see that this challenge has quite a lot of things going on because there's like six pages of posts in this thread. And this is just for one month's edition. This is not for all of them. And the maintainers create these threads for every edition and also upload them. So the next edition is called Happy Birthday Edition because it's the first anniversary of Liber Music Challenge. And as I said already, we've skipped or they've skipped one month. But yeah, so this will be celebrating one year of Liber Music Challenge, which I think is pretty cool. It's a little spinoff thing that the community is doing. Like, it wasn't my idea. I'm not taking care of it. The community around my videos is just doing this. It's on its own. It's Roland van den Berg and Sahativa. These guys are maintaining this Liber Music Challenge. And I think this is awesome. So that's a little news. And another thing is topic for today. And I was thinking about multiple things. One thing was to dive in and figure out what is L-U-F-S and explain what that is, does, show how to use it, what tools we have to measure that, and talk about loudness in general. Maybe see what tools we can use to achieve higher loudness in our music and then explain why it's totally pointless after a certain point. But I thought maybe that's not the best idea for a live stream. Maybe that will be better served by a video on its own. But I thought on the live stream we could do drum gizmo, which is something I haven't made a video about and I was meaning to for a few years now. And I always forgot about it and didn't have the flow to do it. And I thought maybe we can do it today. Because many people don't know how to use drum gizmo or even what drum gizmo is. And even if they know what drum gizmo is, they don't know how to use it. So maybe let's fix this today. What do you say? By the way, can you hear me all right? Is everything good? Am I talking to empty void? Yeah, I think you can hear me. It seems okay. I'm just gonna quickly blow my nose because that's an obligatory part of the stream. Alrighty, so let's do some drum gizmo thing. So if you don't know what drum gizmo is, drum gizmo is a multi-layer, multi-source or multi-track, multi-layer drum sampler. Of course, it's open source and free as in freedom. And it's probably the best tool if you're going for just natural drum sounding acoustic drums. And the official program is available on the website or in various Linux distribution repositories because it's a popular program, so we can easily find it if you're running Ubuntu or Debian or Linux Mint or Manjaro or whatever else. You most likely will find a drum gizmo package in your Linux repositories if you're running something else. You can just go to drumgizmo.org and download the program yourself. And what it does is it loads specifically created drum kits which have a lot of audio data and lets you create drums that sound amazing. But it requires some work and I want to show you what is this work, how to do that in our door, which is an open source digital audio workstation that I use most of the time. And we're gonna have some drum line by the end of this or maybe make some drums and then play around and make some other instruments on top of that to finish it off. And Axe asks, when Fabla 2? It looks interesting. Fabla is a drum sampler, so it's not, it's a single layer. And as far as I know, it's not being developed anymore. The developer, I can't remember the name of the guy, but the project was called or is called AVE Harry. Yeah, Harry VanHaren, that's the name of the guy. And it seems he got a job at Intel and he's really busy and he doesn't have time to do or isn't interested in doing this anymore. So Fabla 2 isn't coming out. And Fabla 1 is a pretty interesting, very simple drum sampler, though it's not super reliable, unfortunately. That's why I'm not really using it. I think I would use drum gizmo if I wanted a reliable, simple drum sampler that has multiple channels that you can use with multiple samples because I'm familiar with drum gizmo and it can load samples as well. Anyway, that's not what I wanted to talk about. I wanted to talk about drum gizmo. So you can download the program and you can also, it's a plugin as well. And you can also download the official drum kits. And there are a few official drum kits, which are all created in a way that the drum kits are mic'd with 16 microphones in a room. It's prepared like a regular recording session when you would record live drums. But instead of performing songs, they do perform single shots on all the drums and cymbals in various velocities and they record all of that. And the result is that you have a drum kit that is sounding like a real drum kit. It's just amazing. And these drum kits are licensed under, I believe, CC by Creative Commons Attribution. So you can use them, I think all of the drum kits are licensed, but refer to these drum kits pages. So you can do pretty much everything with this. You can even use it in commercial projects. All you have to do is, in a description of your release, list that you've used this drum kit and maybe post the URL. So I think this is an absolutely crazy contribution to the free and open source audio production community because these drum kits sound freaking crazy and there's quite a lot of them as well. And I don't even wanna get into how crazy work intensive it is to actually sample a drum kit and sample it well. And these guys are doing an absolutely amazing job at it. And I think this is, some people say this sounds even better than some commercial, than many commercial drum samplers. And one of the reasons is that you get an absolutely raw signal. The philosophy of drum gizmo is that you have, it's like replacing a live drum kit. You've just feed it MIDI and the audio you get, you get multi-channel audio. So you get 16 channels of audio. And the idea is it just replaces an acoustic drum kit with a microphone setup and an audio interface and a drummer. So instead of a drummer acoustic drum kit, microphone setup and an audio interface, you have this plugin and you send MIDI to it and it produces results that would pretty much, they're pretty much almost identical as if you had this drum kit laid out and they have a drummer that would play your part, only in real time. And all you need is a little bit of RAM and a little bit of CPU cycles left to spare and some space in your description of your project so we can add the attribution. Okay, so you can go to drumgizmo.org and download it and feel free to play along if you are so inclined. But I am going to move on to Ardor because I already have drumgizmo installed and I do have the drum kits installed. So this is Ardor, that's an empty session. What I'm going to do is create a new MIDI track and I've already selected drumgizmo as the instrument, plug-in on that MIDI track and I'm going to click add and close. Now here is a little dialogue window and what it asks us is how to configure outputs because the plugin provides us with 16 outputs, not a stereo output. So in something like AVL drum kits you have a version of the plugin which supplies you with just two outputs, just a stereo output. So all the drums are mixed with you for you. You don't have any way to change the mix. And here it's like a virtual audio interface you know, laid out to your drum kit. So you have 16 inputs of raw audio that would be outputted from the drum kit. So what you need to do is, I think the best idea is to use this fan out and this way you have 16 mono channels, mono busses. Okay, let's see. First thing is, okay, we have MIDI input because I have my MIDI interface configured in order to do that. If I open the user interface of the plugin, here's what we have. And this is DrumGizmo's user interface and what we have to do is, first we need to load a drum kit. So I'm going to go browse and I've already went to a directory in my, on my disk where I store drum kits for DrumGizmo. The sound font name is not really a good name. I should call this sound libraries, but that's what I called it. So let's go and select cruchel kit and scroll down and we need to select an XML file which contains a configuration of the drum kit and you can see there's a multiple choices here. We have default, we have full, we have small, tiny. So one of the four. I'm not sure what they do and how they differ so I'm going to go for full. Select and now you can see there's this little progress bar because DrumGizmo is preloading samples so it can play them back in real time with no latency involved. Well, there is 144 samples of latency but that's just, you can just omit that. Another thing about this is that we can change the cache limit because I have a lot of RAM. I can move this to unlimited and apply. It's going to reload the drum kit and this will make sure that all of the samples which has like five gigabytes of them are going to be loaded into my memory, into my system memory so they're going to be played immediately and it's not, you know, my hard drive isn't going to have to work because we're just loading it all in advance. I can do that, I have a lot of memory. Why would you not want to do this is if you don't have as much memory to spare and if you have a limit set for this cache size then DrumGizmo will only load like beginnings of the samples, I believe, and then when you play a sample, it's going to play this beginning of the sample from memory and then go fetch the rest from the disk really fast. So, yeah, it's more reliable, especially with the large drum kit, if you just let it chew up more memory. Adeniran Baltazar asks, what does Fanout do? Fanout in Ardor is a function that appears when you add an instrument plugin that has more than standard stereo output. And if I didn't do Fanout, let's just do this. I'm going to add another MIDI track with DrumGizmo and it's going to ask me to do the Fanout again, but I'm just going to disable Fanout and add it. And the result is I just have this single MIDI track and I have all the outputs and it's up to me to, if I right click, we're gonna open the connection matrix or the routing grid. It's up to me to select what I'm sending where and by default it just all goes to master, left, right, left, right, left, right, et cetera. So Fanout lets us have creates a audio bus for every single output. So we have 16 audio outputs from the plugin and it has created 16 buses for us, which is going to make it easier for us to mix the drums. Let's remove this secondary DrumGizmo track because we don't really need it. Okay, now we've loaded our drum kit. There is also something we need to load or we can load it, we don't need to, but it's nice and it's a MIDI map file. So we can go again and select the MIDI map and choose the version of the drum kit that we chose before. So this is the drum kit and we load now the MIDI map. And I believe that what this does is it provides us with a nice description, does it? Okay, by the way, I need to connect the audio output so Ardor's audio output is being sent to stream. And it works. Let me know if the Ardor audio is too quiet because I think it might be. No, maybe I'll just make it louder myself. All right, not sure what this MIDI map actually does because I thought it's going to give us names for the MIDI notes, but I don't think this is, maybe it's not working. I don't know. Ardor is very quiet. Okay, I'm gonna make it louder than six decibels. All right, another thing we need to do is bring up a readme file of the drum kit we're working with. So here is my readme file or the directory where I have the drum kits opened. So let's go here and we also have pictures of when the drum kit was captured, which is pretty cool. And here is readme. I already opened it, so here it is. And the important thing is what the channels do because you know, it's just numbers from one to 15 because it looks like we're not using the 16th channel and it's pretty arbitrary. What do you plug into that? So, you know, some people will plug in kick here on the channel one, snare on channel two, snare bottom or top three and like, and they start with ambient left, ambient right, overhead left, overhead right, overhead center, et cetera. So pretty much we need to take this as a reference to rename our bosses here. And unfortunately, I don't think there is an easy way to do this, like just have it create the bosses with proper names. So I'm gonna call this AMBL, AMBR. By the way, if you hit tab when renaming tracks, you can just switch between them in order and you can rename overhead left, overhead right, overhead center, hi hat, ride, ascent top. Ascent bot, tom one, tom two, F tom one, F tom two, oh, K inside, K out. All right, and we have named our tracks.  And this is where you can pretty much let go of the read me. And what I'm going to do, oh by the way, fan out also creates a group for our bosses.  So ambient left and ambient right. Actually we could remove this group and create our own groups because I'm going to want to group things that are left and right together. So ambient left and right, well, no, not that. I'm gonna group this and call this ambient. Actually drums, A and B. And I'm going to solo these two. Now let's pan this one hard left and pan this one hard right. What you can hear right now is me giving me the input to drum gizmo and we are hearing the ambient channels for all the drums. Okay, let's do the same for overheads. Drum, oh hey, all drums. So overhead left, overhead right and center will stay in center and we have a drum controller. All right, hi-hat. Snare top and snare bottom. We could also group them. Drums as send and oh, our kick here is, this is our kick. Let's solo the kick. So yeah, this is the kick and you can also see that when I play a snare, you can hear that snare through the kick megaphone because we're emulating the actual physical drum kit and not just playing samples on arbitrary MIDI keys. All right, so why am I doing this? It's because drum gizmo provides us with raw audio inputs or outputs and to have a decent sound out of drum gizmo, you need to put in the work to actually mix the drums as if you were mixing an acoustic real drum kit. And this is like, this is the cost of using that is that you need to actually learn how to mix drums because this is not playing you pre-mixed drums in a stereo bus like many commercial samplers do. This is providing you with raw audio that you can do anything with because we can mix this single drum kit in a thousand different ways and achieve completely different results. We can make this into a lo-fi hip hop type beat if we want or something not right about this camera. Top of my head is clipped or we can make this sound like an electronic drum and bass kit if we want to. Anything we want because the raw material is raw and it's super high quality. So we can sculpt whatever we want. So maybe you have some ideas. What do you want to sculpt out of this? By the way, this chilled coffee really is nice. Before we mix, we could create some pattern because it's pretty nice to have something. Start with. So I think I will give us a bit more loudness.  I guess, that's a fair point. And we have some nice plugins to test like some air windows plugins or Chao tape. You can distort it really well. Oh yeah, now I know what I want to do. Another thing I want to do, I want to create a submix for this drum kit. So I'm going to go control shift N to create a new track or bus, create an audio bus and make it stereo called it drums with capital letters because that's how I distinguish submixes. I'm going to put it before selection and here we have our submix. Now we need to reroute all of this here instead of to master because right now these tracks, sorry, these buses send audio directly to master and I don't want that. I want this to go to drums submix. So what I do, which is, I think the easiest way is to go to the bus where they are sent to, right click on the inputs to open them, the routing grid, go to buses, tracks. Why are they considered tracks? These are buses, aren't they? And now you can just click and drag to remove. I can also use the mouse wheel to scroll. I need to do this again. Hey, and this is a very quick way to change your routings.  Are these, these are actually tracks. Wow, okay, so I can actually buffer. I can actually record audio onto them. It's pretty crazy. Okay, I didn't know they are tracks. Well, I normally use them as buses because as long as they have this in or input monitoring enabled, they behave pretty much like a bus. There's just the benefit that I can actually record on them. So we could in theory do some weird audio editing after our MIDI work is done. But I think I would rather do this with a plugin like Be Oops, because I really like applying such effects non-destructively. All righty. Zard asks, is there a fast way to check the LR selections? Do you mean is there a fast way to check what you have done in your mixer? We're going to the mixer view is probably the best way. You can see all the panning pots, all the faders, all the plugin or the processor box, or is there called plugin box? I don't know, processor stack. Yeah, so let's go to editing. I haven't set the inputs. Okay, so we have removed our outputs from being sent to master, but we haven't added them back to drums. So I'm going to go to drums, right click on the inputs and do the opposite thing. So go to order tracks. And here we have, okay, drum gizmo out is the MIDI track. We don't want that. We want our processed sound. So ambient left, right. I'm just going to go and draw these zigzags, because this is going to assign left to left, right to right. You can see the highlighted on the left. I have highlighted right on the bottom. I have highlighted right. So this tells you what is sent where. So I have left bottom snare to left drums input and right bottom snare to right drums input. So these zigzags do it for us. I wish there was a way to do it with a single sweep somehow. I don't know of such technology yet. Sweet. Now we have our drums being sent on 16. Channels to tracks where we can pre-mix them or actually mix them and send them to a submix bus in here where we can apply things like distortion. What about this? Cha-we-cha-we-tape. Don't tell me something wrong. Well, now it just took a while to load. Now we can... I'm afraid this is going to be a little loud. Yeah, so we can process our submix. I'm not going to do that right now. I'm just going to give it a bit more loudness so we can hear it better. Or actually no, not loudness. I'm going to double-click to reset this. Shift-click to reset this fader. And I'm going to turn this trim knob to give us more loudness because more better. Double-click. How can I type in a value? Shift. Okay, with control I have more precision. I have precisely 12 decibels. Good. Good. Alright, let's edit some drum part. I have a basic drum kit. A very basic beat. Let's fill it up with stuff. Now we can have an open hi-hat in here. And then we can close it with a paddle. Oh, I forgot to loop this. Let's do it again. Mind you, this is pretty much not mixed. All we did is pan things left and right and sent them to master through a submix bus. We haven't done any mixing yet. And it already sounds pretty okay. Alright, so what can we do? Let's go to the kick, for example, and see. I'm going to solo it. So this is a microphone inside of the kick drum. What I'm going to do first, maybe, is apply an EQ. Now apply a gate. And I like this gate by Steve Harris, because it is an old Latspa plug-in, not an LV21, but it really gets the job done very well. So the point of a gate on a drum track is to eliminate all the sounds we don't want to hear. And there's the attack with pretty long, hold and decay are also long. I want to have this gate open when the kick hits. Then I'm going to add hold. Now without it, you can hear the snare and the hi-hat in the kick channel. So I'm doing this to prevent that. You can also use a low-pass filter or high-pass filter. And I think doing that can also listen to the key. So this is the channel it's listening to. Now it's the gate and now it's bypassed. Okay, let's see what happens with the kick outside. It is pretty quiet. I'm going to apply an EQ to it as well. I'd like to try and extract as much high frequency from this as we can. So that together they're going to give me a nice full sound. Okay, I'm copying this gate, but I think it's good also. Yeah, we could high-pass the gate's key, which is like the sidechain, so that the long, bassy tail that I've also accentuated with the EQ doesn't trigger it as much. Okay, now we can also create a submix for our kick. Because why not? I love doing that.  I'm going to take these two. But now, I need to send this one to my drums submix. And here I need to disconnect these two. Sweet! Now I have both and I can do some more crazy things, like compression. That is pretty harsh. That's pretty different than what we started with. But that's just the kick. You can also like... Maybe I'm starting to do this a little bit in reverse. Because if you... Okay, I'm kind of thinking about this like electronic music. And I'm kind of going for twisting this into something that sounds more like an electronic track, not a natural acoustic sounding kit, just because I like to do it that way. But if you would do a traditional acoustic drum mix, you would start with the overheads. And maybe I should do that as well. So for now, I will just solo overheads. Also, we could add a symbol somewhere. You can also add some accents. Rothen asks Zrobiszkiewicz live up at Polskó, which translates to will you do a live stream in Polish someday? And my answer is probably not, because the majority of my audience is not speaking Polish. And that would be a live stream for only like, I don't know, 10% people who watch me. Which would like... It would be fun, but it would be pretty lame for a lot of people. I mean, I could. But who's gonna do English subtitles live? Yeah, the majority is Dutch, says Rob van den Berg, who is Dutch. There's a lot of Dutch people in here too. True. But also all different countries are tuning in. Alrighty, so overheads. Overheads are microphones that are above the drum kit. Traditionally, there is two left and right. Sometimes even one will do. And in here we have even three, which is a lot. And we might not even need all of them, so we could maybe mute overhead center. Oh yeah, we need it. And yeah, we wouldn't like to make a sub mix for overheads as well. So I'm gonna call this overheads. Because I'm so feeling this way. Alright, overheads go to wait. Why do I have three? That's kind of weird. Okay, so I will remove... Somehow I created a triangle I will remove... somehow I created a track with three inputs, or three channels. I'm gonna right click on my inputs and I'm gonna right click on the third input and remove it. This will turn this track into a stereo track or bus. There. Done. Now I'm gonna send this to drums. And because there's just three of these I'm just gonna click here and select overheads because that's quite match faster than fiddling with the routing grid if we have only these three to go. I think what I would want to do is high pass this so we don't have bass because I want to add bass like you know, all the low frequency elements maybe even thin highs a bit. Make this kind of like mid-filly thingy and compressive. I want to try treat this overhead bass kind of like a room mic. So it's not one. This is not how you would traditionally mix drums I'm just having fun so yeah, please don't try to do this if a country band comes to you and asks for a mix of their latest single. They may not be happy with you. Oh yeah, let's do some chow tape to pay because saturation also I'd like to LSP Parametric Equalizer stereo. Actually I do want, you know what we can use Calf EQ. It's a rare occasion but I will do it. Calf EQ has this nice feature that you can change every band to be just on the side or the mid. And this is also a feature that there it was in something similar was in EQ 10Q however EQ 10Q isn't maintained and the UI isn't working in newer versions of Ardor so I'm not using EQ 10Q anymore unfortunately because it needs a new UI. What this does it makes everything below 800 Hz mono right in the center because I'm high passing the side channel which is containing information about the differences between left and right so I'm removing the differences between left and right for everything about below 840 Hz which makes it mono. However maybe I should do the exact opposite also I should do this in mid. Okay now having silly fun right now the crash is a tad loud alrighty well we can do something about it I mean these are overheads we could of course use something like just low shelf or we could use something like a de-esser and I think tap de-esser is doing a pretty good job it's also an old LV Latspa plugin which is here labeled LV1 which is like a we could put this before tape saturation so our ties are not as saturated what you can also do is apply something called 2vinyl which is a plugin by Chris from airwindows and what this plugin has is a few very specific things that you would like to do if you are mastering for a vinyl record not that I would like to do it be one of the reasons is that vinyl records are apparently very toxic and very hard to recycle so I think the faster the vinyl industry dies the better for the environment and for the people but what we have here is mid high pass so this is where do you site high pass your mid frequencies so if I disable these two and put 2vinyl on top I can side chain the high high pass the side chain that makes my the kick and snare are snapped to the center I apply up this and also we can side chain all the way so we just don't have highs sorry lows anywhere but we can also just high pass the mid channel and we have all these stereo information which is opposite so this is a these two faders really give you a pretty funny control over the stereo width of the low frequencies band and that's very important because if you have if you have loud bass that is not center on the vinyl record the needle is going to jump out of the groove and just the record is going to be unplayable so you need to do this pretty much for all vinyl records also you need to limit high frequencies which is what this thing does so I think it works better if we are applying this after compressor you can hear that it's it's like it's like a side chain no not like a multi band compressor but kind of like like a dynamic EQ where the high shells the very high frequencies it's pretty effective for the groove where so we can also simulate some some where so it's not strictly the plugin that does things that sound like you would do it for mastering vinyl but sometimes what we would get if you were ripping stuff from vinyl because someone would have to do this I mean this and this but you can also apply this which is not what you apply before mastering to vinyl but what happens if you put it on vinyl and use it a bit anyway it's fun let's see what happens we apply all these again maybe move our two maybe move them be after two vinyl alright so this is a little bit of an overhead actually we can use this and then add our kick so maybe what I will do which is probably what I should have done before is instead of soloing things I should move all the faders down to actually open the mix view because that's going to be a bit more fitting and you just move all the faders down and you build your mix slowly ok what else is playing ambient ok alright I want to high pass ambient as well and I can use this ace high low pass filter which is a stock harder plugin I'm going to disable low pass I just want high pass control and drag to copy it actually I don't have to control you can just click and drag and it will copy it now if we solo this this is ambient so these are not overheads these microphones were probably placed some or further back the room and this could also be work very well if we compressed it really hard but I'm going to just use it as I'm going to just use it as a the kind of a natural reverb track source your speech is too silent against the track alrighty so it's time to actually lower the volume of harder output by 6 decibels will that do is it better now can you hear the music alright can you hear me alright ok so alrighty thanks for letting me know that's that's very much needed help when you stream this that you can't know if you did something wrong because you're not listening to what you're doing ok so we have our bass here and here's the kick oh I wanted to loop this did it loop it didn't loop I want to gate my kick again how many snare I'm going to disable the group so I can use some 2 tape 5 on it see what happens so this is top top is going to have much more high frequencies and bottom is going to have much no it's reverse top doesn't have the snares so it's going to be very dull bottom is going to have all the high frequencies because it has the actual metal snares in there so I maybe I want to low pass this I am going to actually solo these two I'm going to figure out the crossover and this is 1000-12000 I'm going to off so what I wanted to do is just use the low frequencies from the top snare and just the high frequencies from the low from the bottom snare so they just complement each other what also should be done should have done this is flip the polarity of one of them because when you record a snare record a snare imagine this is your snare and you have the top and the bottom this is of course very thin the snare will be thicker but you put a microphone here and you put another microphone here when you hit the snare this deforms so the top microphone is feeling suction as this moves down but the bottom microphone feels blowing so the polarity is inverted between the two so for them to sound for them to work together you need to invert polarity of one of them so it's like both are from the top otherwise the low frequencies are going to cancel each other out weirdly so I am canceling each the low frequencies anyway so that doesn't really make any difference we also need a gate steal the gate we had on kick and works let's apply it to this one as well ok it's not enough it's too harsh rock suedeb says oh my god physics ugu says get it back in the corner oh thanks I forgot I hope you didn't miss anything do I need to repeat anything welcome mohan mohan kumar outer mine says not the same kek not the same kek I should record a sample for you so you can use it before I drop oh not the same kek alright now what I'd like to do is actually provide some mixing and I will create a submix for the snare so I'm gonna control shift N audio busses oh I set three channels in here ok I'm gonna call this snare before the selection where is it it's here alright not the worst place to be wait how do I rearrange that ok it seems like I need to use here alright I'm not used to working in the mixer view though it is very useful for some things ok so instead of outputting to drums submix I output to snare submix and the snare submix goes to drums submix this way we have all the drums in here all the snares or do we it just wasn't soloed along with the rest because yeah if you solo something then its outputs are also soloed indirectly but it doesn't update if you just change the routing and didn't change the solo that's a minor omission no worries ok what we can do now we can apply some distortion we could use tamper haven't used tamper in a while it's a real harsh distortion I think I should go to it because holy snap that is loud yep loudest yeah ok after this I would add a Tesser or we could do something else and that is de-emphasize high frequencies before we apply distortion so use this high shell filter and apply negative 18 decibels aha now copy this with control I drag ok now that didn't work with shift I drag ok you know what I just copy and then paste and now I change this to plus 18 so we recover all the high frequencies but they haven't been distorted ta-da compare this to this doesn't really sound that different so maybe I'm doing too much drive alright this doesn't sound so so different maybe I'll shift it down 4505 4505 alrighty I don't really hear the difference but whatever let's do it smash it ok now we gate it again ok let's gate it and I will de-asset cause it's there's also a de-asser from airwindows called de-bass because it's the best de-asser and it's kind of weird but sometimes it does a great job we can also switch it to listening to what it actually removes and we need to turn on intense and it has a filter and I like it to remove the sharp harshness which is sweet as all fric let us now on solo snares and here at all I think our kick is a little bit thick we need to add in some high frequencies because they are really not present too much primary equalizer stereo we also apply some really fast could do some limiting what is that I don't think we need the limiter for this I think we need to bring up our hi-hat now there's two schools of mixing the hi-hat or panning the hi-hat one is you mix it like you are standing in front of the stage or you are standing in front of the drum kit which means the hi-hat is on the right the other is you mix it like you are playing the drums and the hi-hat is on the left or you just don't care and you pan it however you feel and I think that's what I am going to do of course we need a gate on this and we can safely remove low frequencies from the gating because we don't need them anyway ok I can also use a EQ to high pass and see if there are any painful resonances yeah that's not something I'd like I think some of the clipping on our kick or distortion is not very pleasant I need to fix the hi-hat I think I should just compress it to avoid having also we may create some nice transients this way wait oh we are getting extra alright I see I think what we also like to do is create a reverb bus so I will create an audio bus stereo called this reverb send maybe maybe I should call this capital letters reverb because it's not a sub mix but it is a bus and how you use aux sends yeah this is an aux bus that's what it is create a reverb plugin or add a reverb plugin what should I use do you have any reverb plugins but I'd like me to use like I don't know there's these interesting air windows reverbs like matrix verb or verbity or what is galactic ok maybe I don't have galactic I think I do have verbity I think I have galactic I think I don't I haven't updated in a while because the AOR package is kind of broken it doesn't compile right so what we do now is we right click new aux send click on reverb and now we have this little thing here we can move it down so the send is post fader which is quite important for reverbs and then we select how much reverb the send or how much of the signal we copy back to reverb now this is an effect send so it has to be all wet what I'd like to do is also high pass everything that goes into our reverb bus because you don't want to have low frequencies on your reverb so maybe that's a bit too steep like this you can also low pass it a little bit it has an interesting crunchy character so the problem is that there's very mono I'd like to have some stereo width so I will apply maybe triple spread is another air windows plugin which I believe is a chorus alright I think I want to low pass it a little bit and now I'll send my snare to the same reverb bus as well same with the hi-hat galactic reverb do it Jeff Bailey sees Beale says I could download it and install it but do you really want me to do this right now download and install our air windows plugins is that the best use of our time in here if you want I can do it rock sudeb asks what kind of plugin is it what plugin do you mean alright looks like you guys are adamant about downloading air windows plugins ok so you will see how to get the air windows plugins on linux airwindows.com I hope I typed it correctly ok so this is the air windows website what you do is you find the downloads oh yeah download all zip of AUVST yeah and the plugins all plugins that are included here are open source so this is not I'm gonna save it to this directory I've already used once I'm gonna delete all of that crap rename this now to install these we need to extract them new updates linux vst and now we just need to copy this to a vst directory in our system there's a bunch of them I think my directory is user lib vst so what I will do is I'm going to do rsync which is an av to say verify what's going on rsync will copy the files and update them if they need updating air windows sudo because that directory of user lib is a system directory now also I need to say what do I want to copy so I want to copy everything in here to this one and now I just need to provide my password and it's going to copy all the plugins there and it did sweet now what we have to do is go to edit preferences vst no just plugins and scan for plugins and now it's going to find the new plugins so you can see it's now processing the air windows plugins which I think confirms that they are new because I think it would not take so much time on each of them if they were already identical but maybe I don't know Paul Davis wow it's awesome to have you here Paul Davis is the author of Ardor wow that's so cool directional mic which one this or in drum gizmo rescanning all vsts in Ardor will take a while it sure will yeah clear advantages of lv2 that's true lv2 plugins don't need scanning like that because well they just work they have all the plugin descriptions in a separate file and it can be loaded like in a millisecond instead of run a plugin dll or so just shared object anyway load the plugin library and ask it what the hell is is it okay we're done maybe I will bypass all these plugins and search for galactic gal there it is we succeeded we've got galactic I have used it recently but maybe it was on a different machine I think this is going to give us nice stereo spread and it seems that replace is like blending between what's accumulated in the reverb feedback loop versus the new signal so if we just go and set replace to zero we have infinite sustain which is I think pretty useful for special effects but I don't want it that way also I will maybe not low pass but I will high pass you know what it doesn't hurt to use two instances and use them with different parameters so the first instance is this and second let's make it less bright and smaller and more detune wow and this pretty much solves the biggest problem I have which is that we have these granular spikes transients and if you have another instance with different settings they completely blur out and we have a nice smooth reverb tail there is quite a lot of delay though and I might like to try and compress this and we could also sidechain compress it with you know what I think I need to lower my bigness I think it would be a good idea to introduce a limiter into the mix and I think the x42 digital peak limiter is really an excellent choice because it just works and yeah it sounds very good it's very clean and you can change it from dbfs to dbtp which means true peak and then it's going to I believe do some I guess it's gonna do some oversampling inside to make sure that the peaks don't go above and now you can see we are peaking above 12 decibels so I'm doing really loud my voice is too low oh again alrighty what I will do is lower the volume of the by another 3 decibels is that better okay I think I clearly need to control the clearly need to control the transients in my kick and snare because they are blowing out the limiter a lot actually just a kick alright and there is multiple ways to control your transients one of them is to clip it and I recently read about this ad clip 7 plugin by our air windows and it's a clipper so maybe we can use that let's solo our kick oh nice now it shows us what's clipping normal attenuation okay so it seems like attenuation is kinda like a limiter our levels our levels yeah our levels are more in control and I think it's also going to help our reverb now this whole drum mix is sounding very weird honestly but why not we're having some fun we can also try and apply this sidechain compression so it's enabled sidechain I'm going to open up the configuration and here we can feed for example the kick and this will mean that the reverb only plays when the kick is silent without this we could just copy and paste that and just change our assignment to snare so we have the same effect on snare and then we have two sidechain compressors which gives us a bit more control than having just the same one compressor work on a mix of our two control signals it is quite weird we could try and have some fun with maybe just this little part also going to disable auto return maybe that's not humanly possible that is interesting alrighty one problem is that overheads provide us with all the symbols so without this thingy we don't have symbols pretty much so I'm going to maybe the kick is very weird and like farty I'm boosting the lows too much and they are too low and the problem is that creates a long resonance which kind of removes the punch I think that's a bit better oh we have a ride microphone it's painted on the opposite side of the hi-hat ok these these overheads provide us with a bit too much highs also we need our ride in this ok so the time has come to play the submissions however we have a little bit less submissions this time so we could play around with this a little few minutes more I'm going to save this let me tell you how much music we have to play we have 24 25 minutes of music we still have 2 more minutes that's going to be enough to make a freaking bass line I'm going to use sir sir I'm going to call it bass oh no my convention of using capital letters only for buses is broken now cool now alright no much time let's go for B for bass that's the note B for bass and we copy this make this shorter copy this twice I'm just making this up as I go come on we have 2 minutes 2 minutes low pass vintage letter make it monophonic polyphonic give me amplitude no no no one more minute to mix this one more minute give me a reverb thank you very much sweet little drum super fun super fast bass line super quickly made now let's move on to I forgot to do things like make all the important let's move with machnaity mclanke we made the bass line this fast let's go I'm going to turn this up at least to be announced this time something different after long hard styles breathing being short and very far from finished but hey some outer talking synthwave drums all of them are thin drum samples all the lubbics except orchestral kit which is a sample is made with search inside the Karla rack oh yeah this track sounds like it could use some vocals so that was another track by advent tuner titled to be announced yet and now a track by Steve Pixis titled not sinking and it's a work in progress and it's freaking awesome as well rider track was made with lmms and it's not some effects he also says they also say I went to jupiter and found this this is literally from outer space I wonder what is not sinking though it's festival worthy I love this so simple but so effective so well done so well balanced like the bass, the kick, the melodic sounds the noises we have a little breakdown here of course not that little kick I'd love to hear your tracks this is really nice work well done Steve Pixis awesome so that was not sinking and now another track and this time it's by SG75 and it's called randomize the seed out of it made with ardo and desk 1 and to welcome compasible lemonade and this is of development a torn off arm desk is a rigidly digital sound and he writes made of ardo, endless one and e-speaker and many air windows but it's a little bit more than a simple for the hi-hats as opposed to the more conventional texture mapping or growth model algorithms mda recycle page shifts the head of the control of the e-speaker and now it's your voice it's the random button and he says this was inspired by my announcer voice video made for liberal music channel 10 it's a showcase for the endless one which was brought up by a co-producer awesome that was randomize the seed out of it by SG75 and now a track by quantizer titled swift he also writes I am afraid to use a different kick now not sure what that means but I like it like the gated lead and the really cool things going on and very inspiring so that was swift by quantizer and the next track we have is called sing sing in a Dino talking, taking risks together I'm not sure if this is the title or this is the name of the artist in the title something messed up with the metadata maybe and the artist is fast take fast take key let me check double check so fast take key and the track is titled singa then sorry I can't pronounce this taking risks together the software used to make it was Ardor drum gizmo Stokas guitarics phytallium and they also write this might be a bit of a different genre for live stream medium but trying to get back into the swing I had a guitar hanging on my wall gathering dust for over 20 years now a shame the pandemic made me take it down and use it again but your videos made me finally record something again supremely helpful resource information instruction inspiration thanks for what you do on time thank you it's nice to hear some drum gizmo in action especially interesting me since I decided to go for it in this live stream thank you so much fast take key I hope I pronounced your name correctly so that was sinkin di neio taking risks together and now a track titled Tournament by OV the track was made with Ardor, Oden2 and Geonkick they also write I made this for our school computer games tournaments how did it work out? the last track used drum gizmo training montage in a film generally very low, the highs are very low down here and the bass is very near I think it would be a bit better if you had something more to fill up the high frequencies the plugs are okay, they have enough highs but I think there could be something like a pad maybe or maybe a hi-hat or something something else to fill up the high frequencies a little bit more to give this whole track a bit more presence, not too much but are very wide so that was Tournament by OV and now we know why it's titled Tournament because he made it for a Tournament thank you, so the next track is titled Window into the Air by mylofi and this track has won the Libert Music Challenge number 10 let's hear it the piano track was made with Z-River plug-in suit it's like I need to check out Z-River it was sent by Sahadeeva who is managing the Libert Music Challenge if lofi publishes an album I'm gonna buy it it's just such amazing musicianship kinda Mr. Bungle for a while without the vocals that's what I have in mind right now listening to this so the submission was sent by Sahadeeva comment says this is a 10th Libert Music Challenge winner track it was made by mylofi using Z-River the theme this month was to use only Airwindows plug-ins and mylofi won with this epic track fantastic so, Rob van der Berg says that difference between the winning and the losing the top and the bottom submissions on the scoreboard was one point how many points? like a little over one point so like super, super tight and I think I will actually go in and maybe make a live stream a short 1.05 points and like everyone who votes gives every track a point a score from 1 to 5 I believe I think I wanna do a little live stream tomorrow just to play all the tracks and just talk about the Libert Music Challenge I think it's a really awesome initiative Floydish, yeah that sounds like Pink Floyd a lot Ugu asks why fade-out fade-outs are applied by me if the tracks are longer than 3 minutes so don't blame artists on the fade-outs I'm doing fade-outs to avoid sudden cuts because I allocate 3 minutes per track alrighty so that was window into the air by Milo Fai and now a track by Ksavere Teningovsky titled The Longest Day and said he wanted to record some extra stuff but technical problems of order and at some point when he wanted to clean up the session folder it deleted all the regions all of them so yeah we don't have vocals in here but that was the longest day by Ksavere Teningovsky and now a track titled Dubs Part 2 by Sahadeva and it was made with Z-Rhythm 1.0 alpha they also write 2nd dub for my project I started back with Z-Rhythm I hope to make an entire dub album using Z-Rhythm as the only dub Phaser on the Thumbs synthesizers were used and Faster Clocker says I'd buy all these albums from everyone here Sahadeva says that all the synth parts here are odd in 2 which is a really nice and quite simple virtual analog synthesizer modeled after Thor Thor where you can listen to all the submissions to Lever Music Challenge that's all we have for today thank you all for coming thanks to all who submitted their music for my critique and feedback live and for our all enjoyment there's been really cool submissions there could have been a few more I had 5 more minutes planned to do this so if you are calling back some awesome tracks you're working on we're using free and open source software right now don't hold back find the link to the submission form in this live streams description or on my website and submit it and I will play it if it's good and if it sucks I'm usually gonna send an email to you saying sorry but it sucks but maybe you can do this and that to fix it unless I don't have time and then I just won't play it and be sorry about that so yeah thanks everyone for coming thanks to all the people who submitted music that's really always it's a highlight of this live stream because we can all hear what the community is making what the open source software is capable of what music you can produce using nothing but Libra software and Linux and that is very inspiring and I want these videos these live streams to be inspiring and yep also huge thanks to everyone who supports me on LibraPay and Patreon because that helps me keep doing this stuff and your support is greatly appreciated especially since now I'm just gonna be looking for a new job yeah that really gives me some peace of mind and hopefully I'll be able to do also spend more time making videos and live streams and the future who knows maybe I'm gonna go half time or part time on this I don't know yet it's all in flux so yep and if you dear viewer enjoy this and think what I do is worth inspiring then you can go to Patreon.com or LibraPay.com and drop me a buck or two yourself it's gonna be greatly appreciated and if you need some help with getting making music on Linux or with open source software and or with open source software then you can visit my community chat at chat.anfa.xyz and meet all the wonderful people who will help you out if I'm away so that's all thank you very much and I'll see you in the next video go and make some music now


This time we're going to be looking at bus arbitration. So we could actually have multiple masters on a bus. Maybe we have multiple processors, or we might actually have an IO device that might also like to access the bus. Some IO devices actually want to be able to pull things off of the bus. They want a request of themselves. So we could end up with multiple masters on our bus. But our bus is a limited resource. We only have one set of lines for all of the fields that we need, the satellite line, the control line. So we have to have some way of determining who gets to use the bus. A bus arbiter will allow us to do this. It will allow us to choose who gets to use the bus. We're going to be looking at four different types of bus arbitration, and we'll mostly focus on this first type, which is a centralized parallel architecture. In this case, we have a centralized bus arbiter which determines who gets to use the bus. Any of the masters that might want to use the bus will send a request to the bus arbiter. There's a bus request one line here, a bus request two line there, and they will directly request the bus arbiter to give them access to the bus. If the bus arbiter decides this is a good idea, we'll let you use this, then it asserts the bus grant signal for that product. If the bus arbiter agrees, decides that yes, this master can use the bus, then it will assert the corresponding bus grant signal. If a bus grant one, a bus grant two, get one of those for each of the masters that we've got. The other masters will just sit there and wait, but whichever master has been granted access to the bus can go ahead and use it however it needs to. But there's three other ways we could use to allocate the bus. With daisy chain arbitration, we'd have one master connected to the arbiter and all of the others would be connected to another master. We just have one long string of masters all connected, and any time any one of the masters wants to use the bus, they would send a request down the single bus request line to the arbiter. The arbiter would say, hey, something wants to use the bus, and if it hasn't already granted access to the bus, then it's going to just grant access to the bus. That bus grant signal, though, will travel between each one of those masters. I'm just going to walk down the list of masters, and as soon as it gets to the master that's requested the bus, it will stop passing that signal on. But if a master comes along and wants to use the bus when it's already in use, it will look at the bus request signal and say, hey, somebody's already requested the bus. I'm going to have to wait. So it will wait to actually assert that bus request signal and potentially preempt the bus grant signal from being passed on to the master that's already using it.  Once it's de-asserted, then it will assert that it would like to use the bus as well and wait for the bus grant signal to be sent back down the line. So in this case, we have one bus request line that's shared by all of the masters in the computer and a daisy chain of bus grant signals that passes from one master to another. Whichever master has highest priority will grab the signal first and never allow it to be propagated down to one of the lower priority masters. But there's also a couple of distributed methods we could use. Each of those methods requires a bus arbiter. We have to physically put an arbiter into the machine, but sometimes we can't do that. We might like to have a distributed arbitration system because we may not have a place to put an arbiter. We may be trying to communicate between multiple machines or other things that just can't really contact an arbiter for us. So distributed arbitration schemes don't have a fixed arbiter. They're set up in such a way that any one of the masters can do the arbitration all by itself. With self-selection, each of the machines has some number assigned to it. Whenever it would like to use the bus, that machine will send its number out onto the bus request line, which would be broadcast to all of the other masters on the system. All of the masters on the bus will be able to see all of those numbers coming in, indicating who all wants to use the bus. Then whoever has the highest priority number gets to use the bus first, and everybody else waits. So all of them will be able to tell, hey, either I do or I don't have the highest priority here, so if I have the highest priority, I'll go ahead and use it. If not, I just wait. Distributed arbitration by collision detection is a little different. This method is actually used for Ethernet communication, and the way it works is you listen on the bus. You see if anybody else is using the bus at the moment. If nobody else is using the bus, then maybe it's available for you.  If you hear anything else on the bus, then you just stop. Somebody else also wanted to use the bus. Now you have to decide who gets to go first. This time, we don't have any way to tell who has priority because we don't have anybody counting our priorities. So this time, we'll just wait for a random amount of time and then try again. If we don't hear anything on the bus, then we'll try putting our message back on again. If we hear somebody, then we'll back off and we'll wait again for a while. Since it's unlikely two machines will repeatedly pick the same random number, this works reasonably well, which is why it gets used for Ethernet communications. There, we have no concept of what a bus arbiter could be. We just have multiple machines which are laid out in various different places and they need to be able to communicate. So these are the four main methods of bus arbitration. Well, all of them have seen some use. So we're mostly going to be looking at the centralized architecture because this gives us something useful to work with. It's designed for systems inside machines and we can do a lot of really interesting things with this.


I'm Lisa Fugueras, I've been involved with the mining sector, with human rights, community engagement, community development. The responsibility of the mining companies is to make sure that this economic growth that is generated in the municipality is internalized in the municipality. So it pays taxes, many of these taxes go directly to the federal government. Part of the public policies that are being generated in the federal government are return to these municipalities that are having an immense growth. One project this size comes in, of course, it generates jobs, it generates opportunities for local businesses and the royalties just come during operations. So there is a timing problem. This connection with the federal government and the importance of accessing the finance for public policies in the federal government anticipates urban planning and a lot of investment in the municipality on the right time before the operation starts. And that's an area where mining companies can provide assistance and can help bridge the municipality needs with the resources available on the federal level. In the southeast of Pará, in Brazil, we have partnered with the city hall, with the mayor, and with the community, with the technical body, and we have engaged with the federal government to bring public policies for education, health, to these municipalities. The lessons are that we have to work with cross-sector partnerships. We have to work with local government, with local NGOs, with communities. We must have trust between the partners with a long-term perspective of local development. And that applies not only in Brazil but elsewhere as well.