[00:19.520 --> 00:21.280] Can we turn down the lights? [00:28.410 --> 00:29.690] And the ceiling? [00:57.760 --> 00:58.240] Hello, [04:38.310 --> 04:38.910] HOPE 2025. [04:39.590 --> 04:40.510] How's everyone doing tonight? [04:45.020 --> 04:52.220] So this show is very special to me because I just realized I've been making music for 10 years, like starting today. [04:52.780 --> 04:59.180] This is officially the 10-year anniversary of my music, so it's an honor to be playing before you tonight. [05:11.140 --> 05:14.420] So this next song is called Go. [05:15.220 --> 05:18.420] I made this song the first day I got this instrument. [05:18.740 --> 05:21.400] And I was blown away because it only took me a half an hour. [05:21.680 --> 05:22.040] Enjoy. [08:52.410 --> 08:53.070] Thank you. [09:01.770 --> 09:03.330] Yes, I'm using this spaceship. [09:06.830 --> 09:21.410] Yeah, so this is like a keyboard, a DJ controller, and a clip launcher, and an effects pedal all in, like, one thing. [09:21.890 --> 09:22.710] That's super cool. [09:23.490 --> 09:24.030] Yeah, thanks. [09:24.290 --> 09:24.870] Stick around. [09:25.050 --> 09:28.390] I'm going to be giving a talk after about all this and I'm going to teach some sound design. [09:28.730 --> 09:30.970] So, yeah, it's going to be fun. [09:38.630 --> 09:41.050] If I have time, I'll also talk about how I programmed the visuals. [09:47.050 --> 09:49.150] All right, this next song is called Static Signals. [13:12.100 --> 13:12.820] Static Signals. [13:20.980 --> 13:24.880] So, I kind of like that I have a technical crowd because I can, like, talk about this stuff a little bit. [13:24.880 --> 13:33.880] So, basically, the way that this works is I launch a bunch of clips, but, basically, I get to decide the structure as I go. [13:34.120 --> 13:36.860] So, every single time I play this song, it's different. [13:39.000 --> 13:40.500] I like generative music. [13:40.720 --> 13:45.660] I also like human-computer interaction, and this kind of thing really fascinates me. [13:45.820 --> 13:46.940] I'll talk about it more later. [13:56.770 --> 14:01.550] This next song is actually a mashup of two songs that I made two years ago. [19:58.640 --> 20:01.900] So, I had... [20:01.900 --> 20:16.380] The story behind this is I had two songs that I made a few years ago, back in my... I used to make a lot of Progressive House, as you can hear, and my music got a little repetitive, so I was like, okay, how do I solve this? [20:16.520 --> 20:19.280] Well, I'm just going to, like, mash it up together in real time. [20:19.400 --> 20:22.840] And again, this is, like, very different than what I played at my last show. [20:24.920 --> 20:28.040] So, you know, it's cool to be able to have a personalized version for everyone. [20:43.330 --> 20:46.770] This next song is supposed to be kind of dystopian. [20:47.670 --> 20:48.890] It's actually a few songs. [20:50.290 --> 20:50.810] Enjoy. [20:50.950 --> 20:53.030] I was very good at naming my stuff back then. [20:53.670 --> 21:01.670] The names of these songs are Die, Azur Wingsburn, and Technically Alive. [21:01.670 --> 21:02.910] I was very good at naming songs. [21:05.250 --> 21:06.990] But trust me, they're bangers. [35:18.550 --> 35:19.130] Thank you. [35:19.370 --> 35:20.650] I got one more song. [35:22.270 --> 35:23.550] I don't know what it is, though. [35:23.850 --> 35:24.610] That's the thing. [35:24.890 --> 35:26.570] I'm going to make it up completely on the spot. [35:45.200 --> 35:54.740] So, those songs that I just played are special to me because that's when I started learning about structure and generative melody. [35:56.080 --> 35:58.740] Parts of those leads were actually procedurally made. [35:58.760 --> 36:00.960] You might notice that I'm, like, tapping on the board. [36:01.680 --> 36:10.100] That's because I'm giving control to, like, a sort of Eurorack emulation, and then I'm switching it back to my own playing when I want control. [41:39.170 --> 41:41.250] So, I had no idea what I was going to do. [41:41.350 --> 41:42.030] That was just improv. [41:43.090 --> 41:43.690] Thank you. [41:49.700 --> 41:50.740] I'm NeonEdge. [41:51.040 --> 41:54.300] You can check me out on Instagram, SoundCloud. [41:55.540 --> 41:57.080] SoundCloud is at NeonEdge. [41:57.280 --> 41:58.900] Instagram is NeonEdgeMusic. [42:01.200 --> 42:02.240] So, yeah. [42:03.340 --> 42:08.880] For these last 30 minutes, I'd like to give a brief talk about the song that I just made. [42:09.580 --> 42:13.600] I'm hoping to teach a little bit of sound design tonight for anyone who's interested. [42:15.480 --> 42:17.760] So, make some noise if you want to learn some sound design. [42:20.980 --> 42:21.680] All right, Google. [42:22.740 --> 42:25.720] Right about now, I might want that chair, so I'm going to take it. [42:26.600 --> 42:27.780] Bear with me one moment. [42:35.570 --> 42:41.470] Because at HOPE 2025, no show would be complete without a technical talk. [42:48.190 --> 42:48.970] All right. [42:49.690 --> 42:55.670] So, let me just mirror my screen, take these visuals off, and, yeah. [42:56.770 --> 42:58.510] Let me move this here. [42:59.530 --> 42:59.790] Okay. [43:05.700 --> 43:13.860] So, let me just see if I can mirror this screen really quickly. [43:26.160 --> 43:27.840] I don't know what I just did. [43:34.630 --> 43:35.670] Just give me a second. [43:49.930 --> 43:52.670] Let me just stop mirroring for a second. [43:55.960 --> 43:56.440] Okay. [43:56.600 --> 43:57.000] There we go. [44:01.000 --> 44:02.440] So, this is my visualizer. [44:04.700 --> 44:05.220] Yeah. [44:05.460 --> 44:08.240] So, as far as I know, I only have 30 minutes left. [44:08.240 --> 44:11.160] So, I'm going to try to go over this briefly. [44:12.840 --> 44:13.820] But, yeah. [44:16.880 --> 44:27.640] So, let me open up something to sketch on and I'll start it. [44:27.640 --> 44:34.580] So, while I'm doing this, does anyone know anything about sound synthesis? [44:35.040 --> 44:36.880] Like, what an oscillator is? [44:39.620 --> 44:40.200] Yeah. [44:40.540 --> 44:40.700] Yeah. [44:40.920 --> 44:41.120] You know. [44:47.830 --> 44:48.990] So, yeah. [44:49.330 --> 44:50.690] If this is everyone's first time, great. [44:51.290 --> 44:53.590] I'm going to walk through it. [44:53.870 --> 44:57.970] So, I'm just going to focus on one of the synths that I made tonight. [45:02.550 --> 45:03.390] This lead. [45:05.430 --> 45:09.850] Just to categorize different types of sounds in electronic music, you have drums. [45:10.190 --> 45:17.730] So, like a kick, a snare, a hat, open hat, and a bunch of other things. [45:19.510 --> 45:25.010] You have a pad which plays, you know, for an extended period of time. [45:28.470 --> 45:32.430] For those of you who are in the know, you know, I'm doing a little bit of bit crushing. [45:32.650 --> 45:43.230] And sort of the novel thing about this pad is I use a little bit of vibrato and tune delay to get a little bit of a chorus effect, but not quite. [45:44.510 --> 45:45.290] But anyway. [45:45.810 --> 45:46.850] So, about this lead. [45:49.090 --> 45:53.510] There's two different types of things you're going to encounter when you're doing sound design for music. [45:54.570 --> 45:58.030] There's sound sources, and then there's sound effects. [46:00.150 --> 46:04.350] Sound sources are something very raw. [46:05.370 --> 46:14.470] For example, I'll pull up the default setting for the synth that I use, which is called Wavetable. [46:15.230 --> 46:17.490] Can everyone... No, you can't. [46:20.910 --> 46:24.470] I have to bring the window up to the middle so that we can see the bottom. [46:25.010 --> 46:25.590] Thank you. [46:29.830 --> 46:32.070] So, this is a synth called Wavetable. [46:33.750 --> 46:43.370] Basically, when you have an oscillator playing sound, an oscillator basically takes this wave and it repeats it as a pressure differential in air over and over and over and over. [46:43.370 --> 46:48.470] And when you do that, it creates a sound. [46:48.690 --> 46:58.510] If I were to go really low and play something, you'd hear that it doesn't sound like a pitch. [46:58.710 --> 46:59.970] It sounds like rhythm. [47:03.230 --> 47:04.450] And as you go higher, [47:07.720 --> 47:12.300] you get pitch. [47:12.300 --> 47:19.420] Because our ears and our brain kind of do something similar to a Fourier transform. [47:19.720 --> 47:21.520] So you lose time resolution. [47:21.780 --> 47:23.920] And it turns into a new frequency. [47:28.180 --> 47:28.700] So... [47:28.700 --> 47:30.720] And if you don't know what that means, don't worry about it. [47:31.800 --> 47:33.140] Not important for this. [47:35.540 --> 47:36.720] But, yeah. [47:37.700 --> 47:40.040] So I'm going to go back up and pitch a little bit. [47:43.720 --> 47:48.100] By the way, the instrument that I'm using, the sliding and stuff, that's called MPE. [47:48.600 --> 47:50.320] And basically, it allows you to do bends and stuff. [47:52.960 --> 47:53.320] Cool. [47:53.320 --> 47:55.020] So, anyway. [47:58.560 --> 48:06.560] The first thing that I did to create this synth was, I make it so the wave that it's playing, instead of being... [48:06.560 --> 48:08.400] Ah, my face is right where it is. [48:09.800 --> 48:11.120] Make the window shorter. [48:14.370 --> 48:14.810] Yeah. [48:16.930 --> 48:18.810] Thank you for the suggestion. [48:18.810 --> 48:19.790] I will do that. [48:20.270 --> 48:20.770] There we go. [48:20.910 --> 48:21.430] Can you see this? [48:21.590 --> 48:21.810] Yeah. [48:22.630 --> 48:22.990] Oh, Google. [48:23.550 --> 48:25.210] So, anyway. [48:25.410 --> 48:26.490] So you have these different waves. [48:28.630 --> 48:30.530] Let me just remove some things. [48:30.730 --> 48:31.590] Don't worry about these settings. [48:38.150 --> 48:40.030] Kind of sounds like that test tone from earlier. [48:41.830 --> 48:47.870] But, basically, this is what a sine wave looks like. [48:47.870 --> 48:49.590] So, like the trigonometric function. [48:50.830 --> 48:53.810] This shape here is called a triangle wave. [48:55.250 --> 48:56.270] Slightly brighter. [48:57.170 --> 48:59.590] Odd harmonics, but only some of them. [49:02.910 --> 49:05.150] This is a saw wave, all harmonics. [49:05.310 --> 49:07.850] Oh, what I mean by harmonics is basically... [49:12.950 --> 49:26.550] I'm gonna put in something here called Visu, which will show me all the harmonics and kind of demonstrate what I mean when I say harmonic. [49:26.550 --> 49:36.410] So, a sine wave basically, as you can see, has one pitch, one band. [49:37.010 --> 49:46.250] All sounds are made of a bunch of these stacked together, added together, with different phases and different frequencies and so on. [49:46.390 --> 49:54.170] So you can see that when I go from a sine wave to a triangle wave, you get more of them. [49:57.630 --> 50:03.770] As we descend up the brightness ladder and get sounds with more high frequencies. [50:04.090 --> 50:05.050] So, frequencies up here. [50:09.950 --> 50:11.290] Sorry about your ears. [50:12.050 --> 50:13.030] Not really. [50:13.750 --> 50:30.930] So, we have this, which all these frequencies here happen to follow a ratio of the harmonic series according to the fundamental frequency here. [50:32.050 --> 50:33.710] Fundamental frequency being this. [50:40.640 --> 50:41.240] Sure. [50:41.460 --> 50:42.780] Can I explain what the axes are? [50:46.400 --> 50:56.040] So, the axes are the different frequencies in hertz. [50:56.500 --> 51:00.920] So, what he was talking about was logarithmic versus linear. [51:01.140 --> 51:02.420] It's just different ways of displaying it. [51:02.420 --> 51:10.140] So, you can have it scaled logarithmically, which means that higher and higher frequencies will take up less space. [51:10.480 --> 51:20.540] Or, you can have it in linear, which basically means that 100 to 200 hertz will be the same amount of space apart as 200 to 300. [51:21.220 --> 51:22.980] Which is not how we hear sound. [51:22.980 --> 51:25.220] We hear sound logarithmically. [51:25.500 --> 51:36.600] So, when you have a pitch, for example, 2600 hertz, like I was playing earlier, to get an octave above that. [51:36.800 --> 51:38.380] So, an octave is basically... [51:38.380 --> 51:42.480] You have this, and an octave above that is... [51:42.480 --> 51:44.150] Octave above that is... [51:45.240 --> 51:46.040] Get the idea. [51:46.040 --> 51:57.160] So, every single octave you can get by multiplying the frequency in hertz by two. [51:58.180 --> 52:00.720] So, octaves are a power of two. [52:01.080 --> 52:06.140] You get the chromatic scale, which... [52:06.140 --> 52:11.040] The chromatic tuning, which basically chops that up logarithmically. [52:11.600 --> 52:12.600] So, you get... [52:14.060 --> 52:15.360] 2 to the 1 12th. [52:15.860 --> 52:17.100] 2 to the 2 12th. [52:17.200 --> 52:18.140] 2 to the 3 12th. [52:18.220 --> 52:18.940] 2 to the 4 12th. [52:19.020 --> 52:19.520] 5 12th. [52:19.560 --> 52:20.600] 6, 7, and 7. [52:20.720 --> 52:21.660] All the way up to... [52:21.660 --> 52:22.380] 2 to the 12 12th. [52:23.540 --> 52:23.900] And... [52:25.400 --> 52:27.360] The reason that... [52:27.360 --> 52:31.000] Well, I don't want to go on a rant about music theory, but... [52:31.500 --> 52:35.420] If you're curious about why 12th, see me after class. [52:37.960 --> 52:39.120] So, anyway... [52:41.580 --> 52:43.020] So, this is a saw wave. [52:43.460 --> 52:44.700] All harmonics. [52:45.080 --> 52:46.160] And this is a square wave. [52:46.580 --> 52:47.760] Every other harmonic. [52:48.220 --> 52:48.800] So... [52:49.080 --> 52:49.660] Square. [52:49.920 --> 52:50.300] Saw. [52:50.780 --> 52:51.040] Square. [52:51.280 --> 52:52.800] You can see it's every other harmonic. [52:55.160 --> 52:55.740] Um... [52:55.740 --> 52:56.880] And... [52:58.140 --> 52:58.720] Um... [52:58.720 --> 52:59.240] Uh... [52:59.240 --> 53:01.460] You could do Fourier analysis, but... [53:01.460 --> 53:01.540] Nah. [53:02.720 --> 53:03.200] I... [53:03.200 --> 53:03.640] I... [53:03.640 --> 53:05.440] At this point, I just take it on faith. [53:07.220 --> 53:07.700] Um... [53:07.700 --> 53:08.600] Because it's shown here. [53:08.840 --> 53:09.840] I use computers. [53:10.040 --> 53:12.020] I never have to use a piece of paper again. [53:13.080 --> 53:13.780] Not really. [53:14.500 --> 53:14.980] But... [53:14.980 --> 53:15.640] Um... [53:15.640 --> 53:16.440] So... [53:16.440 --> 53:18.380] Basically, I have a square wave. [53:20.500 --> 53:20.980] Um... [53:21.580 --> 53:22.060] And... [53:22.680 --> 53:23.160] Um... [53:23.160 --> 53:23.640] I... [53:26.560 --> 53:27.040] Um... [53:27.620 --> 53:28.180] I... [53:28.180 --> 53:30.120] Use what's called a filter. [53:30.500 --> 53:33.300] To filter out some of these frequencies selectively. [53:34.440 --> 53:35.000] And... [53:35.000 --> 53:35.880] Keep the ones that I want. [53:36.640 --> 53:37.040] Um... [53:37.040 --> 53:38.040] So this thing here... [53:38.780 --> 53:39.100] Uh... [53:39.100 --> 53:39.700] Can you see that? [53:39.940 --> 53:40.220] Yeah. [53:40.420 --> 53:40.980] Google. [53:41.480 --> 53:42.040] So... [53:42.040 --> 53:44.200] This thing here is called... [53:44.200 --> 53:45.760] A low-pass filter. [53:46.020 --> 53:47.040] Because anything... [53:47.660 --> 53:49.120] Under this threshold here... [53:50.280 --> 53:50.840] Will... [53:51.660 --> 53:52.220] Uh... [53:52.220 --> 53:52.820] Let... [53:52.820 --> 53:53.740] Be let pass through. [53:54.260 --> 53:56.200] And anything above this threshold... [53:57.520 --> 53:58.080] Will... [53:58.080 --> 53:58.360] Um... [53:58.740 --> 53:59.280] Be... [53:59.280 --> 53:59.780] Attenuated. [54:00.320 --> 54:00.560] Or... [54:00.560 --> 54:01.560] Basically removed. [54:02.120 --> 54:02.680] And... [54:02.680 --> 54:06.980] There's this ramp here, which means that everything here will start to get quieter, and quieter, and quieter, and quieter. [54:18.540 --> 54:19.100] Um... [54:19.100 --> 54:20.040] Some weird sound design. [54:20.160 --> 54:20.900] There's like spectral stuff. [54:21.060 --> 54:21.860] I make a lot of... [54:21.860 --> 54:24.020] A lot of plugins for myself in... [54:24.020 --> 54:26.480] In a language called Max that... [54:27.160 --> 54:27.640] Um... [54:27.640 --> 54:28.780] Does a lot of spectral stuff. [54:29.060 --> 54:30.880] Chops up this into bands, and then does stuff. [54:31.520 --> 54:32.000] So... [54:34.820 --> 54:37.540] You can see that when I move this filter up... [54:38.160 --> 54:38.640] It... [54:38.640 --> 54:39.100] Uh... [54:39.100 --> 54:40.380] Chops off less of the frequencies. [54:42.820 --> 54:43.680] Gets brighter. [54:46.520 --> 54:47.340] Gets darker. [54:48.140 --> 54:48.580] Uh... [54:48.580 --> 54:48.660] Gets brighter. [55:17.880 --> 55:21.240] And there's all types of different ones that you can do. [55:23.500 --> 55:26.520] You can do all sorts of convolutions and get some funky stuff. [55:27.980 --> 55:30.760] Pretty much most filters. [55:32.900 --> 55:45.020] So what I do is I modulate this filter cutoff according to how hard I'm pressing down on my instrument. [55:47.500 --> 55:52.540] Because the cool thing about my keyboard is that it has pressure sensitivity. [55:55.080 --> 55:57.480] So I can do stuff like that, kind of like you heard before. [55:57.840 --> 55:59.360] Okay, but it doesn't sound like a flute yet. [55:59.600 --> 56:00.640] This is the reference. [56:04.480 --> 56:05.940] So how do I get it to sound like that? [56:09.720 --> 56:18.320] Well, what I do next is I pay attention to this part of the synth. [56:19.780 --> 56:28.560] One way to make your synths sound more full is instead of having one oscillator, you can play many of them. [56:29.320 --> 56:33.480] slightly detuned or having some sort of effects on the pitch. [56:33.860 --> 56:34.780] Some sort of random effects. [56:35.340 --> 56:43.000] And it kind of is inspired off of when you have a choir, even like a trained choir, no one sings like exactly the same pitch. [56:46.100 --> 56:59.440] So when I set this unison mode to classic, for example, basically what this is going to do is I have many of these oscillators, many of these square waves, with slightly offset pitches according to this knob. [57:01.720 --> 57:04.240] And here's what it sounds like as I increase that knob. [57:06.860 --> 57:09.420] And you can even see what's happening here. [57:22.100 --> 57:23.880] And that gets close to what we want. [57:25.120 --> 57:39.560] It gets this cool phasing effect, where basically you can hear the kind of a little bit, where you get constructive and deconstructive interference between certain frequencies. [57:40.040 --> 57:42.100] And so some of them get cut out. [57:42.120 --> 57:43.100] Some of them get louder. [57:44.460 --> 57:46.240] And you get sort of a phasing effect. [57:46.420 --> 57:47.620] And I don't want that. [57:49.700 --> 58:07.120] So what I do is instead of doing unison that way, I kind of like how I modulate this filter using some parameter, I modulate the pitch of each of these oscillators using random noise. [58:08.200 --> 58:10.300] And when you do that... [58:20.400 --> 58:28.340] Unsurprisingly, you get sort of a little bit of a random frequency distribution that tends towards the original harmonics. [58:28.980 --> 58:32.460] But, you know, that's what actually happens with an instrument, right? [58:32.460 --> 58:35.040] Like when you blow into a flute, it has certain resonances. [58:35.460 --> 58:40.540] And those resonances get stronger. [58:41.040 --> 58:42.940] But it's still a distribution. [58:42.960 --> 58:43.800] It's not perfect. [58:43.960 --> 58:45.940] And that's with all sounds in life. [58:46.200 --> 58:48.360] What is the distribution of the noise for a sample? [58:49.420 --> 58:50.320] It's white noise. [58:50.980 --> 58:51.420] Okay. [58:54.550 --> 58:55.070] Yes. [58:55.630 --> 58:56.150] Yeah. [58:56.330 --> 58:58.670] Actually, I think this one does oversampling. [58:58.670 --> 59:01.510] But for other synths, yes, it depends. [59:02.850 --> 59:06.170] It doesn't make too much of a difference with the sound, though, because random is random. [59:07.670 --> 59:10.350] But if you have a low enough sample rate, it starts to matter. [59:14.570 --> 59:15.290] Good question. [59:15.810 --> 59:19.890] So does anyone else have any questions so far? [59:21.230 --> 59:21.670] Okay. [59:24.770 --> 59:26.670] So why does this still sound bad? [59:29.750 --> 59:31.070] Can anyone take a guess? [59:35.740 --> 59:37.080] Honestly, that's a good answer. [59:37.160 --> 59:38.180] Because I don't like it. [59:40.000 --> 59:41.780] You know, that's the type of thing. [59:43.060 --> 59:51.700] When you are making music, one piece of advice that I can give is, when you are turning knobs, don't look at the visuals. [59:51.860 --> 59:52.300] Look away. [59:53.060 --> 59:56.620] Because it doesn't matter what it looks like on the meters. [59:57.540 --> 01:00:00.440] The only thing that matters is what it sounds like. [01:00:00.560 --> 01:00:02.360] And if it sounds good to you, it's good. [01:00:02.580 --> 01:00:06.540] Even if you are going a little bit extreme with some settings, don't be afraid to. [01:00:08.240 --> 01:00:10.760] Holding yourself back with... [01:00:11.320 --> 01:00:21.240] As strange as it is to say as an audio engineer, just staring at the numbers and going off that holds you back. [01:00:21.660 --> 01:00:23.720] You need to sort of trust your ear. [01:00:27.100 --> 01:00:31.800] Which is how I discovered this effect. [01:00:36.440 --> 01:00:40.940] So, has anyone ever used like a tape machine, or like a cassette tape recorder? [01:00:42.760 --> 01:00:43.400] Yes. [01:00:43.760 --> 01:00:44.180] Yes. [01:00:47.580 --> 01:00:51.700] If you know what 2600 means, then you've definitely used one. [01:00:54.600 --> 01:00:59.680] But, basically, I hope that I can draw this. [01:01:01.200 --> 01:01:01.860] There we go. [01:01:02.440 --> 01:01:05.680] So, basically, when you used to have tape... [01:01:05.680 --> 01:01:09.160] Forgive my horrible drawing, but when you used to have... [01:01:10.040 --> 01:01:11.660] This is a tape, I guess. [01:01:16.930 --> 01:01:18.870] The perspective is all wrong. [01:01:20.510 --> 01:01:27.050] When you have tape, you have things called a playhead. [01:01:27.430 --> 01:01:28.710] This is the current playhead. [01:01:28.810 --> 01:01:32.730] This is where the sound currently is. [01:01:34.550 --> 01:01:43.450] And it reads the voltage from that part of the tape, and then sends it to your speaker to make pressure differential that makes sound yadda yadda yadda. [01:01:46.870 --> 01:01:50.870] What you can do, if you want to get a delayed version of the signal... [01:01:50.870 --> 01:01:51.610] So, for example... [01:01:52.710 --> 01:01:53.250] That. [01:01:53.910 --> 01:01:57.410] Is you can have another playhead here... [01:01:58.730 --> 01:01:59.590] That's delayed. [01:02:01.650 --> 01:02:04.570] So, then what ends up happening... [01:02:04.570 --> 01:02:07.850] So, you can make this the delayed signal. [01:02:07.850 --> 01:02:16.450] You can make this one the current signal. [01:02:18.790 --> 01:02:21.230] And notice how I had to move the current signal back. [01:02:22.550 --> 01:02:25.650] In regards to digital signal processing... [01:02:25.650 --> 01:02:28.070] This would be an array of samples. [01:02:28.930 --> 01:02:31.890] And you would have sort of like a queue... [01:02:31.890 --> 01:02:36.050] Where you keep inserting samples at the beginning of the buffer. [01:02:36.750 --> 01:02:38.310] That's your current sample. [01:02:38.530 --> 01:02:40.550] And then at the end of it, that's your delayed sample. [01:02:43.790 --> 01:02:44.630] But, um... [01:02:44.630 --> 01:02:46.130] That's essentially how you get a delay. [01:02:46.610 --> 01:02:47.990] And what that sounds like... [01:02:48.890 --> 01:02:50.990] I bet you're probably not even going to hear it. [01:02:51.670 --> 01:02:52.090] Because... [01:02:53.110 --> 01:02:56.830] I'm pretty sure that I'm the only one who knows when I'm pressing a button. [01:02:56.830 --> 01:02:58.530] But pay attention to my hand. [01:02:59.470 --> 01:03:01.710] Versus when the note actually plays. [01:03:08.020 --> 01:03:10.480] Notice how there's a little bit of a delay. [01:03:12.640 --> 01:03:13.160] Versus... [01:03:18.440 --> 01:03:18.960] Um... [01:03:18.960 --> 01:03:20.500] Now, what we can do with this... [01:03:20.500 --> 01:03:22.300] Is we can actually... [01:03:22.300 --> 01:03:24.360] Take the, um... [01:03:25.480 --> 01:03:26.360] The delayed signal... [01:03:26.360 --> 01:03:30.100] And we can actually feed it back into itself. [01:03:31.060 --> 01:03:31.540] Uh... [01:03:31.540 --> 01:03:33.340] Maybe multiply it by some coefficient. [01:03:33.660 --> 01:03:34.120] Like, uh... [01:03:34.120 --> 01:03:34.420] I don't know. [01:03:34.940 --> 01:03:35.420] Like... [01:03:35.420 --> 01:03:37.360] Multiply it by, like, 0.3. [01:03:38.700 --> 01:03:39.180] Um... [01:03:39.180 --> 01:03:39.460] I... [01:03:39.460 --> 01:03:40.860] I know my handwriting is beautiful. [01:03:41.180 --> 01:03:42.240] You don't have to thank me. [01:03:43.020 --> 01:03:43.280] Um... [01:03:43.280 --> 01:03:43.640] Applause. [01:03:43.840 --> 01:03:44.500] Applause at the end. [01:03:46.360 --> 01:03:46.840] Um... [01:03:46.840 --> 01:03:48.860] And basically what that sounds like... [01:03:48.860 --> 01:03:49.360] Uh... [01:03:49.360 --> 01:03:49.440] I... [01:03:49.440 --> 01:03:49.920] I... [01:03:49.920 --> 01:03:50.500] I can, uh... [01:03:50.500 --> 01:03:52.640] Show you by turning up this, uh... [01:03:52.640 --> 01:03:53.620] Feedback knob here. [01:03:54.880 --> 01:03:55.200] Uh... [01:03:55.200 --> 01:03:55.700] Because the... [01:03:55.700 --> 01:03:57.320] This, um... [01:03:57.320 --> 01:03:58.200] Basically it's called feedback. [01:03:59.780 --> 01:04:00.760] And, um... [01:04:00.760 --> 01:04:03.280] When I do that... [01:04:03.280 --> 01:04:04.160] Get this. [01:04:07.680 --> 01:04:11.040] When the coefficient here is under one... [01:04:11.040 --> 01:04:16.200] It's going to keep multiplying by 0.3 over and over and over and over and over. [01:04:16.320 --> 01:04:18.400] And it's going to get quieter and quieter and quieter and quieter. [01:04:23.200 --> 01:04:23.720] Um... [01:04:23.720 --> 01:04:24.480] Uh... [01:04:24.480 --> 01:04:27.080] If I move this, uh... [01:04:27.080 --> 01:04:29.160] Delay tape head... [01:04:29.160 --> 01:04:31.820] This delayed, uh... [01:04:31.820 --> 01:04:34.800] Play head closer to here, we'll get less of a delay. [01:04:35.640 --> 01:04:36.660] And that's what... [01:04:36.660 --> 01:04:37.880] And here's what that sounds like. [01:04:43.790 --> 01:04:44.310] Um... [01:04:44.310 --> 01:04:53.470] So, the reason I'm showing you this is that if we add the original signal and the delayed signal together, you get an effect that you might, um... hear from some songs. [01:05:01.960 --> 01:05:02.840] And, um... [01:05:02.840 --> 01:05:04.360] You get this delayed signal. [01:05:04.920 --> 01:05:05.260] Uh... [01:05:05.260 --> 01:05:05.960] By the way... [01:05:06.780 --> 01:05:08.200] A little note about phase. [01:05:08.660 --> 01:05:08.860] Uh... [01:05:08.860 --> 01:05:10.300] You can look into this on your own time. [01:05:10.560 --> 01:05:11.100] But, um... [01:05:11.680 --> 01:05:13.740] I'm going to just turn this feedback down for a second. [01:05:13.740 --> 01:05:16.740] I'm going to make this, um... [01:05:17.520 --> 01:05:19.180] Delayed signal... [01:05:19.180 --> 01:05:19.760] Like the... [01:05:19.760 --> 01:05:20.080] Very small. [01:05:20.300 --> 01:05:21.100] So the... [01:05:21.100 --> 01:05:22.640] This is very close to this. [01:05:25.600 --> 01:05:26.200] Um... [01:05:26.200 --> 01:05:30.260] And when I do that, you'll hear that something interesting kind of happens. [01:05:41.050 --> 01:05:41.570] Um... [01:05:41.570 --> 01:05:44.370] I'm going to demonstrate that better with, um... [01:05:44.370 --> 01:05:45.010] Some white noise. [01:05:57.300 --> 01:05:57.820] Uh... [01:05:57.820 --> 01:06:00.780] And I'm going to move the visualizer back a little bit. [01:06:01.760 --> 01:06:02.260] Uh... [01:06:02.260 --> 01:06:02.980] Don't worry about this. [01:06:05.320 --> 01:06:05.840] So... [01:06:05.840 --> 01:06:08.200] This is just what white noise looks like. [01:06:08.300 --> 01:06:11.060] Basically it's a distribution that covers every frequency. [01:06:15.990 --> 01:06:16.510] Um... [01:06:18.150 --> 01:06:22.510] And when I have a very short delay time mixed with the original signal. [01:06:23.270 --> 01:06:24.330] It sounds like this. [01:06:27.370 --> 01:06:28.670] If I move it even closer. [01:06:33.760 --> 01:06:36.320] You can see it's kind of cool. [01:06:36.520 --> 01:06:42.220] Because this is a way that you can cut off, uh, frequencies that, uh... [01:06:43.440 --> 01:06:45.520] Follow a, uh, harmonic series. [01:06:46.640 --> 01:06:49.120] So you can see that when I do this, it has sort of a tone. [01:06:50.000 --> 01:06:50.440] Um... [01:06:50.440 --> 01:06:52.020] If I turn up the feedback, by the way. [01:06:52.920 --> 01:06:54.320] It starts to sound like a string. [01:07:06.560 --> 01:07:07.000] Um... [01:07:07.000 --> 01:07:07.660] And that's something... [01:07:08.120 --> 01:07:09.920] If you want to Google it, um... [01:07:09.920 --> 01:07:11.360] It's called car plus strong synthesis. [01:07:11.760 --> 01:07:14.520] And basically it's a rudimentary way to simulate a string. [01:07:17.060 --> 01:07:17.500] Um... [01:07:17.500 --> 01:07:18.580] And you can tune it. [01:07:18.820 --> 01:07:20.320] And then you can do all sorts of fun stuff. [01:07:20.780 --> 01:07:22.680] But, um... [01:07:22.680 --> 01:07:24.700] What I wanted to show is basically... [01:07:25.380 --> 01:07:31.100] When you have a bunch of these delayed signals, uh, in... [01:07:32.300 --> 01:07:33.620] In, uh, parallel. [01:07:34.060 --> 01:07:35.380] So they're all playing over each other. [01:07:38.300 --> 01:07:38.780] Um... [01:07:38.780 --> 01:07:40.620] For sake of demonstration, I'm gonna do... [01:07:40.620 --> 01:07:41.840] In time, I'm gonna do three. [01:07:46.540 --> 01:07:49.360] Uh, let's... let's... let's not do the white noise anymore. [01:07:49.360 --> 01:07:50.560] I think we're done with that. [01:07:52.300 --> 01:07:52.840] Um... [01:07:54.740 --> 01:07:55.280] Um... [01:07:55.280 --> 01:07:55.480] Um... [01:07:55.480 --> 01:07:57.940] I'm gonna go back to the wavetable that we had before. [01:07:58.320 --> 01:08:00.440] With the, uh, square. [01:08:00.800 --> 01:08:02.140] And the cutoff. [01:08:02.400 --> 01:08:03.520] And the unison. [01:08:05.460 --> 01:08:05.860] And... [01:08:11.460 --> 01:08:12.260] And, um... [01:08:12.260 --> 01:08:14.000] When you do that... [01:08:16.460 --> 01:08:18.640] It starts to sound a little bit... [01:08:19.100 --> 01:08:22.820] When you combine a lot of delays, it starts to sound a little bit more like... [01:08:22.820 --> 01:08:23.880] Reflections in a room. [01:08:24.400 --> 01:08:25.040] Like when... [01:08:25.040 --> 01:08:28.840] You know when you're in, like, a parking garage and you clap and then you kinda hear it clap back? [01:08:30.560 --> 01:08:31.040] Um... [01:08:31.040 --> 01:08:33.800] This is the basic idea of an effect called reverb. [01:08:37.840 --> 01:08:38.320] Um... [01:08:38.320 --> 01:08:42.020] A lot of different companies like to do clever things with reverb on top of this. [01:08:42.240 --> 01:08:42.720] But... [01:08:42.720 --> 01:08:45.260] The basic essence of reverb is... [01:08:45.260 --> 01:08:46.840] Lots and lots of delays. [01:08:47.620 --> 01:08:47.860] Uh... [01:08:47.860 --> 01:08:48.960] This is my favorite reverb. [01:08:49.200 --> 01:08:49.900] It's, um... [01:08:49.900 --> 01:08:50.480] One of my favorites. [01:08:50.720 --> 01:08:51.080] It's called ROM. [01:08:54.100 --> 01:08:54.580] Um... [01:08:54.580 --> 01:08:55.680] And you can hear... [01:08:55.680 --> 01:09:00.300] That it sort of, like, makes the sound echo out. [01:09:00.440 --> 01:09:01.200] So this is... [01:09:03.640 --> 01:09:04.480] No reverb. [01:09:05.360 --> 01:09:06.400] This is all reverb. [01:09:12.120 --> 01:09:17.140] And when you combine lots and lots and lots and lots and lots of these delay lines... [01:09:17.700 --> 01:09:18.200] Um... [01:09:18.200 --> 01:09:18.880] That's what happens. [01:09:19.520 --> 01:09:19.800] Uh... [01:09:19.800 --> 01:09:22.760] That and a thing called all-pass filters, which you add after, but... [01:09:23.360 --> 01:09:23.880] Um... [01:09:23.880 --> 01:09:25.840] All-pass filters are built with delays. [01:09:27.880 --> 01:09:28.400] Um... [01:09:29.100 --> 01:09:29.620] So... [01:09:30.420 --> 01:09:32.020] Delays are a very important thing. [01:09:32.300 --> 01:09:34.360] You can use them to make filters. [01:09:34.780 --> 01:09:36.720] You can use them to make reverbs. [01:09:36.980 --> 01:09:38.580] You can use them for mixing. [01:09:40.500 --> 01:09:41.020] Uh... [01:09:41.020 --> 01:09:42.560] They're very foundational. [01:09:44.080 --> 01:09:44.600] And... [01:09:44.600 --> 01:09:45.060] Uh... [01:09:45.060 --> 01:09:47.360] I like to play with them to, uh... [01:09:47.360 --> 01:09:47.460] To, uh... [01:09:47.460 --> 01:09:48.040] Get some cool stuff. [01:09:52.220 --> 01:09:52.740] Uh... [01:09:53.620 --> 01:09:54.180] Yeah. [01:09:55.480 --> 01:09:56.040] Um... [01:09:56.040 --> 01:10:03.700] When we have stuff like revert at our disposal, is there still a time to kind of delay in... [01:10:08.560 --> 01:10:09.120] Uh... [01:10:09.120 --> 01:10:12.640] So is there a point in using delay when you have revert? [01:10:13.560 --> 01:10:14.120] Uh... [01:10:14.120 --> 01:10:14.480] Plugin? [01:10:15.640 --> 01:10:16.200] Uh... [01:10:16.200 --> 01:10:16.480] Yes. [01:10:17.180 --> 01:10:17.600] Uh... [01:10:17.600 --> 01:10:18.460] In fact... [01:10:18.460 --> 01:10:19.000] So... [01:10:19.000 --> 01:10:20.440] So you could say it's kind of... [01:10:20.440 --> 01:10:23.640] You could use the argument of, like, you know, it's creative liberty. [01:10:23.640 --> 01:10:26.060] Sometimes you want a delay that's sort of rhythmic. [01:10:27.580 --> 01:10:28.020] Um... [01:10:28.020 --> 01:10:30.040] Like, uh... [01:10:30.040 --> 01:10:32.960] If I have a delay here... [01:10:34.120 --> 01:10:37.540] I can make it, like, synchronize with the beat of my song. [01:10:37.840 --> 01:10:40.180] And I've used that in a lot of my songs from before. [01:10:40.500 --> 01:10:46.680] If you heard, I, like, turn up the reverb on some songs and some delay to make it transition into other songs. [01:10:48.460 --> 01:10:49.020] Um... [01:10:49.020 --> 01:10:52.420] But there's actually a technical reason to use delay and reverb together. [01:10:52.740 --> 01:10:54.820] It's because, uh... [01:10:54.820 --> 01:10:58.420] When you have echoes in a room, you have the... [01:10:58.420 --> 01:11:00.120] First few reflections. [01:11:00.660 --> 01:11:01.660] So early reflections. [01:11:02.480 --> 01:11:03.900] And then you have late reflections. [01:11:04.160 --> 01:11:07.920] The early reflections are going to bounce immediately back to you and you're just going to hear it as delay. [01:11:08.380 --> 01:11:11.560] And then the late reflections are more diffused and stuff. [01:11:12.700 --> 01:11:18.420] So to really get a convincing sounding reverb, use a short delay time and a reverb. [01:11:21.020 --> 01:11:24.900] Because then you can model the early reflections and the late reflections. [01:11:25.140 --> 01:11:28.760] And this is sort of what it sounds like when you use both. [01:11:28.940 --> 01:11:29.780] It sounds very nice. [01:11:30.360 --> 01:11:34.420] And, you know, this is music, so you don't have to necessarily follow the laws of physics. [01:11:34.420 --> 01:11:35.360] You can make it rhythmic. [01:11:40.780 --> 01:11:42.340] Add the delay before the reverb. [01:11:51.460 --> 01:11:51.860] Versus... [01:11:53.060 --> 01:11:55.580] I think the second one sounds more natural, wouldn't you agree? [01:11:56.860 --> 01:11:57.260] Yeah. [01:11:59.440 --> 01:11:59.840] Um... [01:11:59.840 --> 01:12:01.120] So, are there any other questions? [01:12:04.780 --> 01:12:05.180] Uh... [01:12:05.180 --> 01:12:06.280] How much time do I have left? [01:12:12.270 --> 01:12:12.790] Uh... [01:12:12.790 --> 01:12:14.110] I'd love to continue talking. [01:12:14.310 --> 01:12:15.790] I mean, I can talk about this all night. [01:12:16.250 --> 01:12:18.550] But, um... [01:12:18.550 --> 01:12:19.490] Uh... [01:12:19.490 --> 01:12:21.150] I just want to know... [01:12:23.860 --> 01:12:25.860] Like, legitimately, I can keep going. [01:12:27.860 --> 01:12:28.620] Five minutes? [01:12:28.900 --> 01:12:29.320] Okay. [01:12:32.460 --> 01:12:33.500] So, um... [01:12:33.500 --> 01:12:34.180] That's reverb. [01:12:34.440 --> 01:12:34.900] That's delay. [01:12:35.620 --> 01:12:37.280] I was showing you a cool thing. [01:12:37.980 --> 01:12:38.860] Modulation earlier. [01:12:39.560 --> 01:12:41.240] That's basically how I made my lead. [01:12:41.700 --> 01:12:42.180] But... [01:12:42.180 --> 01:12:42.580] Um... [01:12:42.580 --> 01:12:44.440] Something cool that I want to leave you on. [01:12:49.040 --> 01:12:49.520] Uh... [01:12:49.520 --> 01:12:53.180] Remember I was talking about how rhythm can turn into pitch? [01:12:53.720 --> 01:12:55.560] Pitch can also turn into other pitch. [01:12:56.620 --> 01:12:57.100] Uh... [01:12:57.100 --> 01:12:58.640] What I mean by this... [01:12:59.820 --> 01:13:00.300] Is... [01:13:00.300 --> 01:13:00.540] Um... [01:13:02.300 --> 01:13:03.420] Let's say you have... [01:13:05.680 --> 01:13:06.160] A... [01:13:06.160 --> 01:13:06.880] A pitch. [01:13:07.120 --> 01:13:08.120] We have a sine wave again. [01:13:10.400 --> 01:13:10.920] Uh... [01:13:10.920 --> 01:13:13.560] And then we modulate that pitch with another pitch. [01:13:15.660 --> 01:13:18.360] You can hear it has, like, sort of a... [01:13:19.820 --> 01:13:21.080] Sort of a vibrato. [01:13:23.620 --> 01:13:29.840] If I turn up this vibrato really high, that vibrato rhythm also turns into a pitch. [01:13:29.840 --> 01:13:31.680] So we're turning a pitch into another pitch. [01:13:31.840 --> 01:13:32.600] So what happens? [01:13:44.310 --> 01:13:44.710] Uh... [01:13:44.710 --> 01:13:48.050] I think it would be a little cooler if I showed you this in the spectrogram. [01:13:48.950 --> 01:13:49.990] Because it just looks really cool. [01:13:50.230 --> 01:13:51.830] And this is what I'm going to leave you with. [01:13:53.110 --> 01:13:53.510] Um... [01:13:53.510 --> 01:13:56.230] I'll be available to answer questions and stuff after if you want. [01:13:57.330 --> 01:13:57.730] Uh... [01:13:57.730 --> 01:13:58.630] So this is... [01:13:58.630 --> 01:14:00.210] This is sort of what it looks like. [01:14:09.700 --> 01:14:10.280] So yeah. [01:14:10.660 --> 01:14:10.980] Uh... [01:14:10.980 --> 01:14:13.000] You can use it to make some cool metallic sounds. [01:14:13.580 --> 01:14:15.140] And I could keep going, but... [01:14:15.140 --> 01:14:17.140] I think that's all the time that I have. [01:14:19.820 --> 01:14:20.620] So, um... [01:14:21.540 --> 01:14:21.940] Uh... [01:14:21.940 --> 01:14:22.880] Does anyone have any questions? [01:14:26.240 --> 01:14:26.860] Uh... [01:14:26.860 --> 01:14:28.160] All right. [01:14:28.480 --> 01:14:30.160] Then, again, I'm Neon Edge. [01:14:30.680 --> 01:14:32.880] You can find, um... [01:14:33.820 --> 01:14:34.720] My, uh... [01:14:34.720 --> 01:14:35.220] SoundCloud here. [01:14:36.920 --> 01:14:37.540] Uh... [01:14:37.540 --> 01:14:38.860] And, uh... [01:14:38.860 --> 01:14:39.300] Yeah. [01:14:39.780 --> 01:14:40.860] Thanks for having me. [01:14:41.500 --> 01:14:42.220] Thank you.