Live Demo: Ableton 12.4 Features Explained

Speaker A: And we are here. We are here. Absolutely here.

Speaker B: Welcome.

Speaker A: Uh, welcome, welcome wherever you happen to be. Good evening. Good day. We are here. This is episode 206 of Audio Nordics Deep Space Network. Thank you ever so much for being here today. We, uh, have quite a special episode, um, because Ableton last Week released their 12.4 update, which is amazing because for a point update there's a lot to play around with and there's a lot to mess with. M. So yeah, we're going to get straight into it. Um, how are you doing, Ion Lake?

Speaker C: I'm good, yeah. Like you say, this is a strangely, uh, strangely meaningful update for an incremental. But yeah, mhm.

Speaker A: It feels like Ableton, like making their mark, you know, and like we're more than just a dawn.

Speaker C: Yeah, yeah. Could be. Could be. I wonder what, what's coming up in the next big release. That's what it makes me think.

Speaker A: Yes. Um, love to see. We'll have to see. Um, we have got a couple of people I want to say hello to in the chat. Smiling Errors is here. Um, it's nice to see you, man. Uh, FL Studio user. So it's amazing you've turned up for an Ableton episode. It's beautiful to have you here. Um, and we have our resident, uh, Ableton enthusiast and sponsor. I'm pretty sure I'm sponsored by this point. Mike K. Smith being snippy on the sidelines. It's nice to see you, Mike. Haven't seen you in a while, man. Hope you're doing well. Um, yeah. Um, so Ableton 12.4 update, been pretty big. Um, there's a few bits and bobs in there, but the main article, the main event is what, uh, Ian Lake is going to take us through. Ah, first and foremost, which is Link Audio. Now if you don't know, uh, if you've been living under a rock for the last month or so, Link Audio is this idea that you can connect, uh, Ableton devices over a network and you can wirelessly transmit audio with minimal latency. Um, which is a really nice way of doing it. Um, E on how you been getting on with it?

Speaker C: Yeah, good, thanks. Um, I was just, um, laughing at, um, the comment. Have they made it Fruity Loops compatible yet? Sorry, that tickled me. Um, how have I been getting on with it? Well, um, about as well as expected, I think, is the honest answer. Uh, um, I've not used it a huge amount, but I do as you know, I use notes on my iPad and on my phone I use Move as well. And I use Ableton, so I thought, okay, cool, right up in the past. Now apparently they've got audio so let's, let's have a look at it and

Speaker B: um,

Speaker C: um, the things you would expect. So obviously it's using a local WI FI network to transfer sync information and audio streams. And as you would imagine because it uses the dreaded WI Fi, your mileage may vary is probably the most salient point. So obviously you're going to get a round trip time from one device to the other device through your router and over your wireless network. And if you've got any dropout or any poor signal and so on, it's going to affect that. And nowhere does it become more obvious uh, than with audio. So at home, um, I have an old, I mean an old building that's got quite a lot of brick walls, some real solid Victorian walls. Um, I have a mesh WI FI system with a um, router and two satellites. It covers the house most of the time, but I think, I think usually there's some retransmission going on. When things are uh, when the weather is bad and the air pressure is low, I think it does suffer a little bit. So what I found was things synced up pretty quickly and I did get a fair bit of dropout though and getting the latency adjustment right for the audio stream was a little bit fiddly.

Speaker A: Mhm.

Speaker C: Um, but it worked. It does work. Uh, it's got a proof of concept, as you'd expect. Imagine putting it out if it didn't work. The uproar. So surprisingly it does work. Yeah, it's not difficult to, to actually um, enable it and then getting it working. Um, as Mike says, you can also use link audio with a hardwired network. It's likely to be more robust. Yes. If you're doing anything other than jamming. If you were like performing or something, that would make a lot more sense. But yes. So I was gonna just share my screen and, and show some bits and pieces.

Speaker A: Do I see it?

Speaker C: Not yet, no. Give me.

Speaker A: Did you. So you had quite an easy time of linking it up in the first place. And the, the mission has been to regulate the latency.

Speaker C: Yeah, getting some sort of link is the easy bit. Um, getting it to perform solidly can be a little bit trickier. I mean, you know, if you're on a simple network in a small building and you've got good signal, you, you might find it's all right and it's just getting the latency right. That's the uh, challenge.

Speaker A: I get that. So what we look at here, here

Speaker C: we have a base uh, template. You can see I've got Link enabled here. Link Audio is enabled as well. There is a page for it on the preferences. As you would expect, they've got some extra stuff in here that shows you the status of devices. So I've done it with Note as well and the laptop and Move and Note all synced up nicely and I had uh, a couple of channels of audio. One from Note, one from um. Well both stereo but one from Note and one from uh, Move. Um, as you can see there is a latency setting here that takes a little bit of tweaking to get right

Speaker B: um,

Speaker C: at the moment.

Speaker A: Sorry for those who are, for those who are listening as opposed to watching. Where is here?

Speaker C: Oh yes, it's in the settings. Um, and you just click a link on the left hand side and it's the whole page to do with Link and Link audio. So it used to be quite empty. There's a, a bit more on it now. Um, so you can name your device, you can set your latency. I found this is only really working well at the moment. If I sync to the incoming audio, otherwise I can get it in time. But Beat one isn't always beat one and other interesting things like that. Um, but if I solo the input that is Move. So this is remote to this laptop. I think we've got the uh, metronome already on. So the metronome is coming from the laptop itself and Move is an external source. So I've only got a couple of tracks of drums here just to um, show how well it's syncing really with the incoming audio. And that to me that sounds pretty tight.

Speaker A: Yeah, um, very important.

Speaker C: So for, for jamming purposes that's kind of useful. Um, I do a lot of um. When I've got um, songs that I've been working on the various platforms, I sometimes open them from the cloud here on the left hand side. It's not signed in at the moment but you get them um, you get them enabled there you can actually drag the channels into your arrangement. And I'm still finding that it's a little more convenient because um, it's the channel with the software instrument and the plugins and the MIDI information and you can still tweak and so on. So you can take a channel from something you've been doing on a Move and drag it into Ableton and audition it against something you might already be working with in Ableton or you could enable link audio, uh, and just bring the audio in from whatever other device it is you've been working on and drag that into Ableton as well. Um, yeah, I mean it's convenient. I think where this really starts being a bit more useful is when you're collaborating with someone else rather than just dealing with material that's spread across multiple devices of your own. Because there are perhaps more convenient ways you could do that. But when it is just jamming with friends, this is pretty easy to set up and get working. I'd be interested to see how well it works um, for actually trying to play because obviously there's some buffering going on to get everything synced. Um, you'd need to be monitoring with low latency in order to play along with that manually. And I'm just wondering if you'll have any problems with self monitoring and latency and stuff like that. But that's essentially it. That's as far as I've got this this week.

Speaker A: I mean we're triggering uh, you're essentially triggering pre made loops in something that's sequenced. Right. So there's the, that's the baseline that we're working with. Um, when you're adding, playing, staying on time and then transmitting that over WI fi and you've got multiple inputs and you've got multiple people. That does seem to be. There does seem to be a lot to work with before you've started jamming in that regard.

Speaker C: Yeah, yeah. And it means sharing your password, your WI FI password with all Tandri as well. You might want to set up a jamming network. Yeah, um, it doesn't have anyone downloading large PC games or anything on.

Speaker A: Yeah, it's interesting use of the word P there. Um, we've got ah, a couple of things from Mike which uh, is interesting. Our resident uh, Ableton expert or synth nerd or Ableton nerd as he says. Um, what's super cool here though is that you can send either the move main output but you can also send individual tracks. I haven't, I haven't looked at that. How was that for you?

Speaker C: I haven't tried it. It. I knew that it was theoretically possible but if I look at the arrangement now, I've only got um, as available inputs. You've got midi 1, 2, 3, 4 and main. Maybe that's what it calls the tracks then. Okay. Yes. Right. So yeah, that is of course possible because they said it was.

Speaker A: You've got to believe them now. They wouldn't lie.

Speaker C: You've got to Believe, believe the hype, huh? Yeah. If I share my screen again. So you've got your audio from move here and then when you select the input, I'm on main at the moment. But you've also got 1 midi, 2 midi, 3 midi, 4 midi. I think that's because they are all MIDI tracks in my arrangement. So obviously another big change in this version is they've added audio clips, um, as they used in Ableton to the move. So it's not just samplers and other software instruments now.

Speaker A: So you, you get. So you can take the different ones that are coming through and you could in fact track them in real time.

Speaker C: Yeah, yeah. It stops you having to mute things and um, do them one at a time.

Speaker A: Yes. And I suppose if they're all coming from one device, in theory the latency is pretty much similar. So once. And if. Oh, okay. If they're all. There's latency in all of them, it'll be the same. So if, even if you are tracking them with a, uh, bit of latency, you can always chop it up and move it across in unison later on.

Speaker C: Well, yeah, I mean, if you're recording audio, it's buffering and that's what happens when you're adjusting your latency setting. It increases the buffer size. And uh, what comes out your side of it is obviously ordered and put back together. You know, there could have been some delays in that, but it's got time to remove, um, the gaps before it gets to you. And yeah, it records. Okay. Um, I, I don't know if it is a good idea to be recording audio that way. I don't know. It worked as long as you're. The thing about WI FI is it's, it's inconsistent. So it depends on how good your connection is. Depends on the abilities of your interface of your WI FI network, whether it's an AC network, an AN network or you know, Wi Fi 6, obviously, or the higher the, the uh, bit rate and the lower the latency, the better it will perform.

Speaker A: So I mean, you're.

Speaker C: You.

Speaker A: I hear you. And I mean I. A lot of that went over my head. I'm not gonna lie. The.

Speaker C: That's what I think may be the fun bit about it. Now, I think they've done very well in just sort of making it plug and play in the sense of turning it on and having the devices discover each other and appear as inputs and so on. Works really well. Where I think you might have a bit of fun is the performance of actually using it.

Speaker A: So that's what they're going for and that you've seen promotional videos of many artists, uh, working together with live improvisation and things like that. How, how realistic is that in your opinion at this stage?

Speaker C: Again, I think your mileage will vary. I think it's definitely achievable. It's um. Yeah, it's dependent on a lot of things that are outside of Ableton's control. But from what I can see, all the things that are within their control that they've got coded into the software seem to be working pretty well.

Speaker A: That's fair. Do you, uh, earlier you referred to a wired network, um, how. I mean, obviously you can connect your laptop to an Ethernet, for example. The move would not be so easy to do in that sense. So this would be. In that sense you'd be looking at computer to computer.

Speaker C: Mhm. Yeah, there are. I'm looking around my studio. I've got various USB C dongles, some of which have got ethernet cable interfaces on them. I have no idea whether or not stuff like that would work. That could be a whole show in itself, probably for exploration. Yeah, I think for, for ease. Just being on the same WI FI network and turning on link, you can't really get any easier than that. And then making sure that audio is enabled and that you've called it something logical so that when you're discovered by your mate, he knows it's you. Um, actually setting up a wired network and trying to control that might be a little bit more involved.

Speaker A: But I suppose it's not really Ableton's remit in that regard.

Speaker C: No. And it depends whether or not you need device to device connectivity, like point to point or one to many, where you've got like a laptop, maybe you've got a mate with a move and you've got a mate who's using note and you all want to collaborate. You could act as the hub on a computer or Mac, um, but you would need obviously a common network for that. Whereas if it's just two of you, as Mike said in the chat, you could maybe set up an ad hoc WI FI network and have the other device to connect direct to that. So it's just, you know, point to point WI Fi with no noise from any other devices. Because WI FI is funny that way. I don't know what your network is like, but the last time you've looked at what's connected to it or all the things that have ever connected to it, it's always a lot more than uh, than you remember. You say, oh yeah, of course, there's all these other things. I think if you're using it for music and you're actually going to record and you're not just having a casual jam, you might want to look at perhaps using an ad hoc network for two people and just connect to that instead, cut out any noise from any other devices.

Speaker A: I mean, that's how I've had to do it. I mean, there's a reference here to. Hang on, let me find it. Mike popped up again. Uh, uh. Would this be useful in an educational setting? You could listen in to students, work very easily from a central set when. Which is a great idea. Um, and now I'm thinking about how I'm going to plan my lessons next year. But the, the. I think that's.

Speaker C: If you're on the same wireless network, presumably you're in the same vicinity.

Speaker A: Yeah, but when you get.

Speaker C: Does it give you anything?

Speaker A: Well, I noticed that, um, firstly, in an educational setting or in a school, you've got a lot more permissions. Right. And as my IT manager called it, these things are dumb in the sense that they can't pass authentication. So you have to go into the. You have to go into the. I think whatever the, the network. And you had to manually override it and send it all in. So it took a bit of setup and, um, so that's a bit of time. Uh, but also at the same time, like, for example, in my school, you've got a thousand kids, right? And you've got that entire WI FI network across the entire school, has filters and has, um, uh, what's, what's the phrase? Firewalls around certain pieces and certain keywords which slows everything down. We've actually got a really fast Internet connection at the school, but with all the blocks and all the firewalls that are in place, it's not, it's not, uh, the fastest. And so they had to put me on a separate network which these, these computers run on their own, similar to what you're saying there.

Speaker C: Right.

Speaker A: In order to make it work, um, so that the computer and the move could communicate with each other. We got it done and it's done. It does take a bit of. Bit of work. And I think you're right in the sense that the plugin and play aspects of, uh, these things are really, really interesting. I think we still need to look and it's not particularly Ableton's problem, really. You have to educate yourself, like you have and do, on what affects these signals coming through and what would create a consistent Signal. I think this is where you start to see more of an overlap between information technology and music production in a way.

Speaker C: Absolutely, yeah. I mean this is working quite well in here. But between you and me, I can touch my wireless access point. Yeah, it's right there. So, um, yeah, it would be quite a good signal.

Speaker A: Yeah. I mean, if you're next door to it. I mean that's interesting as well because my hub, right. Is right there behind me and I can't touch it, but it's about two arms lengths away and I sometimes have dropouts while we're talking online. And so it is. You know, the Czech Republic is known for its woeful WI fi. Um, so that will. Absolutely. Maybe we all need to move to South Korea. Maybe that's the option here. Kind of. Okay, kind of go from there. South Korea, definitely. Um, but I do, I do like the collaborative notions. Again, the educational setting is a really cool idea that Mike was putting this out here. You can put and see what the kids are up to and where they're going. And I love that idea. Um, the ideas to sit in jam. I think this is probably why it's in the 0.4 update and it's a great point update, but maybe it's something that they will finesse and kind of streamline a little bit and work on.

Speaker C: I don't doubt it. They will maybe find the odd bug and, and improve upon it over time.

Speaker A: Um, maybe there's a. Maybe there's a secret, uh, Ethernet connection inside the move that they haven't told us about yet. All we need to do is just plug it in.

Speaker C: Yeah, I'm just thinking about the host port or the USBC on it. Could you just connect a dongle into it or something? Will it know? Is it clever enough to identify an Ethernet port?

Speaker A: I doubt it's, um, definitely. I think it's definitely a really cool thing. Like my first instinct was the fact. So I've got the Model 12 here and I've obviously run out of inputs. Um, and I was like, ah, I could move the move on to link on Ableton and then I would free up. I could plug my guitar in, for example. Um, yeah, I haven't tried it yet. Um, the latency is still something. Again, again. I've got wo. I do have wo fi. Um, I love that phrase. I do love that phrase. I do. I have wo fi. Um, I don't have W fi. Um, I have wo fi. So yes. Um, we have to see how it goes on. I will report back as we go, um, and Mike is on the same, uh, wavelength as you, uh, Ian, looking at through USB C and whether it can be done through that.

Speaker C: Yeah, I mean it's doable. Something like that.

Speaker A: Maybe, um, maybe. Maybe we'll have to see, um, uh, again, I wonder if they could use Link over USB C because you can now use audio interfaces with Move via. Ah, interesting. Okay, so you can now use audio interfaces with Move via USB C. M. There's a lot of potential. There's a lot of. There's a lot of what ifs.

Speaker C: I'd uh, connect it up now, but we're live.

Speaker A: Let's not play with that one.

Speaker C: Yeah, let's not play that one straight after though.

Speaker A: We'll have a look. So, yeah, that's Link audio. That's probably the biggest thing coming out of this update. Uh, there are a few more, um, we have. There's a couple of, um, plugins that have been updated which we'll go through. And also the stem separation, which I have some thoughts about. Um, so do you want to have a look at the plugins first and foremost?

Speaker C: Yeah. I mean, another key thing on the move is the clip audio, isn't it?

Speaker A: Tell us more about that.

Speaker C: Well, I haven't used it yet. The reason I haven't used it yet is because it seems to want, um, WAV file formats. I don't know if it wants. If it'll take AIFFs as well. But, um, I didn't have anything handy at the time because I bounce all my rough mixes out as MP3s and I thought, oh, this would be quite useful. You can take an MP3, drop it into move and overdub three tracks, um, and work on additional parts and stuff like that. But I, I didn't have anything handy in WAV format that I could do anything useful with, so I've not tried it yet.

Speaker A: Well, maybe you can, you can let us know next week.

Speaker C: I just assumed that it would, um, accept the same file types as, as Live can do. But that was a bit of an assumption, it turns out, strictly speaking, true. Yes,

Speaker A: well, I mean it's. Again, it's proof of concept. You never know what they might do in the next couple of updates. And you know, we've just had move 2.0. You know, maybe there'll be a 3. Maybe they'll. Maybe they'll stop and they'll just do a move too. You never know.

Speaker C: I think that's probably likely at some point. Just a question of when that's true. Have to see.

Speaker A: Let's take a look at these plugins. Um, if I move these across so you can see what's going on. Um, I've got, in my infinite wisdom, I, uh, have got the stem separation. This actually, this is one thing, actually, I will say when I opened this up, um, and turned I, I got everything set up, uh, before I ate dinner. Um, and then I turned off the move to conserve battery, went and cooked my dinner and then came back. I turned my move back on link, couldn't find my move, which was interesting. I had to, I did have to restart everything. I don't know if you've seen that at all on your end, but I did have to kind of restart everything and uh, boot everything up, reset it, turn it off and on again essentially, uh, to get, get the link come through.

Speaker C: No, mine. I might connect when I swear.

Speaker B: Really?

Speaker A: Okay, well then maybe that's my wo fi again. Um, but yeah, it was, you know, 20 minutes to show and I was just stressing out a little bit. Um, um, but hey, hey, that could just be a me thing. That's just from my experience. Anyway, um, we do have a couple of, uh, new plugins here. Well, we have updated, ah, plugins. They're not new, technically not true. Um, but we have here Erosion. We have, ah, an updated chorus ensemble and we have an updated delay. Um, the main thing. Have you used much of Erosion eon?

Speaker C: No, no.

Speaker A: Um, I can't say I have either. Um, but it is an interesting little thing and I think the, the update is, uh, bringing in this, um, real time spectrum or spectrum analyzer idea, which is really quite cool. Um, so let's get rid of this so we can just see what's kind of going on. Erosion made me think of Lars. Um, so. Which is quite nice. So what have we got here? I can't remember what this is. There's some piano chords. Okay. Can you hear that?

Speaker C: Yeah. Yeah. Cool.

Speaker A: So just some chords, nothing special. Let's add some Erosion. So the main, the idea is that they've introduced this spectrum so you can see in real time what's going on. Let's bring that back up and then you can start to dial in. Bit of noise, bit of bit crush, dirty it up a little bit and then change where it's going to be. Essentially adjusts the cue coming through. You can start messing around with the extent of these, creating a noise which is kind of cute in a way. It dirties it, uh, up.

Speaker C: I like, I like it.

Speaker A: It's nice, it's, it's subtle. It's not quite like a saturator. It's not quite like a, uh, um, a distortion. You're just creating a little bit of noise, a little bit of grit, a little bit of dirt underneath. And you can obviously put it. Different parts of the spectrum. Oh, cool. Little resonance there. I don't know if that's coming through on the stream, to be fair. This just is now just me messing around with it. Yeah, it's cool. But what. What I. What I found, what got my. What poked my ears up at this is that if you put this with a push or you, uh. Yeah, if you put this on a push, you could actually automate these parameters here. It doesn't. It doesn't seem you can do it on, uh, just in Ableton itself, but you could, in theory, you could, uh, automate the parameters here. Mess around. And as you're moving, you're creating this as. As the. Sorry. As it's playing, you're creating this kind of moving noise and this moving grit that kind of comes through, which, you know, used for emphasis is a really kind of nice idea in that regard. Does that make sense?

Speaker C: Yeah, yeah, definitely. Definitely.

Speaker A: Uh, basically, yeah. It's basically a chaos pad in that. In that regard. Kind of hear that come through. I really like it. It's really nice. I. I haven't. I haven't used erosion much, it must be said. Um, but I mean, I'm open to the idea of exploring it in certain points. You know, there's. I. One of the. One of the pieces. Like when I get to. When I get to saturation, what I tend to get is, uh. I might overache the pudding sometimes. At least that's been the, um. That's been the feedback of, uh, some of the people that I have, um, submitted for submitting in the wake of Light to. Because the ambience is quite. It's not like. It's not like Thomas's, for example, where it's not silky smooth and lush. It can be, you know, it's. It's about grief, so it's gritty and it's dirty. Anyway, point is in your face.

Speaker C: Ambience. M. Yeah, yeah, yeah.

Speaker A: You know, uh, absolutely. So. But this makes me want to think, okay, I like the dirt that my ambience makes and I like the grittiness of what I do. Um, but maybe this is a way to kind of dial it back a little bit. So it's a cool little addition, cool little update. Absolutely. Okay, uh, so do you want to do chorus or do you want to see delay

Speaker C: left to left to right.

Speaker A: Doing left to right. So this is the chorus. What do I have on here? Let's do a different sample just for the sake of, uh, balance and variety, shall we? Um, so this is a guitar, I think. Yeah, let's bring it.

Speaker C: Perfect.

Speaker A: Yeah. It's what they kind of built it for. So we'll just whack that on.

Speaker C: It's gagging for

Speaker A: is. You've got a lot more control over it now, so you can get a bit mental with it. Kind of turn it into a bit of a tremolo sound. A bit muddy, but it's alright. You can tame it a little bit, which I kind of like. And you can dial in your warmth, which I don't know if I don't know about you guys. It feels a little bit less. The warmth now feels like beforehand it was like they're adding a bit of overdrive or adding a bit of distortion. I don't know what algorithm they're using, but this does feel a little bit more temp back and a little bit more analog in that regard. Yeah, yeah, there's a lot there.

Speaker C: It's a more audible.

Speaker A: Yeah, yeah, that's a way. Instantly audible. It's a very good way of putting it. I mean, why not? You know, things were here. Um. Yeah, there's a lot. There's a lot to play around with there. It's kind of nice. It does feel thicker, it feels warmer. It does feel like there's a bit more going on. A lot more tangibility. And also you've got. This time. I think this. This time is not as new

Speaker B: so

Speaker A: you can m. Almost blend in an idea of the lay. Put it in a room. Okay. Now we're getting into spongel land, which is cool. Yeah, it's cool. What are your thoughts?

Speaker C: I like it and I don't know.

Speaker A: I know what you mean. I think the. One of the criticisms of Ableton to date has been, uh. Their stock aren't always the best. Right. Like their distortion and my. At least in my opinion, their distortion, their overdrives, etc, a little bit weak. And that's when I tend to go for the third parties. I think chorus is another one there where it has been, you know, kind of a bit weak and it's been a bit lackluster. Uh, this definitely feels like a bit of an upgrade in tonal quality.

Speaker C: Yeah. Yeah.

Speaker A: I think it was you who's messing around with, um. I think it was you that was messing around with, uh. I don't. I don't want a performance warning. Um, sorry guys. Uh, I think it was you that was messing around with chorus the other week and you're still using a third party for that kind of thing.

Speaker C: Yeah, the Arturia Juno 6 chorus. Because it does sound really good. It does sound really good. But I do like to not always use the same things even if I'm doing similar things, um, with those plugins. Sometimes I do like to mix it up a little bit and I do have more than one thing that choruses. But sometimes, um, sometimes you want something that's really quite noticeable and sometimes you just want to widen something or make it sound slightly sweeter. Uh, you know, I didn't really hate the old plugin itself particularly. I just um. Yeah, I like the sound of that one. I think when you have effects that are extremely subtle, you really think in a mix is this even going to make any difference at all? And that's definitely a sound. I mean, you know, when you, when you used to have different pedals for chorus for guitars, you know, there were different ones, weren't there? And they had different sounds to them and I did always prefer the more symphonic sounding ones.

Speaker A: Mhm. It gives a different edge to it all. M. I get that.

Speaker C: Yeah.

Speaker A: Yeah, good. Just a little reminder from Mike, uh, Smith. We won't cover it in the show, but browser enhancements where you can make your own tags and group very handy, which is a uh, lovely utility. We will have a brief look at uh, Learnview as well. Um, at the end just uh, some

Speaker C: nice housekeeping updates, aren't there?

Speaker A: Um, yeah, again they're listening to feedback because the, the. A lot of people find Ableton difficult to get in with because it, you know, it isn't the easiest to get into and it does rely on um, dedication to kind of pick it all up. And if you've already got a daw that works for you, um, why would you bother learning another one? But this, you know, housekeeping update, as you would call it, is a nice way of. Is a nice way of keeping uh, up to date with that.

Speaker C: Yeah, yeah. And I think um. I think there's also the element of um. I find it quite easy to use to the extent where if you play live with it, you can end up with a properly massive set. Which means some of the things that they brought in to help you organize, um, parts, channels, tracks and group things and label them and stuff like that just make it a lot easier to operate. Huge sets like, you know, the likes of which people like Orbital use when they're playing live because they might have everything available to change. You know, it's not just playing, it's loads and loads of scenes. And it does get huge pretty quickly when you start doing things like that. You've got multiple songs, you've got a load of tracks in each song. You do need these organizational tools to keep things tidy. But since you mentioned what Mike was saying, I, uh, think, um, he also mentioned something about bouncing three tracks.

Speaker A: Yep.

Speaker C: Hoping that a future update will allow bouncing from three tracks down to audio track via resampling. Yes. Amen to that. That would be huge for me personally if that could, uh, go on the wish list. Mr. M. Ableton, if you're listening or Mrs. Ableton.

Speaker A: Ableton General. Uh, we'll take that. That would be nice. Uh, uh, just to say hey to, uh. Oh, hang on. Why is that working? Uh, whiz paparazzi beats 480. What a name. Hell of a name. Awesome. Nice to have you here. Um, yeah. Um, yes. I mean, these future updates, it's always fun to kind of look at where they might go with it and what they might do. Um, we've been, they've been very generous with this update, but, you know, we always want more. It's never enough.

Speaker C: Well, I mean, that one particularly would, you know, that that would enable bypassing a lot of the limitations of only having four tracks, which, I don't know, that might be, uh, heresy in. In moveland. I don't know. But I said it.

Speaker A: I mean, as long as you are, uh, as long as you're doing the thing right, the idea of the limitation of four tracks in a move, it's our job to push past those boundaries. No,

Speaker C: if you're not. Are you even a producer?

Speaker A: Exactly. If you are not pushing the boundaries of technological music making, why are you here?

Speaker B: Um,

Speaker C: four tracks is not enough. I want four and a half tracks.

Speaker A: Give me, give me, give me, give me, give me. Let's uh, let's take a look at.

Speaker B: Ah.

Speaker A: Uh, if I bring this back, let's take a look at the delay before we move on to the stone M. Got it. Here, let's bring back our lovely guitar. So as you can see down at the bottom here, everything is kind of very similar as you'd see. But down on this bottom rung here, they have added an lfo, um, which can drastically alter, um, the sound that you are making. So for example, it's just, uh. There you go. You can just a delay, fine. But we can up that. We can dial in a Bit of delay. A, uh, bit of LFO on the delay itself. You get a moving delay, which is really, really nice. Which immediately makes me think of Steve Rogue. Maybe that's just me. Let's just dial it down a little bit. As you can see, you don't need much. You don't need much before it starts getting a bit complicated.

Speaker B: Wow.

Speaker A: It's pretty cool. And, uh, obviously you can automate that, Have some fun with that as that starts doing its thing. Now, I don't know about you guys, but I've been. I'm a big fan of Hyper pop.

Speaker B: Um,

Speaker A: and why not? Big fan of hyper pop, where you get these kind of glissandos coming through. Why not? Okay. You're hosting a show. Josh, let's stop. Let's bring that back for a second. Uh, let's bring you in. So let's stop that. So you can, uh, talk as well. Um, yeah. Uh, as you can see, there's quite, quite an. Quite an idea of what you can do. Why is that still sharing. That's odd. It's very odd. Get rid of that. Let's hide that. Thank you. There we go. Much better. Yeah. As you can see, with that introduction of that lfo, you can modulate, uh, the extent that your delay fades in and out, which is a really, really nice. Adds a bit of movement to your work.

Speaker C: Yeah. When you had it on the time. It's funny. I mean, I can't imagine practical musical uses for changing the time gradually. So it goes. It had a very woozy effect. Um, I mean, yeah, it would be good for, I don't know, making people feel ill. Musical uses of, like, where the, uh, where the change is not ramped. It's not that there's not a step where, um, it just repitches the delay as you change the speed. That has some really odd effects when you're moving it up and down. Make you seasick.

Speaker A: Yeah.

Speaker C: Fun. Yeah.

Speaker A: I think again, it reminds me a little bit of Steve Reich counterpoint. Point. Ah, not point. Counterpoint. Point. Counterpoint is a street light manifesto. Um, but, yeah, Steve Reich's counterpoint, where you've got just some plucks of various different. Various different textures and they are, you know, they're overlapping over each other and they changing and, you know, you can really get down and dirty. I. I'd love to see what Mike's generative stuff could do with a modulated delay plugin on the back of it. I'd love to see what kind of goes.

Speaker C: Yeah. I mean, as he's saying in the chat I would probably change the um, the mode from pitch to fade or even, you know, just jump to the new setting, you know, in, in increments rather than going re pitching it. That is def.

Speaker A: Well, for the, for the sake of the fact that we're here, let me reset that. Um. Ah, yeah, let me reset that. Let's change the fade. Let's take down the feedback a little bit. You got a little bit of fluttering coming in is quite nice. Oh, there's a lot of fluttering coming in there. So yeah, there's a lot to play around with in that regard. Then. Yeah. I mean, yeah, with hindsight that does make more sense.

Speaker C: Ping pong it.

Speaker B: Ah.

Speaker A: Uh, Are you getting that? I'm getting that but it's.

Speaker B: My computer

Speaker A: won't get it, will you? But it is now bouncing back and forth which is nice. So yeah, lot to play around with there. I'm um, going to stop that. Yeah. Um, I think the idea of bringing that in is a really nice thing. Right. You know, it's never, it's never wrong to have an LFO. You can never have too many LFOs. Yeah.

Speaker C: I have been known to automate effects in the past. You know, just to send individual notes into effects and have them bounce around a bit and, and have them do a different thing each time you do it. Uh, that makes things like that easier to do now.

Speaker A: Yeah. And it's, it's much more baked in.

Speaker C: Yeah, I mean you, you don't have to modulate and you can make sure that you step change your changes. Um, I didn't mind that weird sort of warbly effect you get when it's um, quantizing, you know, between values like that. I kind of like, I kind of like that upsetting it a little bit and getting that slightly chewed chewed sound.

Speaker A: I like the idea of upsetting a delay. That's quite nice.

Speaker C: Well, it's kind of like messing with the tape on a space echo or something, you know, or giving it a white whack, you know, just to get those artifacts, those mechanical artifacts in the delays.

Speaker A: Yeah.

Speaker C: So common things. So why not do it with this?

Speaker A: Why not um, why not modulate the things that you modulate? You know, you can never have too much modulation. Um, so I'm with you there.

Speaker C: Um, what's up with the synced, synced LFO though? Or was that an independent LFO speed?

Speaker A: Well, I think you, you can. I did, I did both. So you can sync it to your project and you can sync it to um, the beat for example. Or you can just let it run, uh, via time, for example, and you can just kind of let it do its thing. It's kind of nice. Um, one of one things that I did prepare here was the stem splitting. Do you want to take a look at that before we wrap up today? This is perhaps something that left me a little bit wanting. And I say that as someone who is obviously very entitled, um, in that regard. Um, the. On the website Ableton basically, uh, said that they've got improved stem splitting. Um, what's the words that they used? Hang on. Um, where are we? Um, where is it? Where is it? Stem separation. Uh, it's more flexible and intuitive. In 12.4, you can now process specific time selection, uh, time selections in arrangement view remove specific stems and combine the rest into a single track and view the progress of the entire operation rather than per stem, which is cool. So in that kind of like utility kind of vibe and kind of working like if you only want the bass or if you only want the vocals, for example, there's an easier way of doing that. Um, which is nice. Um, I still maintain that that logic holds the crown. I do maintain that still holds the crown. I think it's really good for. It's really good for beat making. And I think generally if you were going to take a. Take a vocal and acapella and then put a new beat behind it and do some sort of remix, it's great for that. Um, it did leave me wanting a little bit. Um, and what was it like?

Speaker C: Did you have artifacts or what was.

Speaker A: There's quite a bit of artifacting still. I mean, I pushed it to its limit. So I did two tracks. I did Zero Sevens in the Waiting Line, which is quite a clean, kind of chilled, early 2000s, loungey, trip hop kind of thing. Um, and then I really wanted to push it and see how far it would go and I did. Memphis Mayfire's chaotic. I don't know if you've heard that as before. It's like Melcore, um,

Speaker C: the other way.

Speaker A: Completely other way.

Speaker C: Less Cafe Del Mar.

Speaker A: So I'll show you what we've got. I'll show you what we've got. Um, I'll bring it out, um, so you can see. Um. Are you seeing this?

Speaker C: Yep, yep.

Speaker A: Cool. So, yeah, so we got the Memphis May fight here. We'll start with the 07 because I think that's easier on everyone's ears. Um, and the Memphis Mayfair was a bit of an exaggeration, but it did highlight the limitations where it's still at. So, for example, if I'm going to play, let's mute these for now, but let's keep them in sync. So let's keep the vocals going. Uh, no, the vocals come in later, so let's not do that. Uh, let's start with the drums, because that is pretty cool. It's quite clean. That's what a lot of people will be using it for. So, um, why is that not coming through? Oh, it's because my muck. You hearing that?

Speaker C: Yep, yep.

Speaker A: So it's there. There's a. Still a bit of over compression coming. It's only when this instruments pad comes in, which is quite ambient, that has. It's almost like a puzzle because together there's those fragments and those artifacts coming through. And then when you put them together, You've got a pretty clean track.

Speaker C: Right.

Speaker A: It doesn't seem to be. The drums on their own are okay. They're fine. They're a little bit over. They're a little bit over compressed. In my humble opinion. Maybe. I'm just. You like that. The cleanest thing, I think, is the bass. You can even get that high end coming from the bass as well, which is quite nice. So, yeah. What are your thoughts on that?

Speaker C: Sounds pretty good. Have you got the vocal on its own?

Speaker A: Uh, yeah, I have. Hang on. Um, I've got the vocal on its own. Here we go. Let me bring this here. Um. Dick and clap.

Speaker C: Uh,

Speaker A: everyone stop. Pretty solid. Everyone saying different things to me different things to me Everyone saying different things to me different things to me

Speaker C: do

Speaker A: you believe in what you say? There doesn't seem to be anybody else who agrees with me. There we go. So pretty clean. Pretty clean on the vocals, to be fair. Um, and Mike makes a good point. I did do 320, but it is an MP3. Um, maybe there's something there in terms of putting it through. Through a wav. It'd probably better quality if it was a wav.

Speaker C: Yeah. I definitely added slightly chewed. Slightly chewed sound to it. Like a chewed up tape, but without the. Yeah. Something about cymbals and top end. That sounded a little odd.

Speaker A: Uh-huh. Yeah. There's definitely artifacts.

Speaker C: It's not bad.

Speaker A: No, I'm not saying it's not bad. I'm not saying so it's really. I mean, I. Obviously, again, it's like defending your first world problems, as smiling, uh, Eras would say. But it's. It's. It's not bad. It's just, you know, FLS is fl. I Look at. I look at the options, I'm looking at kind of across the market. And FL I still think is superior in terms of stem splitting. I still go into FL to, uh. If I'm at home, I'll go into FL to stem split and then bring it into Ableton. If I'm at school, I'll go into Logic and I'll split it in Logic. We get six in Logic yet. Six in Logic. And I know it surprises me that Ableton haven't, or anyone else really, for that matter, hasn't managed to split that further and give us more. Because obviously it's all about us wanting more. And limitations are good, but, you know, the reason we use stem splitting, you know, is the options and the. And the ideas. Whether you're remixing yourself or you want to make a. You want to make a house banger of something, um, that you want to put on, um, TikTok and go viral. Um, it's important to have options. That's all I'm saying.

Speaker C: Yeah.

Speaker A: Do you want to hear what happens when you put it through Metal Core?

Speaker C: I do.

Speaker A: I'll bring it back up so you can see.

Speaker C: You read my mind.

Speaker A: So, uh, this is a track. Uh, Memphis Mayfires. I'll play all Memphis Mayfires. Uh, Chaotic. Great tune. Um, it's all about feeling, uh, a victim space. Great tune. So, um, let's bring this up. So I'll give you the. Give you the drums first. Not bad. It's quite, uh, artifact here. It's quite smoky. Chaos is what keeps me sane. I think I try it. I don't chase the pain When I stop. Oh, God, stop that there for a second. Uh,

Speaker C: But yeah, a couple of tracks, uh, that. I wasn't sure what you were soloing.

Speaker A: Okay, okay, I get that.

Speaker C: Well, this is around.

Speaker A: This is. This is why I did it. Because I expect we did.

Speaker C: Well, there was one. I don't know. It must have been the. I don't know. It sounded like the guitar track, but had load of drums on it.

Speaker A: Well, this is it. So this is why I did this. And it's the same one I did Lamb of God, uh, back in December. Because the mixes are much more muddy. And when you. When you get into that heavier realm of it's AI right. And it's picking apart frequencies and it's kind of unthreading them when it gets to things like metal and rock and, you know, just dirty. We did it with Dusty Springfield. Right. Where back in the day when we first did a shootout, when the mixes are dirty. Um, it's more difficult to kind of pick these things apart. And as you can see, there's a lot of guitar in that. So you've got. You've got vocals, you've got bass, you've got drums, You've got others, right, which is some. Sometimes it's backing vocals, sometimes it's guitars. Sometimes there's piano in there as well, depending on the track.

Speaker C: It's, uh.

Speaker A: You know what I mean? Um, so that's where I was coming from. And I do see an improvement there. That's where the improvement is to think the. The. The ability to pick out a muddier mix is definitely improved. Uh, but, yeah, I still don't think we're remixing Metal Core anytime soon.

Speaker C: Perhaps not soon, though. One day.

Speaker A: Yeah. The power of yet. Right?

Speaker C: We have our Cafe del Metal Core mashup.

Speaker A: M. Well, there we go. I also see that we lost basically everyone viewing live when I put on that Metal Core. And that's okay. It's okay. Maybe the world isn't ready for that yet, but, you know, your kids are gonna love it. Um,

Speaker C: Your kids are gonna hate it too.

Speaker A: Maybe I'm alone on that one. We'll have to see.

Speaker C: Uh, I'd forgotten that that was, um. That was a feature of this new release, actually, so that's good.

Speaker A: Have you done much step stem separation?

Speaker C: No, I don't have much use for it really, because as you know, I'm absolutely terrified of using anyone else's music or uncleared samples or anything like that. Sir, everything that I use I made myself. And usually I can unmake it if I need to. Do you know what I mean? I can. I can stem split the old way.

Speaker A: Um, so, yeah, M. Um, I hear that. I hear that. Um, if anyone wants to suggest something more extreme than metalcore, next time that we do stem split and shootout, um, please put it in the Discord. Um, which I will link today because I don't think I update the QR code. Um, but while I find. Yeah, that's the challenge. While I find the link. Eon, tell us all about the Discord and what's going down there recently.

Speaker C: Um, well, people are talking about the new Ports of Canada album on the Discord. It definitely seems to be of interest to quite a few people. Um, I wasn't sure, but I don't like transparent vinyl much. Otherwise I'd have to red vinyl a bit. But, um, yeah, I'll be interested to see what it's like. But, um, I don't know what do you do. When you. When you do music like that and you kind of spawn entire genres and then you don't do anything for, like, over a decade. What was it, 14 years? Um, and then you come back, what do you do? What, the same thing again? Exactly. Like before. I don't know. I just don't know how I would handle that if it were me. But it isn't me. Not a problem.

Speaker A: Well, everything is. Everything is a projection. Well, let's see. Everything is a projection of you, so you never know what's going to happen.

Speaker C: But, yes, other, uh, things have probably been discussed on the. On the Discord. Um, but that definitely seems to be, um, a popular subject in the last week or so.

Speaker A: Yeah, that's fair. Come down and check it out. Um, it's a good place to be. Um, it's nice to see where people who can't make the show live for whatever reason and what they're doing. Um, Coraline has been sharing updates to where they're at with their studio. It's been a lot of talk about subvert as well, which I think we might talk about next week.

Speaker C: Yeah, it came out of beta this week.

Speaker A: Oh, I thought it was the full release.

Speaker C: Yeah, exactly.

Speaker A: Oh, came out of beta. Sorry.

Speaker C: Exactly. Yes, it's. It's, um. Yeah, it's live.

Speaker A: Are you gonna sign up?

Speaker C: I have.

Speaker A: Oh, you have? Already?

Speaker C: Yeah.

Speaker A: Yeah.

Speaker C: Ah, I'm set up a profile, though. I'm just doing my usual cyber squatting thing.

Speaker A: It's good to cyber squat. It's good to cyber squat. Um, it's a good place.

Speaker C: That's how I knew about it. They emailed me. But, yeah, we'll. We'll talk about it next week, perhaps. Yeah.

Speaker A: Good to play until that time. Check out the Discord and see what's going on. Uh, Mike, uh, has got opinions. The new Boards of Canada album is a pastiche of old Boards of Canada. Sounds like a bad Boards of Canada ripoff.

Speaker C: Wow.

Speaker B: Okay.

Speaker A: That's bold. It's fair. I mean, I haven't listened to it yet. Um.

Speaker C: Yeah.

Speaker A: Smiling Errors has never understood the cult of Boards of Canada. And I. Oh, I get it.

Speaker C: And, um, I'm maybe not a full druid,

Speaker A: but. You got a cape.

Speaker C: I don't have Boards Canada robes. I kind of get it. I get what people like about it. I couldn't. I couldn't make it my everything because it's too much one thing. But, um, I do appreciate it when I'm in the mood.

Speaker A: Yeah, I get that I'm similar I think, I think I probably sit a bit closer to spining areas than you. The. I mean, I've got time for him, I'll listen to him. But when all this was announced, the Younger Brother album, uh, was released. And that's been taking my attention. That's kind of where, that's where my, uh, sits for now.

Speaker C: Um, sorry, what was that?

Speaker A: The new Younger Brother album.

Speaker C: Oh, yes. Yeah, yeah, yeah.

Speaker A: It's nice. Speaking of speaking, uh, of that, I want to show just, uh, very quickly, uh, how you get to help, uh, View, and then we can finish the show with the new Johnny Fallout album off Triplica. How does that sound?

Speaker C: M. Cool.

Speaker A: Cool. Here we go. So, very quickly talking about upkeep and talking about housekeeping, we were saying before how Ableton can be a bit of a, bit of a minefield to kind of, uh, navigate and it can be off putting, but you do now have this new, uh, Learn View. So if you go to the top, you go to View, you've got Learn View, you've got a host of videos, you've got a host of, uh, texts basically explaining to you how this beautiful thing works and how, uh, Ableton works at its own rate. Everything from key concepts about what it does for introduction, um, all the way down, saving and making your project once you've got it done, really cool, really good fun. Um, they've got, they've got a website version of this which has been, has been an add on, especially in the educational sector for a while, and it seems like they've just kind of baked that in now, which is lovely to see, lovely to see.

Speaker C: Useful.

Speaker A: Yeah. Um, there's always stuff to learn, right, Ian? I'm sure you'll, you'll, you'll, uh, go and check it out every day.

Speaker C: The school day.

Speaker A: Exactly.

Speaker C: Will I read the manual? I don't know. I am male.

Speaker A: So, yeah, um, let's, uh, let's listen to some music. Seeing as we're talking about music, um, I need a Chrome tab. That's what I need. This is something that, thanks to Lars, popped out, um, his review on Fringes of Sound, um, the Subconscious, uh, by, uh, Johnny Fallout, this lovely little album here, um, on Tripco Records, came out on, uh, the 29th, uh, of April. So a little bit behind the times, but that's okay. Um, and it says here, uh, Johnny's new EP brims with life energy right from the start and loses none of this momentum as it takes you through a thoroughly enjoyable selection of musical tones, twists and turns through blistering drum and bass and brain meltingly cool electronica. Mr. Fallout serves up the musical goods. That's a hell of a tagline. That's a hell of a piece of copy right there. And look at that artwork. Isn't that just a little bit beautiful? Beautiful. It is nice. Um, we've got a five track EP here. We've got the Subconscious Reflection. Only the beginning. This was happening right now. And thank you for joining us. Eon. Which one am I doing?

Speaker C: Oh, I wouldn't like to say if you listen to it yet.

Speaker A: Ah, I. Well, I have listened. I have. I've listened. I've skinned through it once.

Speaker C: If you've got a favorite, buy it.

Speaker A: Okay, I do. I, uh, like this one. Only the beginning. It's good fun. So we will play this, uh, before the end of the show. So enjoy.

Speaker B: Sa. M

Speaker A: sam.

Speaker B: This is only the beginning. M this is only the beginning. This is only the beginning.

Speaker A: Hm.

Speaker B: This is only the beginning. This is only the beginning. Um. Sa. Mhm. This is only the beginning. This is only the beginning. This is only the beginning. This is only the beginning. This is only the beginning. This is. Only the beginning. This is only the beginning.

Speaker A: M mhm.

Speaker B: Sa. This is only the beginning. This is only the beginning. Hm. M.

Speaker A: How about some of that then, eh?

Speaker C: M Nice. Yeah, I like that.

Speaker A: Yeah, really bloody nice. Um, link is in the description and I've just put it in the chat as well. M yeah, solid, solid. Ep. I haven't. I. It's the first encounter I've had with Johnny. Johnny Fallout.

Speaker C: Um, same actually. Yeah, but obviously not triplicate. Yeah, they've been a favorite label for God, good few years now. Absolutely.

Speaker A: M um, it's a hell of a journey. I do recommend listening to the whole thing. Um. Yeah, very nice. Very nice indeed. Um, so, yeah, what are you up to this week, Ian?

Speaker C: I've still got, um, experiments that haven't been completed.

Speaker A: Oh, okay. All right. All right.

Speaker C: What is to get the old lab coat on and go wonder what happens if I.

Speaker A: That's good.

Speaker C: Previous experiments have been, uh, victims, uh, of their own success. Perhaps. It kept me from doing more. So, yeah, still got some, some ideas to. To mess around with and some bits and pieces written in different places that need to be brought together again. That's.

Speaker A: Mhm.

Speaker C: Nice.

Speaker A: Okay. There's a lot to do.

Speaker C: Yeah, I like it that way. I like having a pile of things that I can, you know, dip into. And if it doesn't all get done, then great, you know, it means I've still Got a pile. So whenever I've got time, I don't have to worry about what to do.

Speaker A: Absolutely. I like it. I mean, what is the, what is your priority for experimentation this week?

Speaker C: Trying to get the Envelope follower on MS.20 running nicely to drum brakes.

Speaker A: Okay. All right.

Speaker C: So that I can have a real choppy rhythmical lead. I don't know if, um, I don't know if it's going to be able to do it, but I'll see.

Speaker A: Okay. We have to report back next week.

Speaker C: I'd have to tweak the threshold and there's a sensitivity setting on it. Um, but I don't know how good it is as an envelope follower. But if it doesn't work great, then there's a software envelope followed follower in Ableton that you can use. So yeah, just do that instead.

Speaker A: There's many ways it's going to cat.

Speaker C: Right, exactly. Yeah. And a lot of things, you know, that you can do with hardware, you can do with software these days. You know, that gap is really closing.

Speaker A: Yeah, absolutely, absolutely.

Speaker C: I've got a load of stuff to try and do with VCV rack as well.

Speaker A: Are you still on that trip right now?

Speaker C: Yeah. I've got to be more disciplined with saving patches. It's a little counterintuitive with software modular because with modular the whole thing is there are no, I mean a patch is a physical patch. Right. Um, but obviously on the software side of things you can save them and restore them. So you can build complex voices. I go, right, I'll save that. And then I can recall that as a block that I can build a larger patch from and I can maybe, you know, use several voices and you know, replicate them multiple times and so on and you know, grow your patches that way from pre made components.

Speaker A: Sounds like.

Speaker C: So this is all stuff that I meant to do. Yeah, I, uh, just got a little bit set back by a program crash and it reloading with just the default patch and me wanting to smash everything inside because I'm so patient. You are not entitled in any way.

Speaker A: Absolutely. Never, never, never shall you see an obstacle in your way. Yeah.

Speaker C: How about you? What you up to?

Speaker A: I'm turning. I'm in the midst of turning in the wake of light into a uh, live performance which is more than just triggering clips in Ableton.

Speaker C: Um, that's interesting.

Speaker B: Yeah.

Speaker A: And it's take, it's taking a very different turn. It's a lot more kind of, uh. Well, I mean I'm, I'm, my limitation is I'm, I'm not. I'm refusing to take it away from the ambience. It's still an ambient thing, but I'm bringing in. Obviously, I've got the. I've got the board there. So I've got the mono and I've got the. The move. I've got the iPad, which. I've got this like, Korg. Korg, uh, soft synth in there. And I've got the, um. What is it? The green one, the tweak, The S one. Um, so I'm. I'm. And I'm actually. I've got vocals in there as well now, uh, which is a fun thing, and a guitar and an sp. So I'm basically. I'm using the board to kind of build on top of the loops that I've already got and build on top of the sounds I've already got. So it's coming together. I'm about. About halfway through and I just need to finalize it. So that's kind of what I'll be working on this weekend. That's kind of my thing.

Speaker C: That's interesting. So you're gonna maintain some of the core sounds, but manipulate them and play on top of them and other stuff.

Speaker A: Absolutely, yeah, absolutely. Um, the idea, I'd like to do a live video, live set, and then I'd like to take it out on the. Take it out into the. Into the bars and clubs. You know, uh, Lars and Survey have done in particular, and Mike and everyone have done really good jobs of playing live and want to break into that. I think this is a good start for that. Yeah, same. That's what. That's my. That's my plan. Um, one last thing before we go. Thank, uh, you to our patrons. Thank you ever so much for being here. Um, really appreciate the fact that you allow us to keep going. We have just re upped on restream for another year and we've managed to do that because of you. Um, so we'll do this for at least another year. Um, and we'll see how that goes. Um, so thank you ever so much. If you like what we do and you fancy, uh, supporting us, you don't have to. There's no obligation. But if you wanted to. The QR code is there. Um, actually, I'll put a second one so you can see. Um, there's one there and there's one in the corner as well. Um, pledges start at $2 a month. Keep the lights on, get free music, you get sample packs, and, um, the inner. An ability to make some more decisions and help out with things behind the house. So, yeah, thank you ever so much. Your continued support is amazing. Um, and it keeps. Keeps me motivated to keep doing this. So thank you ever so much. Really appreciate it. Ian, any words before we go?

Speaker C: Yeah. What are you up to? Um, we have a new channel on the Discord. What are you up to this week? Why don't you tell us what you're up to?

Speaker A: Absolutely. I'll put a link there. It's a very good reminder. After last week's show, there was a request for us to make a new channel. What? Basically what we're up to. Not even music involved. It's just a nice way to see what people are up to. Um, tell us. We are so curious as to what you're up to and what you're doing. Um, because, you know, I know what I'm up to, but I want to know what other people are up to. Absolutely. So we'll be back next. We'll be back next week, I believe. Um, yes, we're back next week. I think it's two weeks. We won't be back because I've got to work late on that Wednesday. Um, but, uh, next week we'll be back. Um, yeah, check us out in the Discord. Say, come say hi. We love to see you. And, yeah, we'll be back next week. Thank you ever so much.