@@RC-SATX I actually don’t have the steam available for the public but you have me an idea. I am starting with a series of shorts of dolly shoots of my favorite gear. So I may release one on the Juno and use the bell loop as it’s sound track. Can you extract it from KZbin?

@@ShaperSoundChannel Yes. If you upload it to KZbin I can export the sound as an mp3. Thank you for the quick response!

@@KathrinePandell everybody is welcome in the channel and yes Gilliam is this episode popular host 😗. It turned out Gilliam was very articulated and explains very well. It was easy to put up a good video from his great material!

@@EndVertex thanks and agreed, very stylish pair of helping hands I got on this video!

@@GillamtheGreatest this was a lot of fun! Thanks again for the hard work. We can maybe finish that song and publish it as well, I liked the jam results. T hey have just released the 2.0 firmware for Osmose too, I will spend some time now updating and messing with it.

@@ShaperSoundChannel yeah i would be cool with finishing it and publishing it. now if only i had an osmose to fiddle with haha

@@GillamtheGreatest maybe the candy store hear your wishes 🤣

@@liviou2004 thanks for the feedback, this is exactly what I want with this series, everyone can send in their feedback and all can improve their patches. Agreed both the Moog filter and in post the producers have muffled the sound a bit more.

@@eaganmatrixprogramming nice having you in this humble channel! I’ve noticed that it reacts to release, but does it send it as an event via MPE (like “note on” in regular MIDI) or we can only take advantage of it in Eaganmatrix? I could imagine that changes in velocity would be related to pressure instead of regular press velocity, but is great to have your confirmation on it! However are these changes in velocity possible to be used via MPE output, or only at Eagan sound Engine? Thanks for your comments

@@ShaperSoundChannel HI! I admit this can be very confusing for someone just starting out. When setting External Midi, even for MPE, velocity is output (though might not be used by your MPE target). Note with USB there are two virtual ports (port 1 which is for external modes and port2 which is for the internal sound engine). Port 2 will always output velocity=127 unless changed in the editor - so best to always use external midi port1 or DIN set 1/3 when playing any external MPE device (and for non MPE targets you can use standard "Classic Keyboard" ext mode). Yes sensing of release is all internal. The Osmose sound engine is the same as on Continuum - and uses the same editor (though preset programming is a bit different). All pressure related control is only using channel pressure for the internal sound engine and that is all that is output. The fast attacks and attack effects you can get are all internally generated. The only thing Osmose will output from the sound engine is Midi NoteOn/NoteOff, Pitch Bend (X) to get your pitch offsets, channel pressure (Z), and Aftertouch (CC74/Y). Then there will be some CCs you will see that are used for MPE+ (like CC87) that allows for 21 bit X resolution, and 14 bit Y and Z resolution. This is all for the sound engine. You might join the Facebook Osmose Users group where lots of interesting things are discussed (if you have not already - where this was posted).

@@eaganmatrixprogramming these tips are gold, I’m currently working on new content using Osmose as controller and want to invest time on the Eagan matrix, but still wasn’t able to connect to the editor (haven’t had much time to troubleshoot). I’ll have a look and join on FB. Cheers!

@@ShaperSoundChannel Make sure to set your Osmose to Haken modes "2/3 Note and Matrix" and "Haken Local Mode On" and use port 2 to connect to editor.

​@@eaganmatrixprogrammingthe ExpressiveE Osmose page is the heart and soul of the Osmose community!! Highly recommended.:)

@@CartoonCityKid in a far far galaxy a long time ago I did not know how to master volume for KZbin, learning by doing

@@GillamtheGreatest ah brother it is a special one I must say! But I was thinking about you while doing the video. You have a theremin, don’t you? I am planning to make the next video exploring MPE in Hydra, using MPE continuous coordinates for modulation. Don’t you think we could adapt the same patch to work with theremin as a midi controller? Would you be up for a collab video?

@@ShaperSoundChannel yup i got the claravox model by moog. im down to collab. you want me to email the address linked to the channel so we can swap discord IDs or something like that?

@@GillamtheGreatest sounds like a plan. I’m on the move with the family this week but let’s exchange some contacts and start experimenting!

@@rproctor83 in theory the piano is a metallic string that is hit by the felt hammer, so it should be perfect to synthesize piano and e-piano. But if it was easy I think Haken Audio would have done it in it’s native patches. There was some e-piano there but I’m not impressed by it. I really want to deep dive onto its editor and I’ll probably make a video about it. But If you are thinking DAW, it depends on if you use a sample based library or a modeled one. I think samples will not have many benefits from MPE, and for a piano experience I must say velocity alone is good enough. But I know people are using Osmose with physical modeled string libs and they work perfectly from the DAW. It all depends on your cpu and ram, but the extra data should not add substantially to latency.

No. You cannot get a realistic piano sound like you can from a sample library. The sound engine was not intended for that. But you soon will be able to import a small "sample" that you can manipulate as an additive synthesis model. That will greatly expand the sound generation possibilities. This upcoming feature was actually used in the latest Dune movie. But then the Osmose has 4 external midi modes that let you play any sample library you can think of. It's an amazing instrument!

@@Samwisedragon I’m glad to hear it was helpful. Share with us your improvements later so we all can learn from each other. I’m working on a video for a new synth for the studio that will open up new possibilities with Hydra and I might revisit the strings patch as well. Cheers

@@Salinxs_ thanks for the incentive, I haven’t had much time lately to dedicate to the videos. I new synth have arrived yesterday and I’ll make a video about it, but in my studio context it has to do with Hydra and I’ll make a patch on it. So stay tuned and thanks, sometimes I need a little push.

As far as I know it is about improvement in its components and circuits, it was not about changing functionality. Neon Egg is a one man band so the pedal version was more of an engineering necessity than a marketing one.

If I remember correctly Neon Egg mentions an Integrated circuit ship that is being pushed to its limits creating saturation on feedback so DPS. But I need to check the manuals again.

Now giving it a second thought… it is not because you use IC that it is digital, you would need a microprocessor to run software to be digital. Therefore I know that delay , at least, is analog. But not sure about compression and chorus…

Yes I must confess drum machines are not around my strengths, so every feedback is much appreciated 😅

I’ve used the Model D cause it is a simple subtractive setup. What you need is only 2 oscillators, an envelope that can control your LP and a HP or BP filters. You can for sure reproduce it in Hydra too. PS I have a video on how to make the way in Hydra, I will paste the link below. Let me know which you choose and how it went.

Here it is the wah video kzbin.info/www/bejne/nWisqYSQitJgq6Msi=iktutOOVJpRuTnsQ

@@ShaperSoundChannel will watch the video tomorrow i think. might try it in both. K-2 is an ms-20 clone so it has all the necessary features i think

Glad you’ve found the channel and took the time to leave a message. The algorithm is not always in favor of the small channels unless you post every week 😣. Yes some VSTs have some hidden pearls. I also thought this would be cool to share but your comments are my real way to know, so thanks for sharing.

@@ShaperSoundChannel Hey, thank you for the info and the video. I'll keep an eye out for any other content you share. Best of luck. Peace!

I know what you mean. AI can be an overstatement sometimes, machine learning is what these are. Meaning, the software is really good in recognizing patterns but don’t know what these patterns means . So a human has to classify these patterns, and what I want is to learn from these humans that have “thought” the machine 🤓. Thanks for the comment

Thanks I’m a little dyslexic sometimes

I read all your comments and I am open to suggestions, no hard promises but I’ve made a couple of videos already, based on comments ideas 💡

🤔Hum, good call I am transposed, but is it E though? Which scale? I am playing (to my years) a full step down, but the recording is not tuned to a normal A 440Hz cause it does not match a tuned piano. Closest I could get on a tuned piano was D harmonic minor scale with Bb and C#. Some quick Google search says the song is in A flat minor with the tune dropped down to D…. Let me know what you think.

@@ShaperSoundChannel perhaps you should take a deep BREATH and reconsider my comment.

@@kcrosley 😂

@@ShaperSoundChannel 🧠👈

Have you seen the James Bond theme video? It sounds really plausible as well. I was also looking into Daft Punk but they also sample a lot so I was intimidated to try sound design. But I thought at least it was an interesting workflow to make a video about. Cheers

@@ShaperSoundChannel yup watched that one and had already seen the other one you linked like 2 days before you released this video. i dunno if they used the samples from james bond or not but i tried playing both breath and the bond theme on the guitar, and my guess is whether they sampled the bond them or played in their own version on a guitar or a synth in the final recording, the idea probably came from someone noodling around with the bond theme on the guitar. daft punk definitly does that sorta "is it a sample or not" type of thing too, but dont be intimidated. everything is an oscillator if you are brave enough.

@@GillamtheGreatestgood call, daft punk is definitely on my list to explore, hehehe. Yes I agree with you, these artists can recreate, have good post and can chop it all over again. And we can synthesize which ever sounds we want because it’s fun! Cheers

Thanks for sharing your impressions! AI has been a useful learning tool for me in sound design, mixing and mastering. I am not always able to use its output directly as a final result, but it puts you already in a nice starting point. So why not to continue from there in any other platform you know well? Happy to share!

Hi @GilliamtheGreatest tanks for the feedback. I am looking to improve the format so I use the vide time to say what is important, and make it easier for you on reproducing the patches. Thus your feedback is important for me. There is another video in the oven, coming up in a few weeks. Let me know how it went on your patch. Cheers

@@ShaperSoundChannel will do, and looking forward to the next one.

Hydra is like a dream scenario for sound design in a hardware form. What is normally a limitation in other platforms such as envelopes and modulation is available in abundance in Hydrasynth. This is why I use it a lot in my videos, it’s almost like cheating. Enjoy your Hydra, new synth days are the best!

I love when people take the time to give constructive feedback as well. We all learn when we share. Thanks for the comment!

You got it! Going trough this mental exercise to have to understand to be able to immediately apply helped me a lot to really understand what she was doing in terms of sound design. As a fun fact I've watched an interview with her after doing this video and she spelled with all words some of her "tricks" with envelopes and amplitude modulation that confirmed to me some of the concepts or "lessons" we could learn from her patch collection. Have fun with her collection and share your insights ! (oooo matriarch... is on my wish list)

@@ShaperSoundChannel Thanks for taking the time to answer. I forgot to mention that you did a really fine tutorial here, clear and easy to understand, eye-opening and helpful! I'll let you know how that idea works on the Matriarch, mate.

Right?! I was also impressed, I have not played live with the guitar, amp and band, but on studio it was almost untamable!

Thanks for the feedback. Yes the music in between was an idea to bring back the end result, but your feedback is good to not make it do repetitive. Let me know latter if you found another route for the patch cable on the explorer, do that we can share with others how to do it there.

Good call. Not excusing myself but, on the latest episode of this series around Ladytron, you can see the progress around mixing as the original. Far from pro, but geometric progression. Izotope tools were crucial for me to learn and compare mixes, it is a whole other universe going from playing instruments up to music and video production. Many people don’t know what goes behind. But it is very good when the community give feedback with tips so all can learn, including myself.

OK cool. As long as viewers can check out your mix & your process and then make sure to soak up everything great about the original mix (super layered).. then great 😃👍

Yes the discussion is super important, the best of my videos were the ones that you guys gave your opinion, I even had collaborated with the audience showing their own take of my patches. It is great when you take the time to give feedback

Good feedback. As I had progress on this series I was more attentive to the mix by studying and equipping myself better. My focus has been in Sound design. But this specific series thought me a lot about sound engineering. I mean this channel is a school for me. Started a year ago from scratch on video editing, filming, producing with focus on subtractive synthesis, then learned about mixing and Mastering as much as one can teach one self. Like I always say, this channel is about the ride,about the journey.

Thanks from the other Mauricio here!

Hi brother! Absolutely no need from extra synths. I am forcing myself out of my comfort zone to learn new tricks. But Hydra is a full sound design lab, all the tools you need there. I am actually wanting to try the vowel sound there to hear how it sounds . I am a bit obsessed for that timber since the guitar times. Dire Straits used to have a wha pedal on a stationary position just to get that filter sound. When I find it I will make a video on it! Cheers!

Thanks for sharing, I always try to encourage people to try out with their own gear and instruments. So when someone shares, both, that they succeed, moreover that they could reproduce it with different instruments it is rewarding for me! I get extremely curious to see and hear your setup.

yes this was workt to see , never used combo M32 and Edge and you know modular world, you can adjust patch to your environment. I have added strega hell on top it and it sounds killer @@ShaperSoundChannel

Hahahah for sure! There is so many ingredients for music in the channel. But it’s the Han and the egg, don’t know which comes first 😶‍🌫️

I’m with you there. Always thought LBD sound scape is not my cup of tea, but she is a synth Guru for many reasons. Some valid lessons there that I’ve been using after going through this video’s research

Hi Barry, many people has been asking lately to have access to the different patches I teach in the channel. I am looking into proper ways of making them available to the public, so I keep you guys posted on the channel when I finally get the infrastructure set.

@@ShaperSoundChannel That would be so awesome.... I am a big Radiohead fan and have considered starting a Radiohead tribute band or at least playing songs like this one in some of my other bands.