Last time I tried to do a stream everything went wrong, wrapping it up, hopefully. That won't be the case this evening. What shall we do, what shall we do? Let's try and make the opposite as spook as possible. Before it can be a very spooky boy indeed. Can you allow me to take excellent thank you? This is not the start of the patch, this is just an arpeggio I poshed together before the stream started. It will be a lot spookier than this. Let's address the microphone so that I am more comfortable. Okay, so it's time to spoop it up. What it is, Spoopy Night, isn't it? So, let us spoop. So, that's enough of you. Right, let us start from an initialised patch, I think. It's a rum this evening, by the way, if you are wondering, the spookiest of all the drinks. What was that? A Bloody Mary. Okay, so I think what I am going to do is start by going over to the user algorithm and we will create some operator mistreatment to create a bed of weirdness to begin with. So, let's just edit this. So, let's have one and up to both going to output. Let's have one go into two and two go into one. I am just going to create noise because it is infinite feedback, basically. Which isn't very spooky, but we are going to make it spooky. So, what we will do to begin with is we are going to come in to our first two operators which are working as like a feedback loop and we are going to drop their ratios nice and low.  So, let's move them across to ring mode instead. And with ring mode you can have these like full on blasting into each other so that they are just becoming an awful mess, he says. The upper six apparently dies when I did that. Interesting, is that the first bit of spookiness that has just straight up brilliant. That is a really good start on stream. Let's just quickly restart that. That might well be my first crash that I have managed to create on the Ops 6. It would be on stream, wouldn't it? Classic. Classic live. Have everyone as well. Okay, that's good. Well, clearly I pushed it too far there. But I haven't made patches like that before so I know it's okay. So, let's try that again. Embarrassing, but not for me so much. Okay, user algorithm, yes. Let's hear both again. Let's hope we can make it crash. Let's hope not. One into two. Two into one. Back over to ring for both of those. So we just get back to where we were. What we'll do is detune them. Probably maybe even someone has fixed. Right, so that's better. It's not crashing. Let's give this some reverb. So we've got something to work against. Reverb. Let's go with space. I might switch this to the rise or something a little bit more aggressive as we go on, but we'll start with this. And we'll start getting some movement in the sound. So let's go to our LFOs and we'll set up a couple of random LFOs on two and three. Set that to per voice and per voice. Okay, we'll do this one. So source, we'll set to one of our LFOs. And destination, we'll set it to operate two's pitch. Randomly sweep around a little bit. I'm saving a lot now because we don't trust it. Let's also change our waveforms to triangle so we get a little bit more in terms of monics in there. Okay, let's filter some of those on monics out. Let's give them a more gentle loop because that's quite aggressive over time of playing night at the moment. A nice long droney. Lars says, from a sound design perspective, the Sim has to be a beast. Oh man, I already have an FM synth. Yes, but this isn't just an FM synth. It's just other stuff.  Because we can kind of think of our different operators as sort of different parts of our sound that can operate almost independently. Obviously based around the note that you're playing. But I think we're going to have to live with the fact that one of our LFOs has got to be like a ghostly vibrato, right? Like it has to be. There's no getting away from that. So let's... The one of these which isn't. I think we need to go back to the sine waves. That's going there. It's going there. Let's try a nice high note. I think we can probably modulate the levels of these two, but I don't want to get into that quite yet. Just in case I want some of those modulation lanes. What I will do however, I think, just because I think it's essential for this kind of patch, let's start getting the sound swooping around the panorama a little bit. So I'll come into the V-patch. I need you to just stick this at the end to keep it out of the way. But we'll send one of our LFOs. Give it a three. We'll send it two. And because the LFOs are set to per voice, they should give us independent, beautiful stuff. Just taking it on chat. Instantly thinking about the high pitch screaming drone that introduces the joker in the dark night. I have not seen the dark night. But I can imagine what that might sound like. So let's try and replicate that without overhearing it, shall we? And Big Man Lizard asks, what reverb are we using? We're using one of the built-in reverbs on the up six. So it's just one of the built-in effects. At the moment it's the space mode on the main reverb. But I might switch to one of the riser ones. So I want something that's kind of creeping, like dropletty kind of sound. And that's something we can do on the opposite. It's quite nicely using filter operators. Now, I'm just going to work out whether I can do this with just one or whether I want to use two. I'm going to try it just one to begin with. So we'll come back into miscellaneous and I use our algorithm. And I'm going to put op three as an output. Yeah, the reverb is on this sound really, really good. I think there's similar algorithms to the one you get on the Prologue series, the NTS1 and all that kind of stuff, which are really good sounding reverbs. The effects on this are really, really quite something. This stuff can be with the new effects operators. So I haven't used one of those in a patch in anger yet, so that might be fun. So I'm going to try and do something with just a single operator first. And I might switch these in two if I need to. So I'm just going to go over to the filter mode here. And I'll select a mix. It'll be tricky to do with a single filter as an operator. I'm going to switch this around a little bit and go with multiple operators here. So I'm going to put three off, four as an output. And then I'll do three into four like that. Hi, Annie. Yeah, my advice is to get an op six once you've got the peak after that. Get both, why not? Do I find the short cube bed comfortable enough for sound design? I do. And part of that is because I'm a very bad keyboardist. So I don't miss any of the extra space. But yeah, if I wanted more keys, I would use a different controller. If I wanted more keys, I would also get a control with aftertouch, which is one of the only real downsides of the keyboard I think really. Anyway, what was I doing? Operator three, I'm going to set this to filter mode. Set the pitch to fixed. Switch that to a pass filter. Then operator four, I'm going to leave on FM mode. I'm going to switch it to two, noise sample and hold. And then I'm going to set its pitch to fixed. Turn the right down. So you can hear there now we've got a clicking. But if we come back into operator three, which is currently a band pass filter, a gob load of resonance should start to hear. Why doesn't that sound right? It's because I've got them back to front. Do we? Okay, so operator three needs to be FM and sample and hold. And tuned down. And then operator four needs to be in filter mode. Turn this all slightly mixed down. Band pass. Adjust the... So what I've got here is a source of noise that's sort of random, which is then going into a high resonance band pass filter. Essentially we're pinging the band pass filter linked to the ratio actually. Okay, let's mess with the levels a little bit. Opposite and waves take all one peak. Peak in the opposite. Let's not mess around here. Joseph says, I love your videos. Thank you. And you're in love with me. That's really... I'm really quite passionate about teaching stuff. I was always... My plan when I finished university was to become a teacher. And so this is my hobby where I get to pretend I'm a teacher. So that's great to hear, thank you. So I'm going to modulate the speed of the sample and hold that slow noise so that we can get some different densities of droplets happening. So FO's destination will be operator three pitch pass filter and we modulate. Flowing says, I think the keyboard is not velocity sensitive. No, it is velocity sensitive. You need to set it your patch to be velocity sensitive. And the way to do that, the easiest way to do that is in the level menu. We'll do it here. Just so you can hear it. So I'll turn down this other part here. And if we come to the level menu and we want to pay each three and we just turn up the velocity sensitivity here. And you can turn up it as sensitive or as not. So if I play lightly now and now if I play hard. So yeah, no, it is velocity sensitive. You just need to root it. It's not velocity sensitive by default. It's part of the patch design. I think we'll try some string synthesis with the new effects operator. So again, we'll come into the miscellaneous and we'll set six to be an output. Five into six like that. Excuse the rattling. So we can hear what we're doing. I'll just turn those down for a second. And operator six. We're going to set this mode to effect with comb filter. We can turn off its own oscillator. Do we really need to do that? Could we get away with just a single oscillator here? No, I'll stick with it again. Okay, so this won't make any noise on its own. So we need to push something into it. What we'll push into it is some noise. Try pink noise. Yes, a latch outside of the off projector would be a really useful thing in this patch while we're doing drone things. So what we've got there is a string synthesis essentially. What I'm going to do is set this to filter mode and band pass. Similarly on the comb filter which is acting as a resume here. We can mess with the filter that's going. We can modulate that filter, couldn't we? Yeah, for sure we should be modulating that filter. That's a good idea. So we want one of our random friends. That one will do. And we want to go to operator pitch which will be linked to the... Just a reminder, this is marked as an FM synth. I'm going to use LFO 2. We want to use LFO 3 here. I'm going to go to LFO 3, 2, operator 6. I'm going to go to pitch actually as well because I'll do the frequency. This kind of modal synthesis is what I'm doing now. It's kind of carpalastrong-ish. A comb filter is just a really short delay basically which is what you need for carpalastrong. It's really simple carpalastrong because really carpalastrong you should have two delay lines and you'd be able to move the tap by changing the relative length of the two of them. But yeah, this is like carpalastrong in its most basic form. We've got a really short delay. That delay is going to be controlled. The time of the delay is controlled by the pitch of what we're playing and we're exciting it with, in this case noise. Let's try the other types of noise just to have interest. So white noise has got more top end in it. Blue noise is more band-past but it's also quieter. It's going to pink. I think let's lower the filter in general which resonates a bit probably a little bit. We'll also try one of the other types. This part of the patch here instantly as it's currently playing I think it's too low isn't it? This patch part of the patch as it's playing now has no FM in it. In fact none of the patch has because there's a ringboard here isn't it? So no FM in this patch. FM synthesizer. It's not an FM synthesizer. Let's have the filter in resonance on the filter move around a bit I think. LFO2 is already there so we'll do that. We'll use LFO3 for the resonance in the B patch. Filter. Resonance. I think I'll make these two LFOs move a little slower as well I think they'll move a bit faster at the moment. So we'll slow them down but try not to get them at the same speed. Filter. Be a bit more aggressive. Now we're getting this crunch from the MS-20 filter model which is quite aggressive. So I think there's probably a bunch of other ways we can get movement into this patch. So I think we want operator 1 and 2 to have their levels modulated so they swoop in and out of existence a bit more. So let's do that. Operator 1 level. And the same thing for operator use level. We'll use LFO3 instead. Yeah I would never say that the opposite isn't an FM synthesizer. It can't do FM because of course it can and that's where the whole idea of algorithm operators originated. But I think what Korg have done in terms of expanding that idea of operators and algorithms to apply to things that aren't FM I think is incredibly smart. And like with the introduction of the... It filters me from around too much isn't it? With the introduction of the effects and stuff on there. It's just doing so much more with the idea. I think it's really really exciting. I think that it's come out this year. If it came out this year it's the center of the year. It's certainly the most unrated since it's come out in recent memory. I would do my best to hip everyone to how exciting it is from a sound design perspective. The fact that you can build entire architectures inside it is kind of crazy. So a lot of that crunch. Part of that crunch is coming from the ring mod dual oscillating that's going on here. But a lot of that's not coming from the FM. Sorry, from the filter, the MS24. If we switch this just to the standard 24 dB. When the air is much crunch. And you know, perhaps that's better. I like that menace. I think people suggest that the filter models on this aren't very good. I really like them but maybe it's more for courses. Do I think there are any very similar synthesizers to the Ops 6? I suspect weirdly that something like the montage and its FM engine is probably the closest in terms of being able to do advanced FM stuff. I don't know whether it has the concept of doing different types of modulations. Probably the montage is the closest in terms of pushing what's going on with this idea of algorithms and operators. But I personally haven't seen it done quite the same way. It's on the Ops 6 anywhere else. That's not to say it hasn't, but I haven't seen it, certainly. So I think I might sweep in operator 4 and 6 a bit as well. Move those around in terms of their level. Because I think the LFOs can push it above 100% as well, which is quite neat. HydroSynth is a good shout. It doesn't do FM in as advanced a way, but in terms of some of the ways that you can treat things with the mutators and stuff. I haven't got a HydroSynth, I would like one. But I haven't got unlimited money and ASM didn't reply to money unless. I don't have one. I think it would be really fun one to explore and push pretty hard. What do I drink? I expect it. I suspect it's whisky. It's not, it's rum. Diplomatico, it's finished. It's cask strength as well, so it's like 50 something percent. I am feeling it a bit more than usual. But it's very delicious. It's a very, very good rum. Quite fiery. Let's go back to our effects, because we haven't really touched these since we set it up. So at the moment I'm just on the space, just on the space reverb, which is pretty spacey. But let's just out of interest, let's try one of the shimmers instead. So this is the clear one. It's pretty clear. The riser, which is our shimmer angel set above the chaos. Which ends up sounding a bit like organs, like an organ set up of the whole of the mix. Which is obviously spooky, organs are spooky. So that's the riser, so that's octave up. But we've also got the submarine, which goes down, lots of bomb in there. I think I'd prefer the space one we had before. We've also got one called horror, which is probably a bit on the nose, but this one does like tritone risers or something. But I think I'd prefer the space one we had before. So we can put some other effects on here, we're only using one of the three. So we could put a guitar ramp on it if you want. So that's our patch now running through a Vintage A virtual AC-30. That's something, isn't it? If it wasn't distorted enough already, it is now. I quite like that though. I'm just assuming we're going to be a JCM-800. It's a lot of gain, like a DSL or something. Is the time different to the distortion effect? Yeah, because the guitar amp puts a cab simulator on it, so the distortion is just straight up. Interestingly, the guitar amp isn't in stereo. Didn't know that. So that's the distortion. And then we also have the decimator. The original sound with this one on. LFO the decimator. The problem is with the bit rate so low, it makes very little difference. I mean, the obvious other effect would be delay, I think. Because there's the tape echo, which is only, I guess, quite crunchy. All sorts of demons in background. So let's do that. Let's modulate the bit one of our LFOs. Just some friends hanging out in there. Stuck some octaves tritone in there, shall we? Like it was screaming, which I think is the delay time changing. Hello, we're into the weeds in terms of fine tuning a patch, but I think what I'm going to do is just have the filter on the notes so it gets less screaming. I think I'll save this patch and then we might make one more patch before bringing themselves to sleep. Perhaps we'll do something with, we could do some more string stuff. Try and create like a spooky string pad type thing. Sort of put together a couple of different comb filters. Have them sort of modulate off each other to unsatellite, maybe put like four over to that and then have like a traditional synth voice over the top, something like that. Let's try something like that. Good. Okay, so what do you use for algorithm again? That's probably an algorithm that fits this actually, but it's just easier for me to think about if I'm doing a user algorithm. So I'm going to do, operator one has a noise source and then two, three and four is comb filters tune differently, wandering off each other and making them sort of uneasily beat into each other. Let's try that. So for this we want two, three and four to be outputs. So that's our comb filters. And we don't want anything going into one. We want to go into two, want to go into three and want to go into four. I might also have each of the different strings cross modulate each other as well a little bit, but we'll come back around to that idea in a minute. I want to be set up the main patch. So operators, so let's just set up operator two first and we can copy stuff across. So we'll set that to effect and comb. We'll have one again be filter, probably band pass and pink noise. Don't want to hear any of its own thing. So I'm changing the envelope of the exciting signal rather than comb filter, comb filter, which is also going to be dictated by the feedback. So that's one string. Let's just mess with the exciter a little bit. So if we copy that across to the other two operators, there are going to be our strings, which we can do in here. Just speed it up to three and four. Cool. And then on operator three, if we change the frequency to like an octave above, we'll detune all of them slightly, but then we'll have an LFO moving some of them around as well. So because the frequency of the comb filter is linked to the pitch of the operator, we can use the fine tune here to do that or the detune. But we'll use the lowest one where it was. At this point, let's add some effects. Let's stick a review in there. We'll go with the space one, because that worked before. There's the resonance of the band pass filter as well. Let's get those operators moving. We kind of want something to like pluck the strings as well. That means I need to use another operator. I don't know what I could use. We need to have a thing how important it is. I suppose I could use an LFO on the level up. Let's have one of these strings, at least one of these move around in pitch, just a little bit to be seen. So LFO three will set to one of our voice. Slow down. Interestingly, no FM in this patch currently. We can modulate the filter on the noise source. We can either use the random one we used before, or we can take the piano approach and have it. So low notes from one side, high notes from the other. Also how that sounds, the only problem with that is that you lose where the subs should be a little bit. But we could make use of a wave shaver thing in the effects. I think I want to do that. It'll move each of these back into themselves. So the strings which are nearby to each other are influencing each other a little bit. That might be fun. Effects from the cork or something else, they are from the cork, as we'll say. That's why they weren't ringing out very long. It's because they weren't set very long. So just take that down for a second. So on Opsix, we're going to set that to effects in the wave shaper. There are all these different shapes, wave shapers. It's similar to the way that like face modulation works. And there's a lot of level dependency in there. The spookiest one. The one called Zinger was great. It's one called Zinger and that while back, which I think is probably the spookiest one so far. There is the audio in that isn't sadly. That would be good. But a lot of these effects are something like on the NTS-1. So if you have one of those, then they'll do something. So the nice thing about this wave shaper mode which is taken from like the 01W workstation from the 90s. So you get a lot of different time ball change based on the input level. So you can hear that we really get this sort of swoop up clips over into a new part of the shaper curve. I think we certainly want to give this some much. I have to say this is one of those patches where I just bash operator 1 a little. I mean send that via. So the nice thing with the Mod Matrix here is that you always have this fire, or control as it's called here. Which means that this intensity, but through this. So the obvious thing there is if this was the pitch wobble you would do the intensity of your maximum pitch wobble and send it via the mod wheel. And then you can turn it up and down, which is what I've done actually on this patch. But here I'm saying this sort of excitation of the timids because in this side of the stereo there's some more effects before we finish. It's obvious, but probably because it's a good idea. And I think now that we've got these, now it's a good point we could tempo sync those to the tempo sync that shouldn't we. Either says now it's finished. That's quite nice. And he's refining because we're still getting overdrive happening where we shouldn't. So much of the waveforms, or many of the way FM in that one. Because this isn't FM synth, it's an everything synth. Before we go, let's just remind ourselves of what the other patch was. Do I use my Ops 6 to produce ambient music? Yes. Do I combine the Ops 6 with other synths? Have I? I haven't much honestly. That's for no other reason than I'm lazy and I tend to only setup one synth at a time. I'm working on a project which is kind of ambient music and something else. Which I will talk about more in the channel when I have something a bit more concrete to talk about. That's really, really exciting. And I think a lot of people are going to enjoy it. And that's entirely using the Ops 6. So it's a sort of EP bit vague. I do think this would pair with something like the Mini Brute. Which has a lot more sort of inherent. Certainly I've done stuff in the past but it's been sort of like Mini Brute and Digitone for example. And that's worked really well. But sort of combining the digital and the analog that way. Yes. So I would combine it with other things if I was less lazy. I'm just thinking of the only other... Oh, this is a string synth kind of thing. Using the comb filter. Quite a lot of philosophy sensitivity in there. Which is nice. So these are prototypes for the musical stuff. This is just a nice pad synth I was working on. Because, you know, digital synths are cold and not warm. You've probably heard that. And here's a nice cold. Yeah, so I've been working on some stuff. This is nice though. At this point you could probably recreate at least half of the plant synthesis in the Ops 6. That's probably true. Yeah, I mean, yeah, that is probably true. I'm just thinking through them. It's difficult to do like a proper super source. I like the clusters and it's probably a bit tricky to do. Most of them pinged filters. You can do FM, obviously. You can do just the general filtered stuff. Yeah, you're probably good. That's probably true. Probably most of the braids as well. There's a cover which involves sync, which you can't do directly on this part. Yeah, I think you could do most of the plant's modes. And with 24 voices of polyphony. Which is nice, isn't it? Anyway, I think it's probably about time to wind this up. Before we are talking about creating a classic, I guess classic these days. Modular. I am just before we finish this. Going to put some velocity sensitivity into this patch. I'll help myself. It sounds like poor stretch, doesn't it? Anyway, let's have a nice final stacked C major chord to say goodbye. So we can leave on happy terms. So shall we?


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Sorry guys, I haven't been uploading lately at all because of my large schedule of changes and all this quarantine and then a lot of homework But now I'm back. I'm back to uploading. I'll try to upload every single day, but we'll see what happens. All right So let's go over this topic called link lists from the poll I saw that you guys want me to go over graphs But link lists are actually the most easiest topic to go over really quickly and I also don't have that much time So so what is a link list a link list is basically just well from the name of it It's a list. It's a list of objects and they are arranged by links. Okay, that's what a link list is So let's say I have this object called a I don't know. Let's let's say let's label it as a B and C Okay, so I have a B and C These are just letters in an alphabet and if I insert them into a link list Let's I insert a into the list that's and then I insert B But that does is if I insert a and then I enter B It connects A to B doing a pointer and we call this the dot next pointer right next right It's next is B And if I insert C the B's pointer because B is out of the last element of the link list gets point to C So as you can see here if I insert like a bunch of elements I'm pretty much just adding a link from the last element to the next one that I'm adding So if I insert D, I'm gonna have D. I'm gonna insert it right here. Okay. I have a pointer of the last element I'm gonna point it it's next pointer to D. So that's basically what a link list is you have pointers from every single element The next value is the next pointer and it points to the next element that you're adding in whatever list Okay, okay, so now let's talk about doubly link list So double your link list started the exact same thing as link list. This is doubly link list same thing Let's say I were to add insert a B C D Okay, so if I I'm gonna create an object of a and then I'm going to create another object of B Right the one I'm adding. I'm gonna add a's a a's next pointer to be what a doubly link list is It's exact same thing as a link list except we have another pointer called previous So remember this this is the next this is next right the next pointer of next B is previous is a So we have another pointer for previous so the doubly link list is exact same thing as a link list except all the links We instead of having just a pointer to the next element We also have a pointer to the previous element So in this case, we have a is an X pointer goes to be these previous goes a okay Now let's say I'm gonna add C and then D. Okay, C and D If I add insert C, I'm gonna insert create an object of C and I'm gonna point B's next to C And I'm gonna point C's previous to be right and That's what a double link list is if I insert D until this doubly link list I'm gonna create a link to D and C's next pointer is gonna be D and then these previous is gonna be C Okay, so if I want to access whatever elements there is a let's say D I want I want to link to the previous of D. I do D that previous D dot previous and that'll give me C Okay, so that's how these link lists work. All right So now let's talk about something else. So link list could be sorted or unsorted It really doesn't matter. It depends on like the order you're adding it So like if I inserted like a and then C and then B would it would have been a C B, right? It's not like sorted. It's not a sorted order. Okay. Um, so How so how do you create a link list? So like how do you how do you add values to a link list? So in both of these What people normally do in some implementations of link lists, they have something called the head pointer So let's I call this head and what the head pointer does it's just a pointer that indicates if it's the first element of link list So the head is going to point to the first element of link list, which is this is a right That's the head of the link list in some implementations. There's also a tail the tail would point to the end of the link list Okay, so here sometimes some implementations. We have a tail pointer that points to the end of the link list So that really depends on whatever whichever implementation some people do some people implement it like this simply we'll end up like that. But yeah Um, what you could do if you do have a head pointer is that if the heads null Which means it has no value, right? If this head points to null What does that tell you that tells you that this whole link list is empty, right? Like if this head is pointing to Stop, uh, this head pointer is pointing to like nothing null, right? Let's say this link list null and that means this whole link list is empty, right? Because if you If it has a point to something in order to show that it's there, it's not empty, right? So yeah, if if they're if your head pointer is null, that means your link list is empty. Okay Okay, so now let's talk about searching So sometimes if I want to search for a value in a link list, what do I have to do? Well, um, let's go back to this example This example a b c d Let's say I want to find the value c So how am I going to find the value c like I want to find this value c Well to do this I actually have to start from the beginning and then keep going to the next keep going keep going Until I find the value c right if I reach the end of the list Which is I reach to the d like the end of the list And c is still not found and that means c doesn't exist in the The link list. Okay, so if you were to start at the beginning To search for an element in link list you have to start from the beginning and keep going to the to the next value So let's say I want to find c. I'm gonna start at the beginning a I have to go to the next value of a b is b c. No, it's not All right, I'm going to go find the next value of b Our next value of b is c C is equal to c. Yes, so I'm going to return true. Okay Um, if I reach to the end and I still can't find the value of c Then that means it doesn't exist So the pseudocode for that is going to be I'm going to put it right down right here List search in clrs. They do it. Uh, they they have this method called list search, which is um, it takes in two parameters list search Sorry guys, my pencil is a little off. I have to sharpen it our list search search. Um, they have this they have L which is the List and k is the value you're searching. So this is the List and k is the value you're searching So what is the pseudocode? um, I'm going to create a pointer called, uh x Which is going to equal to start from the head Right, I'm going to start from the head. So this is going to be list dot head. This is just pseudocode guys in actual examples Uh, you actually have to code it in different languages. They they coded differently, but basically you would have a You would have a pointer that you create which is x equal to list dot head Then what you're going to do is you're going to check while it's not null and the key Or the value whatever Value is is not equal to k. Then we are going to just keep going to the next element and then after that we just return Okay, so what is the pseudocode? What is the pseudocode doing? Basically, the pseudocode is doing is is that sorry guys after we push this Okay, so what is the pseudocode doing? You're creating a variable x and you're going to point it to the Head which is the beginning of the list while x is not null, right? So that means it's not empty. Um, you and the key is not equal to the key that you're searching for You're going to keep going to next All right after that you're going to return x which is the pointer that you're at Right, so in this case if I'm at I'm at a right I'm at a and I keep going uh I'm going to create a variable x. I'm going to start at a right Which is head the list is uh, this is the list and I'm going to start at the head which is a I'm going to keep going next b and then c Until I until I reach the keys value, which is equal to the one I'm searching for it Like I'm trying to search for c is going to equal to c and then I'm done, okay So this pseudocode is basically doing is that we are checking for We're keep we're going to keep going until we reach the end Right the x not equal to null this x not equal to null basically is telling you that uh, you're going to keep going until you reach Then because uh, no at the end At the end of the list, it's going to point to null. So sorry guys. I forgot to tell you but uh, no means empty All right, no means that there's nothing there. So like at d's end, it's going to be like null stuff like that Yeah, so this what this is searching for in this search is that it's going to start from the head I'm going to keep going until we haven't reached the end of the list And uh, our key value is not equal to it, right? Then we're going to keep going to the next value Uh, after this condition Breaks right like this condition is done Then we're going to return the whatever value or key value that we are searching for right If we reached it, um If if it's not if it doesn't exist in the list at all Then this is actually going to just return null because this is going to keep going until we reach to the end Right. Uh, while x is not equal to null that, uh, remember the last value The last value you're pointing at is null and that this checks for the end of the list. So yeah, this is uh Searching through a list. All right, guys.  Okay, so when I said at the head that this should be before the head But let's say we're going to add insert an element before the head so In this case, if I'm going to insert an element before the head This is the pseudocode that clrs gave us and I'm going to explain that to you guys right now. So Let's say I want to insert Let's say I have this list abcd, right?   I'm going to point k's next to point to the head Of a And then all I have to do is now just set the head pointer. So I'm going to get rid of the head pointer Right now.  You set x x is next to point to the list's head. So what we did that's what we did here right If the list's head is null uh is not null This is setting the previous to point to x. Okay, so in this In this case the setting the previous to to point to x If your list is a doubly linked list, you would do this So if if in our in in this case if this was a doubly linked list, like they had previous pointers all over you would point A's previous to point to k That's that's what you would do because uh if the Of the head lists head is not null You're going to point the previous of its head to point back to the element that we're trying to add Which is x. That's what you would do here Um, but if you're not if your list is not doubly linked list, you could just ignore this condition completely But yeah And then after that you just reset your list's head pointer to now point to x Which is the element that you're adding. Okay And that's what this that's what this code is doing list's head Is not going to point to the one that we just added and then um if you if this were a doubly linked list You would also point k's previous to be null Right, uh previous would become null. Uh, this is this is just to show that like Uh, you you don't have any elements before k because of your head node. This is just like This is just like a precaution, you know setting your previous to null. Um, yeah because in double in doubly linked lists, you want to make sure that Uh, your head actually the previous value of your head actually has no element So that's what you would do here. You would set k's previous to point to null So, yeah, that's that's basically how you would insert before the head And yeah, then let's go over uh deleting deleting deleting a node All right guys, so i'm going to explain to you guys how to do delete now So in the delete in clrs, they're they're assuming that this is a doubly linked list But how about I explain it with a singly linked list first and then I'll explain clrs's code So This is a singly linked list. Let's say I want to delete c Well, first of all, I have to find c first So if I want to find c I have to traverse through it and find c. So I have to find c So I have to get this value to delete Right, I want to delete c. So I found c Now, what do I have to do? Well, I have to get the previous Previous pointer of c and point it to c's next d. So that would that would remove this c But the issue with that is that I can't just get this b value You know the previous value of c because I don't have a pointer to the previous value, right? It's not a doubly linked list. So I would have to traverse again and then find this b value the b value Which is the the node before the value that I have to delete So I'll have to get this so once I got the previous value that's before the node I wanted to delete I just said It's next so b's next is now going to point to whatever what c was pointing to so that was that's d So now b's next is now d and then that's it now. I just have to set c's Then the value I'm going to delete it's next to be null And that would just remove it right that will move the value of a singly linked list okay So that's how you remove in a single linked list. You have to traverse through it keep track. You have the the previous Previous node that's before the one that you have to delete. You have to find the one that you delete You have to get the node that's before it and then set its next point to point to the node after That the one that you're going to delete. So that would remove the node completely. Okay So now let's go over the clrs's delete Their deletion. So in their deletion, they're using a w linked list. So now because they're using a w linked list Let's see be the a So let's say I'm going to delete c Well now because it's a w linked list. I have a pointer to the previous value So I don't have to traverse again and try to find the node before it. So now What do I have to do? What does the first code say? Okay, so this if so x is the one that we're trying to delete. So just access to delete l's the list, right? So what does their clrs's code say? Okay, so if x dot previous is not equal to null So here's just checking if what we're deleting is not the first value of the List this is just checking. It's not the first value of the list, right? Because if it's the first value of the list, we could just set the head to the next so yeah So The value we're trying to delete x which is c is c. So this is one or two delete and this is basically x This is x right So previous is not null, right? So our x is previous. It's not null Right. Our x is previous c's previous is b and this is not null. So what do we do? We set x's previous is next pointer. So x's previous is next pointer. So b's next pointer is going to equal to x's next So what's x's next x's next is c's next and that's d. So this will set b's pointer to now point to d Okay, so that's what this does Um, and then then what is a check If x is next so c's next d if it's not equal to null. Yeah, it's not null Then we also have to update the previous pointer. So we're going to set x dot next so c's next is d these previous we got to set to x's previous So this d's previous is now going to equal to x's previous x's previous Or c's previous was b. So that would get do that And that basically removes it So now whenever you traverse through the list list list, you would have a b d and d's Previous it goes to b. So then c's never literally never hear c was never here. So the c's now deleted. Okay, so that's what this code does it checks the previous value Updates the previous values next to be the whatever's after the one that we're trying to delete and then updates the One that now the node afterwards it's previous to be the ones To the node that was before the one that we're trying to delete. So that changes these Pointers to be point to the right one All right, let's go to the case of this case where it's the l statement. So in this case, let's say where I'm trying to remove the forehead So let's say I'm trying to remove uh Uh, let's see if b's next It also yeah, let's say I'm trying to move a right, which is the head. So here That's what this else statement checks. So if um When I'm trying to move so uh, the one I'm trying to move is a so X is a right now. Okay. So if a's previous is not equal to null in this case It is equal to null, right? So what do we do in this scenario when I'm trying to remove a All you have to do is just set the head pointer to point to a's next. So now head is now going to point to B And then that's it pretty much because now whenever we Traverse through this list we start whenever we always start with the head and we traverse afterwards So it's almost as if a never existed a never existed, right? A head is now pointing to that so head is now pointing to Whatever value was after the one that we're trying to delete head and it never existed So yeah, that's how you do delete delete nodes in a single link list and a double link list So what are what is the caveat of link lists? The problem is that You have to traverse through every single time. So that's o of n Removing and deleting this is removing and deleting Okay So like um, if I try I have to go through like searching searching and deleting I have to go through it find whichever value I have to delete I also have to find the previous node in order to update its pointers. So that's why it's o of n Um, just like just changing the the pointers that just that's just constant. That's o of one, right? If I'm just like the constant of stuff like that That's just o of one, right So yeah, that's how you do that's how you remove and delete in a link list. That's basically all of the link lists um For your comments subscribe, I'll check you guys later. Peace


The Kentucky Department of Education has named Floyd County as one of the six districts chosen to be in the third cohort of the local laboratories of learning. L3s will begin their work by observing cohorts one and two for the remainder of the school year. The main reasons we were chosen to be part of the local laboratories of learning here at the Floyd County School of Innovation is that is our desire to serve the community through a local coalition around needs that we have for our students to help our students be more innovative and creative and really partnering with all of our stakeholders in the community around the needs that we have. Floyd County Schools hosts 28 pathways to students and the School of Innovation hosts six programs that branch into 13 pathways. Our students come here and they work in engineering or computer science. They work in healthcare, law enforcement, the ag pathway or heavy equipment and they get hands-on experience with the curriculum. We have community partners that are paired up with each pathway and they also get that real-life application to it as well. We are Pikeville Medical Center and we are an amazing place to work. Our heroes of all types work here. All who deserve great rewards so while our heroes are working hard to take care of our patients and visitors we are taking care of them with top-tier benefits, higher pay rates and great sign-on bonuses so join our team today. So what are you waiting for? Apply today! Incredible opportunities await at PMCjobs.org. In the fall, Floyd County School of Innovation will launch their own coalition and begin engaging in local empathy interviews, defining issues in their school and developing a learning model prototype. So it's called a prototype but it really is identifying a problem in this area and for us we think the problem is that we're trying to address the whole child for every single child in our community and so that's our prototype is how can we address that child and make sure that when they leave us as a senior that they have exactly what they need whether it's going to be to a career or to a college or whatever it is. Registration for the Floyd County School of Innovation is currently open. For more information on the school and to register go to their website at fcsi.floyed.kyschools.us. For Mountaintop News, I'm Breonna Robinson.


We're gonna play NFC Championship game against Saint. We have taken the Minnesota Vikings to the brink of greatness here, boys. Vikings, you guys should know by now. If you don't, Kyler Murray, Joe Mixon, 97 overall. Wide receivers, we got Tim Patrick, Jackson Smith and Jigba, and Quest Watkins. We got our boy Fyre Mooth at tight end.  So no hate from him, we got three secure protectors. We got our boy John Franklin Myers at defensive end. We got Derrick Brown, defensive tackle, big body, Lamar Dotson. In his second year, I believe in his third year, I think, or maybe second year, his second year, I don't know, but he's finally 88 overall. He's coming into his own corners. We got Snead and Dean, Michael O, Greg Jr., the boys, the boys right there. We got a plethora of safeties that kind of suck, but are kind of good. Jordan Badall, my rookie, probably the best of the bunch here. Yeah, we're looking good. Now, let's take a look at the safety. I know he has Marquez Valdez Scantling. Let's see what he got here. He's got Russell Douglas, safeties. Corners, he got JC Jackson, who's a god. Chavarius Ward, who's a god. Marlin Humphrey, who's a god. Isaiah Rogers, who looks like a god. Javelin Guidry, 96 speed, looks like a god. I mean, he has so many corners. We'll see though. Defensive line, he's got the Neil Hunter, 99 overall. Jonathan Andrews, I think he's a big body. 81 speed, not that fast, but 96 overall. Full line, he's got Joe Thuney. He's got Cameron David. So he's pretty solid, not a good old line, but he's got the right abilities. David Nujoku, 98 overall. Brandon Ayuk, Quentin Johnson. Johnston, I think is a rookie, 93 speed.  So he's gonna be a stud wide receiver here. Short end, short out. Oh, he doesn't have Marquez Valdez anymore, but he has Joshua Gilmore, 97 speed, rookie. No abilities though. So I don't know, man. He's got two good wide receivers. Like, I don't know, man. I feel like my corners can keep up with this team. I don't know, boys. We're back, he's got Trevor Lawrence. I don't know, boys. Pretty good. I think his defense is really good. We'll see, boys. We'll see. I mean, Saint is probably, I'm probably 0-3 against Saint and CFMs. So we gotta tighten up and get a dub. I feel like our teams are pretty even right here. We're pretty evenly teams. Now, Saint goes trips tight end to bunch tight end or to tight. I need somebody to cover the tight end and trips tight end. I really do. This is tough. This is, I like this way better than mutt, is that you only have two abilities. So you gotta pick them, right? Like, you literally gotta pick them. The problem is like, I can set up abilities, obviously for trips tight end, but then when you audible, they're like, just... And I'm gonna try, Blitz will try it. I feel like my team can hold up and a little two men under. You gotta play offense, man. I gotta play offense. I really do. That's the key right now. Third straight playoff road game, boys. Let's get it. How about we kick the ball first one time and Viking sister here? Yes, let's go. So win already. I just like, I don't know what to do against him, bro. He's tough. Can't lie to you, boys. Dipper! Hey, Delta! There you go, Michael Lowe. There you go, kid. There you go. Hey, Fox, stop, Fox! There's no way that's like a... That's allowed to be in the row. How does nobody get him? Oh, my God! That was such good, good offensive. Oh, my God. How does nobody click in the stick and nobody chase him? And just, I just didn't want to spy because the last play, he had all day. So I rushed three, he still had all day. I just like, man, don't overthink it, man. Rush two, and like, come on, man. God, like, I just knew that, that playmaker back to the middle, he would catch it. And I kind of wanted to like make sure he didn't catch that playmaker then like break the tack on getting the end zone. So I had to help there. I moved left and could not get back to the right at all.  Are you just like shitting right now? Just go moves. No way, Mixon just fumbled the ball. No way, no way we double fumbled.  Come on, man. That's killer, man. That's, that's killer, dude. Do you see this game? Do you see this? Like literally the zone's right there, but instead of garnish, he bumps my guy off.  Good catch, Jackson. Big boy. That's a terrible timeout, dude. Absolutely awful timeout. That's complete. I don't know how he has so many people like over there. Like a yellow zone of flats, man. And Ques is just strapped, man. Dog, oh my. That one's on you. No excuses. The excuse was there. Dog, like, God, man, we got to be faster, man. This kid's a nerd.   I feel like I've just been on the field for a million plays, man.  Like, just like, oh.  I can't play better defense. I really, I really can't, dude. I really can't. There's no way he wasn't across the line. I really can't, I really can't play better. I really can't play better, see if I'm defense. I can't, dude. My D-line is too slow, man. We got to get John Franklin Myers. I feel like he's balling though. He's just, I feel like he's always chasing him. I can't, like, fire move, just can't. Maybe I got to do more of that. Dog, come on, man.  Like, we can not get shetted like this, man. I'm sure there's a reason to go for two right here. There is a reason. I swear to God, there's a reason to go for two because if he gets 24 and I have eight, because if he gets 24 and I have eight, then I'm only down 16, all right? Yeah. I'm gonna be fine. The catch-quest, big boy ball. I'm playing defense, bro. I really am, dog.  Like, he wants me to touch this slot corner, so I'm gonna switch Dotson on the other side of what you're gonna call it. That way if he sheds, he's fast enough to chase him. This guy, Franklin Myers, at 80 speed, can't chase him. But he's waiting for me to touch this slot. Oh, he has Omaha. This is fun from what? So that way he can use his motion elsewhere. Thank you. We get the sack, first play. Love to see it. Use his motion elsewhere, so I'm not even one.  So he wants me to touch the slot so he can flip it, so he's not coming off the edge, so I'm not even gonna touch the slot. Dog, we gotta get home, man. He got bumped so bad, I didn't think he was on an angle route. I really didn't. Better Dotson, better, better. I'm not mad at all of my defense. I feel like he's had 40 plays here, boys. I'm not using a spy, so we don't need a spy. When he's scrambling, good things happen to him. That one, ridiculously good play. I don't want to touch the slot, because he's trying to get me. Like, bro, this is just absolutely, must need. This is, it's so nasty, dude. Oh my God. He doesn't have a good one. He might do a glitch. I just can't get a sack, boys. God, I feel like our defense is so good. I just cannot get that sack, man. Oh my God. Come on. I was so scared right there. I clicked on his swatted. I was definitely scared. I mean, dog, come on, Mixon. Go over there and block him. I need you, Mixon.  Do I got a slide for you to help you out here? Do I have to? Dog, this dude just ran over to the team. God, dude. I can't get nothing going. I feel like one side just has so much defense. I just can't. Oh my God, oh my God. It's really the same play. I just, I was not prepared to build a ball to our boy, Tim Patrick, right there. We're using a lot of time. Thanks, thanks, Bill Parcells, appreciate you, bro. I heard it's the pumbler, you heard it. We've been known to get these, though, boys. Don't doubt it. We've been known. We've been known to get these. We've been known. Come on, boys, like, what the? Are we serious?  Just audible to this one.  I just expected him to run the ball right there. That was a good play, dude. That's why you go for two, because if that happens, you're in a one possession game. The whole point. Damn it, man.  I'm going to slide, and then what's going to happen? I'm going to slide, at least that's what I'm like. And he's missing a s**t nowhere. Thank you, Nixon.  I'm going to tell you that. I'm going to tell you that, boys. I hate throwing them. I can't, no, Nixon's not throwing s**t.  Luckily, I got f**king Joe Mixing, no more. And of course, he's got a f**king Jesus right there, playing corner. Oh, we're right there, boys. I just f**king...  We can't just get s**t. This is not s**t. It's too f**king... And standing over the f**king ball. Can't pick it to f**k up. Man, I just can't stop a f**king slant, man. I just can't stop slants, dude, the game. Yo. Need a short knockout, dude. I'm done with the one step ahead, dude. I mean, a fumble killed me, but I do a pick that I shouldn't have done a pick. I do a bad pick.   Fire move, five for 80. Nice fire move. Three turnovers. We fumble at the end with two fumbles, two fumbles in a f**king pick that was bad. I mean, seven for 10 on third down. Yeah, I mean, well, the last fumble. The last fumble, I tried to get out of bounds if I could because I was between a rock and a hard place. I really shouldn't have scrambled. I shouldn't have scrambled, honestly. Yeah, Mixing can't fumble in a random-ass one-yard f**king run. Like, I really, I shouldn't have scrambled. It's not worth it. The scrambles is not worth it, you know? It's just not, like, these dudes are just not close though. I mean, Muth is open right there, man. He just gotta hit that. Like, how do I go from this animation to strip fumble, dude?   It should never be a f**king thing. I don't care about peanut punching. I don't care about sh**ing. And it, look at this sh**. How should I fumble this f**king ball? How? It's just stupidly f**king random, man. Then we pick the f**king ball up. And somehow this is another f**king fumble. I just, it's just, it's absolutely, the strip is absolutely terrible. Good game, though, man.


Hi everyone, Joe for Jaspy's CaseBreaks.com coming at you with 2019, 2020, Uberdeck, SP, Game, Use, Hockey, Two Box, Random Team Break number 34.  Remember we combo the coyotes in the wild. Let's roll it. Let's randomize it two and a six eight times. And eighth and final time. After eight, we got Reza down to Sean. Eight times for the teams, two. And eighth and final time. After eight, we've got the Tampa Bay Lightning down to the Winnipeg Jets. Alright, Reza with the Lightning, Matt with the Red Wings, Reza with the Blackhawks, Matt M with the Blues and the Sharks, Matt D with the Bruins, Matt M with the Stars, Sean M with the Toronto Maple Leafs, Matt M, Flyers, Chad, Panthers, Sean, Blue Jackets, Matt M, Coyotes Wild, Sean with the Preds, Chad with the Caps, Sean with the Devils, Spencer with the Penguins, Matt with the Ducks, Spencer, Matt D with the Ducks, Spencer with the Kings, Matt D with the Oilers, Spencer with the Flames, Matt D with the Avs, Sean with the Canucks, Matt M with the Islanders, Reza with the Sabres, Chad, Senators, Canadians, Rangers, Matt D, Golden Knights, Chad with the Carolina Hurricanes, and Sean Matic with the Winnipeg Jets. Let's sort this by column B by team. Chad wants to know if anybody is interested in Florida, Washington, or Carolina. Is there a team you're looking for in particular, Chad? Maybe, shout that out too. Alright, so we just got these two breaks left. One's gonna be break 34, one's gonna be break 35, which is coming up in a separate video after this. One, two, three for the left side, four, five, six for the right side, and it's gonna be five. One, two, three, four, five, six. So this we will save for the next break. No? No going once. Trade window going twice. Trade window closed. Let's print, let's rip. There you go. Break 34, the final printout. Hot off the presses. We got Martin. I'm gonna use this blank card to hide the hits a little bit too. We got Martin Faveri for the caps, that'll be for Chad. We got Julian Gaultier, three out of 44 for Carolina, also for Chad. Just trying to trade those two teams, a couple of base cards to start. An autographed Mario Ferraro, San Jose Sharks, that's gonna be for Matt McLaughlin. Ooh, that's a nice patch right there. Leon Drizital for the Edmonds and Oilers, Matt DeLeo. Some good colors in there. Part of that All-Star logo looks like. We got Phillip Forsberg, Locker Essentials Jersey for Nashville, that's gonna be for Sean. And the last relic here is Joel the Esperance to 599 Dallas Stars. That'll be for Matt M. We got Eric Brandstrom for Ottawa, Chad. Elias Pederson to 275 for the Canucks, that'll be for Sean. We got Quinn Hughes, a banner year Quinn Hughes. Who's the better Hughes? He's got a brother, does he not? There you go. That goes to the Canucks right there. That is for Sean Matic, Quinn's better, says Chad. There's Austin Matthews, two-color dual relic. Looks like the left side is a Jersey and the right side's a banner. Toronto, that's gonna go to Sean. We've got Keith Yandel, Jersey for Florida, that'll be for Chad. And we've got Joel Farabee, 194 out of 599. That's for the Flyers. And there you go, Matt M. Quinn, there you have it. Another two-box break coming up right after this, the final two boxes of 2019-2020 Albertek SP Game Use Hockey. I'm Joe. I'll see you next time on Jaspy's Case Breaks.com.


For this category, we wanted to see how innovatively mobile can be used to deliver a sales promotion and to amplify a sales promotion. And you know, what really stood out was how one or two of the ideas here built up on IOT to deliver the messaging, cutting across different TGs, different demographics. I thought there was one particular entry also that used a social media platform that we engage with in a very innovative way and also in a way that a lot of us have never thought of doing.