And precisely on time. Hey! It's ANFA! Welcome to another monthly live stream. And this one is a very special one because the ANFA community for the past five weeks have been very busy making a short album, namely an EP. And it is 15 minutes long. There's seven tracks. If you've been on the warm-up you may have heard some or all of the tracks because I've replaced the warm-up music with the tracks from the EP. And collectively we've decided to call ourselves ANFA Terrians. And today I'm gonna go and close the window. Turn up more lights. By the way was I late or was I right on time? I don't know. Yeah and today is a very special live stream because I have a new chair. No, I'm just kidding. Because we're probably not gonna be doing what we're doing every month and that is making music. We'll probably be discussing how we've been making music for the past month with the ANFA community and how the EP was made. What did we do? How did we approach the collaborative aspect of this project? Yeah and today I have a couple guests with me live to discuss that. So let's try and see if we can get live. Hello. How are you doing? Can you hear me? I can hear you. Hello. And now everyone else can hear you. Now everyone else should also be able to hear you. And I probably shouldn't So we have John the Bard and Logos Coder. John has been pretty much driving a driving force behind this project.  And Logos Coder has been a contributor himself. He's like hopefully house. And Logos Coder do you want to say hi Logos? I wonder if Jitsi will switch to show your camera. Hopefully you can hear me. Yep. I don't know. I think you can put it in like a grid where it shows like everybody but and I think there's a way to turn off yourself too. Yeah. No I have this figured out. I like when I think it's gonna be good. All righty. Welcome guys. Do you want to say something about yourself? Maybe Logos maybe you want to start? Okay. Well I'm Logos Coder. I've been watching Info for quite a while but I recently joined his community on Discord for the server server. Yeah I kind of I've kind of just I've been doing music stuff for a long time but I've kind of just started making like songs and so I was partially using this as an experience to let people produce songs and to learn some stuff from it. Nice. And you've also played accordion on some of the songs. Yes that is very true. I played pretty much every accordion that you hear so yes I've been making music for a long time but haven't made any music that makes it music. So I guess I'll introduce myself. Hello camera you're over there because I don't have a good streaming setup. Okay I'm John Bard. I have been making music under many names for gosh 14 years now. I mainly do drum and bass is my favorite genre but usually my favorite house because it's just kind of easy.  I love it as well. Oh I forgot to say it to you but I'll get that to happen. You guys will hear a track of Vine at the end of the live stream but then yeah I learned this project and did a lot of administrative stuff. I'm sure we're going to talk about a bunch. It was a quite an endeavor. I think I might get my mic closer back. Yeah that was quite an endeavor. I think my whole setup real fast. All righty we have 15 minutes of music submissions today so I can easily fit you in. Normally there's normally there is a three minute limit per track but I decided to not care this time because if I did then we'd have like 20 seconds less of music so it doesn't make a bit much difference. Well that's convenient because I didn't know the way to export until I converted it and it's six minutes but feel free to just end it early. I won't be offended. Okay so we can put it on the very end and then I'll like sunset everyone on top of that track play. Yeah there you go. That's gonna be perfect. Okay how are you gonna send it to me? I'll just I guess I could just DM you. Or you could fill in the form like everybody else. Oh yeah yeah yeah I'll do that. That makes the most sense. I haven't sent in the submission yet so I'm not familiar with the process. Okay if you don't want to fight with the form then maybe you want to skip that and we'll just fill it in later. So I'll go ahead and if anything I can do it will it be fine for me to do it last minute after I hop off? You'll still get it. Like if I send it in 20-30 minutes instead of messing around with it right now? Yeah sure. And then worst case we don't play it and it's fine. We have solid 90 minutes before that time so yeah. So if anybody is unfamiliar or missed the memo five weeks ago there's an SVS which is server versus server charity event as started. That's the fourth edition of it and the event is about discord communities focused around music and each discord community gets to create one EP. It has to be between 10 and 15 minutes at least three songs in total. There has to be a cover art and an optional visualizer slash video and we've been invited by the creator the founder of the event Story who is who has conducted me and asked if we'd like to take part so I reached out to the community on the in the ANFA chat ANFA community chat and I asked everyone hey there's this opportunity for us to do something interesting and also charitable do you want to do it and a lot of people got very excited so I said all right let's let's make a submission let's get into this competition and for the five past weeks the community has been making the CP. A difficult thing for me was that I started a new job right when the almost like before right before that the theme was announced and the actual work started so I was able to do some preparations and figure out a workflow and hoping that people will just self-organized based on that. John do you want to share your experience of that time where we just were starting up? Yes sorry I've been figuring the chance that it seems like I'm having a lot of runs according to my computer so it might be related to Jitsi. That's very weird because I hear you perfectly clear. Yeah I hear you clear as well so they were I think they were saying it's both guests so I guess I sound distorted. Yeah so I think it's somehow related to weight for feeding it. Can you just understand me is this completely unbearable? Yeah I'll just keep talking so that I'm filling space about it so I'll just kind of talk I wonder if anybody can still hear this. All right then then that's really weird. So it's probably just internet yeah. Yeah basically. Oh was it was it 0.39? Yeah but we're going to see we're going down together. All right it's my stream now. It's our stream. Yeah we're the new alpha. Well you figure that out I'll just kind of start talking about the beginning. So yeah since we're an open source server we're definitely not going to collapse in a normal way. So we set up we went through a lot of ideas and I think it was actually a sync thing and a code bird to use for both of them. I know the code bird was here I think the sync thing was as well. So then we would host all the projects in a way that anybody could join the sync thing and get access to all the files as they were and we also set up a host of binaries be it our doors binary and then a bunch of plugins a bunch of lv2s and stuff whole all the open source ones we could get. I grabbed most from the kx studio repos but yeah then a lot of trial and error later we have successfully made an EP that you can almost open everywhere. I think the only issues are that guitar Xtuner still doesn't exist on anyone but lo-fi's computer not that that matters and Dragonflavor likes to blow my ears out but otherwise it's been good. It went I thought it would be actually much worse than it did I only had to recover from a backup one time which was some I think it was because of the old way I was doing the rsync command some files were left over and then our door got confused who knows I don't even want to just blame our door something weird happened and we reverted but it only happened once which was pretty shocking just see in chat kind of look all over my room for everything but that's okay okay uh so yeah then um let me think other other major stuff from the beginning so we were thinking we would have more of a bold track but really rob and lo-fi did most of the initial work and I think all of their contributions are in there right because it was rob one two and three which became lo-fi three yeah which would be oh man I need the track list by the way my just finalized that my audio should be back so without processing so it's raw sweet raw audio for some reason Carla decided my voice is not worthy anymore so it doesn't let it through I don't know I don't even have a joke for you so I just bypassed Carla and and that's what we have we have good to know I think you sound fine it's not the best vocals but it's clear I can hear what you're saying so yeah I guess maybe you'll hear more of my cat in the background right I think we are all officially unprocessed now I just have a limiter I don't even have a limiter I'm still very much processed ah nice so logos is the only good sounding one among the audio guys yeah right it's a decent microphone it's an sm58 guy brush deepwood says unfulter I'll do one better unfilter sorry for real sorry I had to do that yeah so I came up with the sync thing and code burg idea I thought that because some people proposed using git just git and of course code burg is like open source github but I thought first we're gonna spend three weeks trying to teach everyone how to get add git commit git pull git push that's gonna take up most of our time because I don't assume we're working making music with developers I assume we're making music with musicians even so we're the open source community this shouldn't require be a required skill to make music so we used sync thing which is you just put files in a folder and they're magically appear on everyone else's computers as long as you don't touch the same file at the same time everything is fine so I decided to create something on code burg I'm gonna show you which I'm not signed in here wait a minute so on code burg we have basically um a board I've created a board where we can have every single track and we can track which tracks are currently not being worked on which tracks people want to start working on so it's like you want to work on one of the tracks you move it here you say hey I'm gonna touch this track anybody okay with that nobody in the chat responds with no I probably clipped and then you go in progress when you when you're done with your work you just move it to syncing you wait until sync thing reports everything is synced and then you move it back to unlocked and this allowed us to have a error free process pretty much without any conflicts which would be like the worst thing conflicts are always the biggest problem when you're working on things collaboratively git has a very git is a great tool for resolving conflicts but it's text-based and software is also text-based ardor sessions are text-based as well but um I didn't I wasn't sure if ardor sessions would actually properly respond to having conflicts in in their sessions resolved by git so I didn't want to test that because we didn't have we only had four weeks fifth week was added after lots of the servers and the svs competition said hey we're kind of scrambling to submit anything could you like kind of like give us one more week and we weren't we weren't the ones who asked for that but when we heard about it we were like big relief because we were really struggling and the last week this the past week was just a absolutely crazy like last two days I I feel like I've worked non-stop almost on this album and so did john and a whole bunch of other contributors yeah I I'm pretty sleep deprived for the stream um because I was I mean I somehow couldn't sleep last night either I've barely slept last like two days before so it's been a fun time that's too bad I got quite a bit of sleep so I'm good although yeah like the fur I was just gonna say your mixing ability deteriorates real fast as you get tired and I've learned that over the course of this that's unfortunate yeah I went to sleep yesterday around mix well you're tired yesterday I went to sleep around 4 30 a.m a day before that I think it was 4 a.m and a day before that it was 4 a.m so it's like today I just slept 11 hours and I I got up and like was oh I'm doing a live stream today and a bunch of other things um let's get going yeah needless to say I didn't have much time to prepare today's stream because all my energy went into the album yeah like from what I can remember the first week was mainly like coming up with ideas and then sorting out like all of how people were going to contribute like getting all the plugins set up and um figuring out some standards of how to contribute and things like that and then the second one we kind of got started yeah and and then the second week we started and everyone was kind of just working on their own tracks kind of and then by the end of the second week we decided on which tracks we um we were going to have for the final EP and we picked them and then we all started working on them and and the third week things were starting to get rolling and um yeah and then the and the fourth week was just more music production honestly this whole month has been a bit of a blur but um yeah and then we probably would have had a good enough album to submit by the fourth week but the fifth week definitely we were able to add a lot of polish and um a lot and a lot of um a lot more like detail in the songs and one of the actually like we're gonna lose on because we got an extra week we were able to go on i'm fine yes um what i was gonna say is uh because we got an extra week we managed to fit in a few more songs into the EP that um weren't going to be there originally which was nice so having the extra week we managed to get six seven is it seven now yes it was six yeah it was finally six seven oh yes no we oh god oh it's a seven by the end of by the end of week four which was like okay maybe by the end of week three when we had one last week to finish the album i believe we settled on having four tracks and then we realized oh we don't have even 10 minutes of material between us and then you john you you dropped out of nowhere a four minute metal track with a bunch of your homies playing guitar solos that are infinite in their purest form and this is the track that is faded out on the album because it was just too long to put in full so the album is 15 minutes is flat and john's track which is called the realm is just the point of adjustment of the length but i needed more more more room in in the mastering because something else was longer i just shortened this track or but yeah but by the end of last by the start of last week we had seven tracks so like three more tracks added and we were like went from scrambling to to go for the 10 minute mark which is the point of qualifying to oh shit we need we have too much stuff we need to cut it short yeah once we got the ball rolling it went like pretty fast all things considered i feel like we uh well i don't want to sound intentionally but we definitely handicapped ourselves at the beginning by choosing to do a non-stem process where it's a entirely non-destructive music process right like i can edit synth patches from anybody you can edit my equalizers anywhere on the chain because we're just passing projects back and forth and so there are huge upsides to that but this kind of just meant that for me at least the entire first uh week and a half two weeks including a week before that was just testing our door and trying to get projects to open correctly across multiple machines and then figuring out what didn't didn't work which is going on to be honest but you figured out yeah a lot of the first two weeks was yeah that would have been really bad if i didn't have the limiter on because the limiter was pushing like 8db because the mix was so quiet so it would have just annihilated me anyway yeah um the yeah the first two weeks was very much just like troubleshooting just like all of our workflow issues kind of thing oh well once we had the workflow issues sorted out it was pretty good um also i don't think you ever mentioned the theme for server versus server this time well yeah and what we were actually making the tracks based off of yeah you're right the theme that was announced was secrets just one word and this is the title of the ep we've released mainly because it was just a default and we didn't have time to think about a better name but it fits because all the tracks are based around the theme of secrets there's also a self-titled track secrets on the ep also because we ran out of time for names yeah like i i had to assume we basically worked on all them yeah we were working so hard on music that we forgot about everything else yeah i think from now on i'm gonna name my albums just like track one track two track three and i'm gonna call it like one two three and four and i'm just gonna walk in the colors of the rainbow we're gonna start at red and go to orange yellow and we're done i've settled all of my albums for like the next 30 years don't even have to think about it that's uh i've got the track list i've got the track list open so i figure we should just talk a tiny bit about each track what we know about it and where it comes from sure maybe maybe i'll open the bandcamp page and just showcase that yeah that's a good idea i have the uh sheet open that pace piece pace pace mates i always read it as or as peace but i know it's big so the first track was uh it's internal name is low by three it's a net it's technically rob's track it was rob three and then i low five misunderstood the way that we were saving projects or we had a different methodology at the time who knows either way got named low five three um so i guess that's the secret i don't know what else there really is in that track i just did the mix on it like two days ago it's uh some fun synth wave i like it's like an arp at the top uh i have no part in writing this track by the way but there's a nice arp at the top that i really brought out to sit over the whole thing it just stays stagnant while the chords move around it and i think it's really cool and i love the big guitars that uh i want to say lo-fi probably added it's a blast yeah lo-fi has done an amazing job with guitar parts and also overall composition like the i think one of the most catchy songs which is nothing to hide uh that's the final title but for the entire production it was called my lo-fi underscore s vs zero two good name yeah uh that track i believe it was composed bass uh almost entirely by my lo-fi and then everyone else jumped at it and there've been vocals recorded i believe snuffles recorded vocals yes absolutely it was uh lo-fi and snuffles are on the final track lo-fi did a bunch of guitars um he did all the synths too and the drums he synthesized those um yeah it's it's like a 90% lo-fi track uh the my lo-fi track yeah it's it's a great track it's in another way he came up with a he in another life is a ghost writer for like all the pop stars i swear he could literally be putting out katie perry albums he knows how to do it yeah that guy is amazing i wish we can get him on on the stream sometime yeah he said he's fixing his uh like he just switched to pipe wire and wailand so he was fixing that he wants to uh him and i are gonna talk about the lo-fi two mix he's gonna walk me through like the vocals and stuff when he's doing it so he should be able to join in a couple days i know that he can't for now i mean that's probably why he's not here but you should talk to him because i think he'll be able to yeah i'm thinking about maybe transforming this live stream idea like this is something that just comes up right now as we're doing this live stream that maybe because i was i was having the idea of making a podcast but it's really hard for me to find time to make two live shows every month so maybe it's a good idea to make the anpha live streams become kind of a talk show about making music with open source software because i kind of feel like the formula of making music live is getting a little bit stale so it doesn't hurt to just mix up these and some some live streams will be talk some live streams will be making music and just me i don't have too much experience live streaming music but i've found that when i'm streaming anything i tend to stick to what i know i experiment less because i don't want people sitting there for three hours well i'm like tuning a snare you know because i'm sure some people would be interested but yeah watching you add the third instance of lspq times 16 and adding another 12 like tiny notches and and bumps to like make it perfect i thought i was crazy and then lo-fi is doing all these like home filters room room residents i'm like oh okay oh my bad only he's making them by head but he's not using a comb filter he's making pink no he's making comb he's losing bell filters to make a comb filters yeah and that's why we need mom and then you figured out it was must have been something with his monitoring because it sounded not very great on your system is that right uh it sounds i think that some of it's very good right so i think some of it is resident peaks and what's going on like for example he redid the tartones in morse metal with the same kind of treatment and it works really well uh it it's a bit treble light although i might be mixing treble heavy as of late but that's beside the point i think that the guitars that are a bit treble light after we removed all this but once you boost it back it's such a more harm external he really found the like source of the noise you know because the amp's gonna hum it the virtual amp it's not real it's gonna hum at 60 hertz and then it's gonna feed into the distortion which is gonna hum more and it's just kind of kind of be a constant noise so he found all of that and removed all of that uh at or at least brought it down it's one of them's a like minus 18 db one of them's at like minus six you know i'm sure it's intelligently done uh he'll talk a lot about it i bet but then i just boosted it back up and it's so much uh cleaner the guitars are so much more um i don't know what the word is the actual like overtones are coming through cleaner instead of just noise it's beautiful good work lovi i've muted myself this reminds me that there is a plugin in ardo or a built-in plugin called notch bank i believe and i was kind of unsure what what is it supposed to do because um it's a bunch of notch filters and you can they kind of create a harmonic series and i asked the ardo developers and they told me this is exactly for removing a mains hum from your tracks you can set it to you know 50 hertz fundamental or 60 hertz fundamental and it's gonna notch out all the harmonics of the square wave so there is like a dedicated plugin for this which is kind of crazy that this this ardo devs decided this is one of uh plugins that everyone who should have with ardo but it's unique i have not seen another plugin that does specifically this it's really cool i think john you are muted yeah something's wrong i did that i had to be uh courteous yeah i'm i'm right now open ardo look at this because i'm now very curious i'm not going to bother sending any audio or anything but i'm gonna look what do we want to share your screen and oh yeah i can share it actually yeah why not we'll test make sure i got nothing crazy open yeah that'll also let us test drive what we're gonna show everyone by the end of our talk which is a surprise here's your door so like a stereo channel oh i already made one whatever it's um so what's it called it's by the ardo devs so first i doesn't find it okay ace notch bank there it is oh yeah look at that i wonder i wonder if i can view what this is doing i think so yeah let me mute all of my outputs i think i can actually see what this is doing you can just uh talking about stuff while i look into this we should have maybe made some notes yeah we want to talk about i can get real distracted real fast but i think i can send because cardinal has this analyzer uh yeah right i can't yes lo-fi um lo-fi like when we were brainstorming ideas for um how to implement the theme secret into all of the um into the tracks like he he made a lot of these tracks as like a sort of showcase of different ideas right and then they kind of and we kind of just ran with it right um like i know the new slash metal like that the the beat you at the beginning i think is supposed to be based off of the morris code um unfa like unfa um yeah i'm trying to remember the order uh uh it's in can new slash metal the the rounds morse code they're both morse code so actually the run came from uh lo-fi's morse one um i had a bunch of guitarists in my house and we had the project open and metal occurred so then it's the same base project at one point it contained both of them and we separated them uh but the morse beats in uh it would be can new metal are there's one um one is gpl v3 there's another one in there and i can't remember what it is i bet lo-fi knows because he's the one who did all of them and then the main beat uh five four yeah the five four beat four um morse metal what do we call that um yes of course that's uh alan holdsworth reference courtesy of my roommate shredding on this track anyway um the morse that is fos or die fos or die that is a quite long thing to encode in morse using always brutal guitar shredding or actually not get a really like power chords get a riffs and blast beats those are not power chords that is one note on my bass there is no rhythm guitar in that track right it is huge though i know there's so much distortion i think what's happening is the overtones are just getting so rushed by all of this distortion that you hear the fifth and the at the same level which function is a power chord i hope our our viewers have heard the tracks during the warm-up because they were playing on repeat so they were completely random so it is it is possible that some of them played twice or fries and other ones didn't play at all i didn't check but the entire ep is available on bandcamp you can listen to it now and download it in flak the link is in the live stream's description on the very top yeah yeah definitely and we'll be uh i don't know exactly once these are cleaned up we're gonna be posting all the projects i think uh as long as that hasn't changed yeah yeah i i think that would be still very nice to do yes just use actually i can just use two would be cool so i really wanted to see what this is doing don't mind me so so john in the background i think one of the coolest sorry go on go on logos i was i was just gonna say one of the cool things that i've like heard or is actually fairly fun to do like routing with um maybe not the most uh enjoyable thing to like there there are some things that are a little iffy but like for the most part art or held its own when it came to uh this collaboration it it did pretty well but i had a lot of fun like messing around with pin connections and routing and stuff um because for the track secrets i implemented a couple of ideas that people had um one was having like a spectrogram message so um there's in secrets and i think you there's also ideas like that if i remember correctly i think you did the most crazy yeah things and i broke some yeah i did a lot of yep yes i did a bit of sound design but like art was writing our routing was really helpful when it came to um making this the phase cancellation effect um so i don't know what what this is like there's a couple of doom tracks like the game doom eternal there's a couple tracks in it where the artist i forget what the artist's name is uh oh man i should know is i think mix gordon yes he did a great job so i think and you and your whole shot also oh and you whole shot has taken over for the the expansions for doom eternal because there wasn't the back hole where the standalone version of the doom eternal soundtrack was kind of subparly mixed and that was when the covid happened so mc gordon just didn't manage to do it all the work himself and someone else had to fill in and it just wasn't up to standard and Bethesda's fired him over that yeah i remember that there was a big deal about it um he was really no i was it exactly that i thought that Bethesda had someone else mix it and he was really upset about the way the mix turned out so he he wanted to redo that right yeah and that kind of failed uh gotcha i've heard anyway yeah sorry go on logos yeah so Mike uh gordon and like a couple of this tracks in in uh doom eternal they had a thing where he he basically had a phase cancelling thing and had a secret message when he played the songs back in mono so what you do is you you inverse the phase of either the left or right channel and you leave the other one the same and then when you play it in mono it um it plays back a message that didn't get phase flipped right so one of the problems i had while doing this is like when if you just like phase flip one channel and then cross fade the channel between the non phase flipped and the phase flipped you'll get a cross area where there's where it dips down in volume right so if you want to keep the volume consistent well you're flipping the phase of the of the track you have to add a slight delay you have to add a slight delay to the non phase flipped version of the channel so um i i basically did it all in one track if you you pull up dark core you can see it um but uh i have a i used our doors routing to to like pass through one channel and then on the other channel add a delay and then i add the ace crossover plugin and then i use i automated that to flip the phase of the one channel and it worked really well so i think that was like a my the most fun i had was problem solving that all right so if you look at my screen i have successfully done it i am now displaying the what this filter is doing in real time so we can adjust the bass frequency and see where it moves and we can see the little notches it's making this is not of any use but i wanted to do it what we were i mean it's not of any use right now but if you have mains hum in your recordings this can be immensely useful yeah exactly or for some talks but i wanted to demonstrate uh just kind of what we were doing although interesting what's happening up here it seems like uh something's kind of falling apart the upper bands but that just might be because of my weird routing i have to send it out from here into this insert and there's a lot there's literally just a feedback loop happening so i'm sure our door yeah there it is it's very unhappy with what i've done i've muted and disconnected all my outputs but now we can see actually load up any filter now in here and see what it does it's pretty cool oh so now we have a cardinal patch that serves as a monitor like a plugin analysis kind of yeah exactly so we can make a bell and we can get created and we can move it around if wait are you overlaying the original signal and green over the process signal so this is a beautiful plugin called randomizer which takes which sends out just a sine sweep and it sees the response to the sine sweep and it plots it and there's a couple graphs you can see this is the actual response the greens of the test signal so this is what's being sent out the responses in purple and then this is a fat flattened out curve for analytical purposes so something i i want to assume that it's with weird routing is causing a dropout it was like 10k 12k 15k who knows or maybe otherwise and this plugin shows us the bug that could be uh or this routing because if i turn this off we still get that so it's something with this loop but wow that's so cool and we can do this with cardinal yeah and you can load up any plugin and see its effects so a distortion plugin would probably be interesting uh calf saturator sounds good i know there is a proprietary plugin called plugin doctor or something like that but i don't know of anything i didn't know of anything open source that could do a similar thing and this is probably the closest thing at least in frequency domain it is affected at range right so it's even we can do when we so that's interesting we'll have to see it seems like it's a lot of noise or that's the this is a saturator so if we dry the signal then it goes back to normal i was just literally distorting it to see if it would raise this floor we can also see the response of the saturator what if you do the mix at 50 because the calf saturator i have stopped using it for for a reason that you're a different one that um yeah i wanted to see if calf saturator shows you notch filters appearing when you have mix at 50 because i stopped using it because it does that uh yeah let's look actually it has phase cancellation that that happens let's see it so that's zam tube it certainly is weirdening up the waveform but i don't see things that look like phase canceling maybe try mix wet uh sorry there we go i filtered it and now we've got it that's probably your issue oh it might be that yeah i really like using filters for distortion yeah it's for the best but i think it's probably just misaligned i think they probably got something slightly off because it looks like a timing issue it looks like it's some number of milliseconds off because it's consistent i think if i change the distortion amount yeah it's consistent so and it's the same on tape yeah we're learning all righty um we have some questions so you can mess with us too yeah please do we have a question from chat hs music says anfa silly question would linux plus false plugins plus reaper dawg submissions be acceptable or is it false dawg a hard requirement for your stream uh when i started doing the streams i was a bit loose about this and i would accept a submission that was made in an open in a proprietary dawg but um i will most likely not include your submission if you use a proprietary dawg because everything else that has been made with liber dawg's like ardor zero rhythm lms uh it has a strong priority because these live streams are all about showcasing what free and open source software can do so if we mix in uh projects made with proprietary software then it kind of blurs it out and it no longer serves the purpose serves the purpose yeah i would i would agree with that i think that if you start diluting it then it stops yeah especially with the whole dawg you know it's like an entire yeah it's the centerpiece if you're using like one or two like plugins that are not i could see an argument but it just seems too too much so john this was kind of probably want to get out of here in 10 minutes or so but i'll talk i want to talk more about this and the i got distracted i'm way overtired i got too excited about this weird routing i could do uh john can you repeat because there was you guys clashed and i i don't think we understood what you were saying oh i said i'll have to head out in 10 maybe 15 minutes so we should talk a bit more about it without me getting super distracted okay showing that cool do you think you're ready to show the surprise um we need to build it so let me do you have the command needs needed to build it yes i need to open chat for it i can i can look at you can DM me on discord and i can help you check it it's not quite all right it's you posted it i can talk a little bit about the video process while you're getting it done yes absolutely so one of the optional things that were possible for us to do for the svs submission was to make a visualizer that's what they call it basically a video that plays along the entire ep so there has been some efforts done by pace i believe pace is a member of the community yesterday we've been hanging out uh with them on discord um and he's been making a video for one of the songs namely nothing to hide and he made a video using nothing but python he programmed a video in python however later on there has been a cover art created by an artist who she drew the cover art and i asked for this cover art in separate layers so she sent me layers and i dropped them into blender into a project that my lofi started making and i made this cover art base a basis for the video for the entire album and what you see as the cover art for the album is basically one of the frames from the video but we had some issues we've checked our network speeds uh was it yesterday it was yesterday or even before that i think we started testing this on friday uh thursday i think it was thursday yeah we really gave it some testing time yeah we really like approached it with serious like we were prepared and we did did our job to make sure this will work unfortunately it didn't work and the video that we ended up making for in time for the submission has 69 of the frames missing because there was like 10 computers rendering or eight computers rendering frames leapfrogging each other every computer rendered like one every one frame from every 20 frames and this way we covered the entire video but we had holes so we filled these holes by just copying frames uh and the video was very choppy but we submitted it anyway because we didn't have anything better to do uh and it was it was late yesterday was a really crazy day yeah a lot of things in hindsight we probably shouldn't have used pngs and just rendered chunks of video and then stuck them all together in the like a video editor or something but oh well it's it's over with now yeah if i if if i knew that sync thing will not be able to actually send 100 gigabytes of frames to me at actual network speeds then i would probably figure out how to divide the video into frame ranges so everyone render is like you know a couple thousand frames and they send me a video that and then i just can put together all the videos with ffm back without any quality loss but yeah we ended up rendering 50 well 17 000 frames out of 54 000 frames that were required and uh yeah the network throughput just let us down big time yep basically we some of us have really good internet yeah most of us actually my internet got upgraded like last month and i like tested and i should be able to like download 150 megabits or even more per half million megabits and upload 30 i don't know we tested the network and it was fast so we figured this shouldn't be we actually like calculated how much megabytes per second we need i need to be able to pull to get all the frames in time and it added up but somehow sync thing pulled five megabytes per second for 20 seconds and then it stopped for like a couple minutes maybe getting 300 kilobytes and 150 kilobytes per second and then for a short while another five megabytes per second and yeah it was trickling but we didn't manage to get it let's see i yeah i probably couldn't handle so many new files but yeah and then unfortunately also how am i doing i'm now using a lot of cpu so hopefully i'm still i look fine on stream cool good good work linux um we are i couldn't tell you're you're pushing your machine now nice we're at 100 usage so real shout out to the kernel um nice yeah we're getting 42 fps so we should be done in like the rest of the stream yeah we have uh we have 30 let's say 40 minutes until music submissions time i'm also waiting for your track john yes i will what i'm think i'm gonna do is figure some way to not sure else i'm not sure i can send you this video in a reasonable amount of time because i would want to put it on a sync thing folder uh as just one file and that should be fast uh even though sync thing has let us down i'm still a believer so i think i think that would be but you're on stream so that's not the most efficient so we'll have to see is it what i recorded for you no no no um although i do appreciate one yes although i also learned that the record module built into vcv apparently can make videos i haven't tested it yet though i just learned interesting so the record module is like not easily findable in the library i guess because i didn't know it existed i didn't have it uh anyway way off topic svs stuff um what is your favorite track oh man uh so i have had doing that like spy music in my head ever since i mixed that track i think i'm cursed with it now sig kill is the track yeah yeah that would be a big kill i believe it was composed originally by either rob van der berg or my lo-fi i think robs robs started it yeah i think over and then i yeah unfortunately yeah unfortunately rob um made all of his tracks before um the server server started so he didn't actually get any credit for at least on the svs side of things he won't count it as like a contributor yeah wasn't it just one track wasn't it only weird dos i think that was the only one we were using and then we wound up because we'd voted on the four tracks at the time that's what we'd settled on and so i don't think it came up but it's possible we have enough contributors anyway because i mixed it so that would be you on mastering me on mixing lo-fi and lo-fi on guitars and writing and logos is listed on here accordion correct right we added that last minute awesome accordion take sounds so good oh yeah that's that it adds so much i really like mixing electronics stuff with acoustic i don't have access to a lot of acoustic instruments and i don't play acoustic instruments but being able to collaborate with people who are proficient with acoustic instruments especially guys like my lo-fi who's just an absolute guitar wizard and having logos contributing acoustic accordion and you know this and people like snuffles contributing amazing vocals like and songwriting just this is it was such an amazing project and i feel like i could never make i could never make something like this on my own because i don't have such a rich musical imagination and i'm i'm really happy because this album is an amazingly rich musical experience because so many people contributed and we tried to filter the best ideas and put them together and improve upon each other's work and i think we succeeded at that yeah um yeah i think one of the very unique things about the how we collaborated was the fact that everyone could open the project files and pretty much edit anything they wanted because i know a lot of the other uh communities in server versus server they they don't have quite the same luxury because otherwise um everyone would be spending like a lot of money like john was mentioning this like you they all have to buy the same doc and all the same plugins right and so how they all can collaborate is they'll they'll stem everything right they'll mix it all down to audio and then they have to they have to like if they want to make changes they have to ask the person who made the thing to uh like change right but because we're all working together with all the same software and it's all free and open source so anybody can get it people can just change the different synthesizers how they see it is how they think it should be rather than um trying to explain to someone how to move a a knob or a dial to like fix the snare length or something right yeah i think that's a very very valid point uh our workflow was completely non-destructive everybody and because we're using free software we were able to legally distribute the software for everyone if you go if you if you join the project you had access to a shared folder that had all the project files and also all the software you needed to work on the projects and of course we had to limit ourselves to a standardized set of plugins so that everyone can open these projects but we did that it took some time but i think we if we if we if we've if we'd managed to figure this whole thing out like a couple weeks before the project started which would be possible and i tried to do that but i just couldn't because life hit me in the face yeah i was trying to do a lot of that too but there's only so much time to try this stuff so kind of until a lot of people were working on projects it was hard to notice issues or know what all people wanted right because i in the first couple days we had it working on one or two machines and someone with another Linux distro would join and their plugins would break or various various issues at this point i think it's pretty well set up i actually intend to just keep the i'm going to make some pretty drastic overhauls in a bit but i tend to keep this up and available for people to do collabs on the server just don't load my drive with all your data please like a couple gigabytes of recordings i don't care but because i don't really think there would be that many people working at the same time uh on stuff where i'd get loaded with like thousands of terabytes of data but i think it's worth i mean running they also load up everyone else's drives too so yeah basically so yeah there are some use it conservatively yeah there are security concerns with using this approach where whenever someone puts a file in there this file automatically gets sent to your computer and everyone else's and there is potential for malicious behavior so yeah it kind of requires some some level of trust whoever is allowed to join this but also we need to take some precautions to make sure that the risks are minimized yeah i've been thinking um setting up some kind of system where we'll have shared folders for each collaboration that's between them and then a separate shared folder that only i'm allowed to write to or you and i are you know some small list of people for the actionable binaries yeah being used uh and not allow binaries to be placed elsewhere uh i don't know if we can explicitly just allow that but at a bare minimum telling people not to run anything that isn't in this folder is a good step and then making it so that only people actively collaborating together have like because we can set up a bunch of shared folders and i can just be a shared one across a bunch of them and just for each person's project set up a quick shared folder and then uh trash it at the end by the way you there's there's good ways by the way you've been uh serving this whole project with a computer that was running sync thing as a server 24 seven for everyone and that was i didn't think about it but it was very much needed because we were collaborating across multiple time zones and um sync thing doesn't store the data anywhere in the cloud or something it the sync thing servers are only there to help people find each other over the internet all the data is transmitted directly between peers uh it's encrypted but if for example my computer is off while someone else is on i don't get their changes of course because my computer is off but they don't get my changes even though i was online 15 minutes ago because my changes didn't go anywhere so it was a requirement to have one computer being on at all times so everyone's changes get stashed there and then whoever joins gets their changes uh from the the one machine that is running all the time so we have a known uh up to date state of the whole project otherwise we could have issues with syncing and conflicts yeah it would have definitely been a bigger deal we didn't run into this issue but uh just thinking conceptually about it yeah you save a project and then no one else downloads it it's only on your computer and then somebody else goes to edit that project not knowing what your changes were and doesn't check you know like comparing because who really compares the latest export like every single time make sure that everything is in the right place right so maybe you change some small things and then they connect they make changes and then sync thing is probably just going to destroy the r-door project when it gets back if i had to make a guess yeah no it would just send put your bunch of files which are marked as conflicts and you wouldn't need to try and sift through them and probably just delete someone's work because i'd call that destroying the project yeah by the way robert f also known as bow diddly in chat says anthar aren't you glad i suggested svs to you last year i honestly don't remember sorry i fully trust you did and i just didn't have had space to follow on follow up on that but i don't know if svs is invite only i'm not sure either i bet if you contacted them they would have accepted you because you're like i think they had a form where you could apply yeah that would make sense because i mean if someone hears about it wants to join why wouldn't you it's a charity event it's not like some elite competition right so there are some prizes i don't even know what they are because i don't really like didn't really think about it i didn't even know yeah so by the way how the svs charity event works is the communities make music and the whole there are lifestreams there've been four lifestreams showcasing progress of the four i think three maybe three lifestreams showcasing progress of where i joined one of them as a guest and i we played a short they played a short trailer i put together of all the tracks we've had at the time all the coolest bits and people they are like asking for donations for a charity so they're raising money along as as this all goes together goes on and the charity is called give a beat and it's a charity that helps people who are leaving imprisonment in the west to get re-socialized by having giving them access to music production tools education and environments so they can get creative and kind of get back into the society this way that's what i at least that's how i understand this and there's going to be a festival uh to right now actually 10 minutes ago an svs livestream has started celebrating the all the submissions ending and yeah if anyone wants uh you can go with me and join it i'm gonna join it after we're done with this stream okay so great news i have just tested and i can play the video while it's being rendered and it's rendering at 0.7 percent speed so it's halfway done so in theory well 10 minutes are done so in theory it should finish before mpv hits the end of the render okay so we'll go ahead and give it a good old fashion go i and then i gotta i do have to get out of here but that'll be all right these up let's see if this will work right now my mic and this are coming through so a real question let me know if you have audio and then i'm gonna stop it i come through yes all right fantastic then let me start streaming my desktop and we will pray i'm gonna disconnect my microphone since i'm gonna be out of here after this i'm gonna disable my webcam as well actually so thanks a bunch guys i really uh oh no there i am it did disable it there we go all right cool thanks bunch guys i've had a lot of fun talking and uh i hope you like this and i will figure out how to send you that's right yes it was you can't hear me nice i think to know everyone over the course of making it thank you guys for joining me thank you john so much for all the work you've done like this this album wouldn't have been completed without you for sure it will be yeah it's been it's been a lot like i said i wanted to do a lot more writing but it's been a ton of administrative work it's quite a thing yeah i think you really a perfect world it would have been you and somebody else uh on all of this stuff because if you were trying to handle the administrative stuff on your own even like a week off work it would have been your entire week it's it's quite intense at least during the setup now it's now it's a basic breeze to keep running but i mean we're done now but yeah all right um i'm gonna start that then because i really should get going so great talking to you guys thanks for having me on thanks for coming thanks for all the work see you later john uh we don't have audio from you i think i'm gonna try and play the master underneath yeah probably the best oh oh i think john cam is coming back to fix it this is all live guys oh no still no audio there you guys so this now here is the video for the entire album okay guys i have the okay guys i've decided i've detected why the there was a problem uh it was really only just caused oh shoot uh what am i doing exactly okay now it's good all right i've just i've detected the cause of the problem basically i've muted my microphone input by accident i clicked this little fella the microphone icon and it all that's why i was yeah that's that's it oh you couldn't even see that okay double voice now now it's okay all right all right okay uh did john send me his track he was supposed to send me his track oh he did there it is nice okay we'll do it he's he says he's sorry because he's low on time i said no worries you saw that okay let me just grab that track and add it in general public license uh general public license uh oh it's zero is it is this track does this track exist is it is it does it does it shoot general okay things things are broke things are broken oh my goodness what the hell all right i know i know i know why oh now it works all right okay okay okay we got this we have all the time in the world all the time in the world is ours okay you guys there everyone's in the place everybody's in the place everybody ready okay let's do it time for the music submissions from the viewers like you we'll start off with a track titled gate to the baseland work in progress by outer mind let's hear it sorry it was double so that was a preview of gate to the baseland by outer mind and now we'll hear orbs heaven three minutes preview by sahativa there's a new sound from sahativa i mute myself but the parallel compression still works that's bad i need to fix that this is so smooth this track was made with bespoke synth helm x42's utilities and lsp suit the author also writes another track from the space played and recorded live yesterday then mixed in order i use only helm as software synth i need a helm sticker i'm a fan and a beringer crave and model d plus an autoria drum brood drum synth all performed and recorded as is no sequencing only live the track full length is nearly 11 minutes this is a cut preview mix and order using classics ace also known as x42 dpl compressor that's the limit that's the limiter ah limiter compressor and eq plus lsp compressor and eq 2 hope you'll enjoy we very much did thank you sahativa that was really nice and now a track titled cooler closer quicker by sg 75 this track was made with ardor black pearl trump kit surge x team helm and monique closer quicker easier than this new men in brushless shave with menthol is there a common theme between these two tracks attention please not all limited now arriving from the east on track number two number two the carot not all limited now arriving on track number two awesome that was cooler closer quicker by sg 75 let's now hear tournament two by ov this track was made with ardor zenatsu bfx lsp and kalf the author also writes second version of my song for our school video games tournament that is awesome i think the bass and kicks are not at the center they're panned and they also really wide you can see this on the vector scope the kicks don't create a vertical line as well as the bass actually the kick is kind of pants and you can see i just push and say no a diagonal line that's really nice this was tournament two by ov and now we'll hear a track titled twilight by quantizer quantizer signature awesome basses dedicated and the break beats this was twilight by quantizer the track was made with lmms vital zenatsu bfx and audacity the fantastic stuff and now let's hear a track titled royal fanfares extended by xaveri treningovsky this gives me like retro games vibes the first legend of zelda or something and now the final track by a wait wait a minute hold on no we won't do this like that let's go back to royal fanfares extended by xaver treingovsky it was made in ardor awesome i always appreciate xaveri's contributions which are submissions which are short but always very unique and interesting and now the last track which is called free layer dnb rack demo by jtb who's been my guest today and we're talking about this track and he sent it in right during the stream so john maybe you want to fill us in in the chat because i don't have much information about this track what software did you use precisely so jtb says this was made with 100 percent vcv rack no others no other software and all open source modules also no samples i think i can tell your pendulum roots in this baseline which is something we've been talking about yesterday we have a breakdown thank you guys so much for joining me on this live stream huge thanks to everyone who has submitted their music huge thanks to john and logos and everyone who has been contributing and collaborating on this secret cp i've had an amazing time it was really hard work but i think the end product is amazing and nice testament to what opens your software and i think this track is an excellent sunset for us today if you miss the memo check out the unfetterians secrets ep the link is on top of the video description live stream description you can download it of our band come listen to it we'll most likely have a full blown video published on my youtube channel in the next few weeks maybe this week we'll see that's all i have for you today thank you so much for joining me and i'll see you in the next videos and live streams also a huge thanks to everyone who is supporting my work on patreon and libera pay so if you'd like to support me doing what i do here are the links you can go to patreon.com slash anfa or libera pay dot com slash anfa and support me with a monthly donation and if you'd like to meet people doing music with open source software and Linux and we want to hang out you want to learn stuff you want to solve your problems please go to chat dot unfuttered xyz and you'll find a wonderful community of lovely people who will be happy to see you and hear your music and help you figure out things out okay that's all see you later it was a crazy couple of days really crazy couple of days oh good thing i have two days to recover after this oh it would be dire it would be dire


I am Ashish Zawalkar, working as assistant professor in Department of Mechanical Engineering at Walchin Institute of Technology, Soolapur. Today we are learning about robot programming and its different methods. Let's look into it. Learning outcome. At the end of this session, students will be equated with robot programming and understand the different programming methods associated with today's robot. So let us start. Robot today can do much more than merely move its arm through a series of points in space. Current technology, robots can accept input from sensors and other devices. They can send signals to pieces of equipment operating with them in the cell. They can make decisions. They can communicate with computers to receive instructions and to report production data and problems. All of these capabilities require programming. There are various methods used for programming robots. The two basic categories of greatest commercial importance today are lead through programming and textual language programming. So let us know what is lead through programming. Lead through programming consists of forcing the robot arm to move through the required motion sequence and recording the motions into the controller memory. Whereas textual programming methods use an English like language to establish the logic and sequence of work cycle. Now in addition to the lead through and textual language programming, the another method or another form of programming for low technology limited sequence robots. These robots are programmed by setting limit switches, mechanical stops and other similar means to establish the end points of travel for each of the joints. This is sometimes called mechanical programming. The work cycles of these kinds of robots generally consist of a limited number of simple motions for example pick and place applications in which these manual programming is adequate. Now let us move to lead through programming methods. Now in this, the lead through method require the programmer to move the manipulator through the design motion path and that the path be committed to memory by the robot controller. The lead through methods are sometimes referred to as teach by showing methods. Chronologically the lead through methods represent the first real robot programming method used in industry was in the early 1960s when robots were first being used for industrial applications. Lead through methods are used to program playback robots. In the case of point to point playback robots, the usual procedure is to use a control box called a teach pendant to drive the robot joints to each of the desired points in the work space and record the points into memory for subsequent playback. The teach pendant is equipped with a series of switches and dial to control the robots movements during the teach procedure. Continuous path playback robots also use lead through programming. For well-defined paths such as moving along a straight line between two points, a teach pendant can be employed to teach the locations of two points and the robot controller then computes a trajectory to be followed in order to move along the straight line path. There are two ways of accomplishing lead through programming. Those are powered lead through and manual lead through. We will come towards powered lead through method. The powered lead through method makes use of a teach pendant to control the various joint motors and to power drive the robot arm and wrist through a series of points in space. Each point is recorded into memory for subsequent playback during the work cycle. The teach pendant is usually a small handled control box with combination of toggle switches, dials and buttons to regulate the robot's physical movements and programming capabilities. About the various robot programming methods, the powered lead through method is probably the most common today. Now, yeah, it is largely limited to point to point motions rather than continuous movement because of the difficulty in using the teach pendant to regulate complex geometric motions in space. A large number of industrial robots applications consist of point to point movements of the manipulator. These include path transfer task, machine loading and unloading and spot welding. Now we will go through manual lead through method. The manual lead through method also sometimes called the walk through method is more readily used for continuous path programming where the motion cycle involves smooth complex curvilinear movements of the robot arm. The most common example of this kind of robot application is spray painting in which the robot wrist with the spray painting gun attached as the end effector must execute a smooth regular motion pattern in order to apply the paint evenly over the entire surface to be coated. Continuous arc welding is another example in which continuous path programming is required. And this is sometimes accomplished with the manual lead through method. In manual lead through method, the programmer physically grabs the robot arm and manually move it through the desired motion cycle. Here the teach pendant or the teach button is often located near the wrist of the robot which is depressed during those moments of manipulator that will become part of the program cycle. This allows the programmer the ability to make extraneous moves of the arm without there being included in the final program. The control system for both lead through procedures operate in either two modes, teach mode or run mode. The teach mode is usually to program the robot and run mode is used to execute the program. The two lead through methods are relatively simple procedures that have been developed and enhanced over the last 20 years to teach robots to perform simple repetitive operations in factory environment. The skill requirements of programmers are relatively modest and these procedures can be readily applied in the plant. Now we will come to textual programming method. So textual programming methods use an English like language to establish the logic and sequence of work cycle. A computer terminal is used to input the program instructions into the controller but a teach pendant is also used to define the locations of the various points in the workspace. The robot programming languages names the points as symbols in the program and these symbols are subsequently defined by showing the robot their locations. In addition to identifying points in the workspace, the robot languages permit the use of calculations, more detailed logic flow and subroutines in the programs and greater use of sensors and communications. Accordingly the use of textual language corresponds largely to the so called intelligent robots. Some examples of kinds of programming statements that would be found in textual robot languages include the following sequence. The series of commands tells the robot that its velocity at the wrist should be 35 inch per second in the motions which follow. The most statement indicates that the robot is to move its gripper to the point P1 and close to an opening of 40mm. It is directed to wait and second before departing from P1 with a distance of 60mm above the point. Future enhancement of textual language programming will be to enter the program completely offline without the need for a teach pendant to define point locations in the program. The potential advantage of this method is that the programming can be accomplished without taking the robot out of production. All of the current methods of programming require the participation of the robot in the order to perform the programming function. With offline programming the entire program can be entered into a computer for later downloading to the robot. Offline programming would hasn't changed over from one robot work cycle to the new work cycle without a major time delay for reprogramming. Unfortunately there are certain technical problems associated with offline programming. These problems are mainly concerned with defining the spatial location of the position to be used in the work cycle and that is why the teach pendant is required in today's textual robot languages. These are the references for the lecture presented. Thank you.