WEBVTT 00:00.000 --> 00:05.000 [Automatic captions by Autotekst using OpenAI Whisper V3. May contain recognition errors.] 00:08.089 --> 00:17.841 Okay, so the first thing we're going to do is just go to gibber.cc and you'll get the landing page and you'll just need to go to the playground 00:17.881 --> 00:27.832 here. My background's white, you can change it here. Yours should be some sort of default black. I'm just gonna start off by writing down a 00:27.892 --> 00:39.962 command Bible here to make sure that everyone knows how to use this. So yeah, like Stefano said, this is all JavaScript, but the only special 00:39.982 --> 00:51.831 things you need to know are Control and enter. It's going to run the current line of code that you're on at the start of the next measure. As 00:51.851 --> 01:00.198 you can see here, Gibber always has this metronome counting here. so that everything stays synchronized ideally, the visuals and the audio 01:00.258 --> 01:19.274 as well. You can also do Alt and Enter will run the current block of code. Control and period, that's going to stop running all the audio. 01:23.110 --> 01:30.236 And for debugging purposes, of course, that's important. I'll show you visually, and then I'll just write it down so you don't forget. 01:30.956 --> 01:43.326 Right-click, go to Inspect, and go to Console here. And then you can see any errors that you get. So if you just type gibberish and try to run it, 01:43.866 --> 02:03.334 you're going to get an error trace and say that this is not defined. So I'll let this go for now. right click into inspect into console is debug 02:06.195 --> 02:19.819 okay so now we can begin coding I guess so let's start by making our first object just have it be pretty basic synth inside the parentheses you can 02:20.039 --> 02:29.227 put single quotes and it'll give you all the different possibilities of synths that they have in here let's do let's do square bass to begin with 02:29.487 --> 02:39.796 choose whichever one you want and let's just start off by playing a basic note so this would be all considered one block here so you're gonna press 02:40.276 --> 02:47.068 alt and enter And then that was kind of quiet. But here, let me do something that's not a bass. 02:50.492 --> 02:55.758 Let's do a bleep. Yeah. So you have your first note. 02:58.849 --> 03:09.383 So the zero here represents the zero with note on the scale. I believe it's an A minor. Is that? Yeah. Yeah. The default scale is an A minor. If 03:09.423 --> 03:17.617 you go to the reference page, there's a theory. If you want to get really into it, we won't go into it too much right now. but you can get very 03:17.657 --> 03:24.880 granular with the notes you're playing. I know people on previous workshops have wondered if you can play microtonally. I believe you can 03:24.940 --> 03:38.204 here, you can do 0.5. You can do note F and specify the frequency of the note you wanna play as well. 49 for instance. But yeah, so now we want to 03:38.324 --> 03:50.844 actually sequence this. Let's keep that note F, let's keep 49. or let's go 440 and let's do a sequence just a basic one so the sequence is going to 03:50.864 --> 03:59.805 take two arguments the first one is the note it's going to play so let's have it just be actually yeah let's just do sequence.note 04:01.026 --> 04:11.776 s.note.sequence so it's going to play one and it's going to play that every fourth note so if you play that you should get steady rhythmic 04:11.816 --> 04:15.717 fourth note change that to an eighth note 04:19.259 --> 04:37.144 16th note then drop the bass just a few uh things if you want to change up the bpm clocked up bpm so here you can hear just the beep here And I'm going 04:37.164 --> 04:41.926 to change it. I believe it starts at 120 or 140. So let's slow it down to 80. 04:52.569 --> 05:01.958 And as always, it starts when you do the Alt-Enter once it gets to the beginning of the measure here. You can also, if you really want to, you 05:01.998 --> 05:09.184 can do shift and enter to play a note immediately, but then things start getting unsynced, so just be careful about that. I use Jupyter 05:09.224 --> 05:15.049 Notebook, and that's kind of second nature to me, and that leads to some pretty weird synchronization issues, so just be very careful with 05:15.069 --> 05:24.794 that. Okay, so like I said, you can do control and period to stop everything. You can also, if it's easier for your brain, you can just do 05:25.854 --> 05:37.257 s.clear for whatever, if you want to control each individual instance that you want to stop. So yeah, so let's create a slightly more 05:37.897 --> 05:47.502 complicated sequence here. So as I said, the two arguments are the notes you're gonna play and the rhythm, but it also takes arrays. So let's just 05:47.522 --> 05:52.645 do a basic one, two, three, zero, one, two, three. 05:59.489 --> 06:04.229 And likewise, you can pass arrays in here as well. to give you different rhythms. 06:16.678 --> 06:23.402 And let's say you want to just create some randomness. So it's not the same thing over and over again. You're just going to go to the end of your 06:23.422 --> 06:36.279 array and write .rnd and put parentheses at the end of it. And then you'll be able to visually see here It chooses one of these at random every 06:36.299 --> 06:42.343 single time. We can do the same for our rhythms as well. 06:51.308 --> 06:55.771 So already you can get some pretty dynamic sounds out of this. 07:00.399 --> 07:14.023 And we can go a bit more into detail here. We can make an ADE SR envelope as well. So let's change the attack of this. Let's make it 1 4th 07:17.404 --> 07:26.646 and 1 8th. Make that random as well. And let's apply it. Yeah, let's just do it every fourth note. 07:31.175 --> 07:45.059 And likewise, you can do attack, decay, sustain, and release. We can also, if you don't want to write it all out like this, you can create maybe 07:46.019 --> 07:55.901 a rndi. Note the capital R here. And then this will turn a random integer number between 0 and 8. Do negative numbers. 07:58.599 --> 08:06.522 And then if you run it with control and enter, you should be able to see exactly which number it's producing here. 08:14.301 --> 08:29.512 so uh likewise if you want a more interesting way of uh picking a note for a synth let's keep the bleep synth and let's do s dot note dot seek and let's 08:29.552 --> 08:40.336 have it take in a sine wave So the sine function here is going to take in two arguments, period and amplitude. And you should be able to see it once we 08:41.077 --> 08:51.743 run this here. And let's have it sample the wave every eighth note. So run this. And then if you do Control-Enter here, you will be able to see your 08:51.783 --> 08:57.346 wave and which parts of the wave it's sampling, from 5 to negative 5. 09:09.199 --> 09:10.019 amplitude 09:12.480 --> 09:13.880 period make it run faster you 09:20.502 --> 09:33.306 can also as stefano mentioned before the gen uh if you're familiar with uh max msp you can use that as well gen cycle two times three 09:43.360 --> 09:54.342 Similar kind of thing to what we're doing. And let's make the rhythm a little more interesting, too. They offer a Euclidean distance 09:54.562 --> 10:06.024 function here. So it also takes in two arguments. Let's do six and eight. So for this, with an eighth note, it's going to return six evenly spaced 10:06.164 --> 10:17.022 beats. And you should be able to see that visually. There it is, yeah. So it's six of the most evenly spaced beats in a set of eight. If you do three, 10:17.042 --> 10:20.187 you'll see the same thing here. If 10:25.975 --> 10:36.640 you want to get really granular, you can also do hex, so for those that aren't familiar with hexadecimal code, it's gonna take in something 10:36.660 --> 10:50.804 that looks like this, 0.X0000, and each of these digits here, I guess, is gonna represent four values in binary, so for instance, one is gonna 10:50.824 --> 10:52.344 equal 0001, two is going to equal that 11:01.507 --> 11:18.471 If you do, let's see, yeah, 16, no, 15's all of them? 15's, yeah, all ones, which is F, yeah, yeah. It goes from A to F once you get past nine. So let's 11:18.491 --> 11:26.813 say you do something like eight, A, F, and two. 11:37.051 --> 11:48.042 you can also apparently i think it's hold shift and click on this or alt and yeah now hold alt and click on this and you should be able to edit the 11:48.082 --> 11:48.623 pattern live 11:54.017 --> 12:03.500 It's crashed my browser before. Just be very careful if you want to use this. Yeah, nothing will be saved if it crashes. So just use with caution 12:03.681 --> 12:13.525 and then you have to click alt and on the pattern again and then it should apply the pattern there. Okay, 12:13.945 --> 12:18.347 let's create a sequence like this. 12:23.424 --> 12:25.345 And play it every eighth note. 12:31.009 --> 12:39.694 If you would like to play around with the sequence without using the random functions and random number generators, you can also define 12:39.854 --> 12:51.882 this array as a variable. So let's just call it SA, whatever you want to name it. You can also call it a node array, maybe more descriptive. 12:54.537 --> 13:01.399 And there's a lot of things you can do to note array. One of them, for instance, you can transpose it. 13:05.120 --> 13:14.723 So I'm going to transpose the note array by one for every one measure that it goes through. And you should be able to, if you do the control enter, 13:14.843 --> 13:23.766 you should be able to see each number here go up by one. Oh, yeah, because I never defined this. That's right. Yeah, now you can see it move up by one 13:23.806 --> 13:24.166 every time. 13:28.726 --> 13:33.849 so this will just go into infinity so you need to reset it as well 13:41.292 --> 13:48.216 and so what this does is reset it back to normal every four measures and then back to normal 14:04.127 --> 14:15.014 Let's also change the cutoff on the synth as well. We can slowly fade it in. So let's go from 0 to 0.5 over the course of eight measures. And then 14:15.034 --> 14:16.034 you'll get a slow ramping in here. 14:34.810 --> 14:48.278 And yeah, let's start adding some effects as well. So we can add some reverb as well to this. We're going to call the space reverb here. Send it 14:48.298 --> 14:57.863 to a bus and also a delay. And yeah, like you said, note the capitals here as well with the functions for reverb and delay. 15:02.620 --> 15:12.049 And on the delay, you can actually see all the different kinds of delay you can choose between. I'll do eighth note delay. Send that to a bus as 15:12.089 --> 15:25.701 well. Then all you need to do, well, first you need to run this to make sure they're declared. Then you'll need to connect the synth to the effect 15:25.781 --> 15:28.704 buses. So we're going to connect the reverb. 15:32.515 --> 15:42.401 and then the amount of reverb I guess you want on it. Yeah. Yeah, 15:42.762 --> 15:49.666 so it keeps going for two measures. Gonna bring that back down. 16:05.606 --> 16:17.970 And let's also connect it away. Yeah, maybe. Yeah, let's do, yeah. I'm not getting enough feedback so much. 16:37.869 --> 16:53.738 One last thing I forgot to do with synths. You're also allowed to make a polysynth as well. Same kind of things here. I'll keep it at bleep. And 16:53.778 --> 17:13.644 with the polysynth, you can make multiple sequences. So I'll start off with random between... 1 and 3, random int, excuse me. 0 and 3, every 17:13.704 --> 17:14.304 fourth note. 17:21.626 --> 17:28.907 And then we can also keep on going. And let's do a random int between 7 and 10. 17:34.184 --> 17:45.233 Every fourth note. You also need to add a third argument now. So this is going to be 0 and this is going to be 1. And now they can both play at the same 17:45.293 --> 17:57.362 time. And if you want to access all of their components separately, you just need to say s.note and then index whichever one you want to deal 17:57.402 --> 17:57.542 with. 18:12.268 --> 18:23.735 Sorry, one more thing on the synth, because I know a lot of you were coming from the title cycles workshop as well. If you want to, if you're more 18:23.795 --> 18:33.721 comfortable with it, you can always call s.note.title instead. I personally like it for a lot of reasons, namely because you don't need to 18:33.741 --> 18:43.605 keep writing commas here. So if you want, you can do exactly what we're doing in the title. Oh yeah, we need to declare a synth actually first 18:43.665 --> 18:43.865 though. 18:53.213 --> 19:00.820 So for whatever reason, you're more comfortable with using this. You can do that as well, but I'm just going to keep going in the Gibber syntax. 19:01.607 --> 19:14.333 I'm going to move on to drums and to triggering. So let's start off with just a basic kick instance. And it's going to work a very similar way to 19:14.353 --> 19:27.043 the synth, except instead of sequencing it, you are going to trigger it in a sequence. And it also takes two arguments, but this time it's the 19:27.083 --> 19:37.431 first argument is the the gain the amplitude of the kick and then Yeah, the same as before. It's just the rhythm. So this is just gonna do a kick 19:38.252 --> 19:43.916 Same volume every fourth note if you want to make it quieter Turn it down to 0.5 And 19:47.178 --> 19:48.940 then the same as before you can do 19:52.628 --> 19:53.568 An array of rhythms. 20:00.570 --> 20:01.530 Random float. 20:11.752 --> 20:16.333 And there's really a lot you can do here, so let's make this back into an array here. 20:24.105 --> 20:25.526 Oh, yeah, remember the comma here. 20:32.772 --> 20:50.405 Let's make this into a Euclidean rhythm. And like before, we can see the rhythm here. And let's give that a name. Let's go kick rhythm. rhythm 20:51.025 --> 21:00.531 let's do something let's do let's reverse it actually that's probably the word i was looking for here you can see every time i call this now it's 21:00.611 --> 21:09.277 doing the reverse of the pattern before so this one ends up in the last spot etc etc 21:13.439 --> 21:24.163 put it back to normal We can also, let's say, I'll keep this up so people can have it. Let's rotate the pattern. 21:27.045 --> 21:31.468 Let's rotate it by one eighth note to every one measure. 21:36.211 --> 21:40.374 Oh yeah, sorry, we have to do dot seek for that as well to sequence it. 21:44.937 --> 21:55.873 Now you can follow. ones moving along the way here and just like any sequence you can add arrays as well 22:05.933 --> 22:16.881 Close this off. A good indication that your code isn't running is if you press Control-Enter and it doesn't light up the text like that. You know 22:16.901 --> 22:19.864 you've done something wrong. And now it's good. 22:28.490 --> 22:45.181 And let's just fill out the rest of the drum kit here. So let's go snare. trigger sequence so if you want to do something like you want the snare to 22:45.221 --> 22:53.547 hit every offbeat you can always put an underscore as the first value of your array then do one 22:56.590 --> 22:58.271 for every fourth note 23:03.953 --> 23:13.363 as opposed to if you do this, then you have it hit on, well, yeah. All the notes, and then this would be one and three. 23:24.326 --> 23:31.915 You can also declare hi-hats, it's just called a hat here. Also worth noting, if you put single quotes in any of these, you can choose between 23:31.955 --> 23:37.040 different kinds of snares, hats, kicks, whatever you want. I 23:41.585 --> 23:43.387 don't like the sound of that, I'm gonna keep that normal. 24:11.681 --> 24:21.627 We're gonna get started with part two here and it's all gonna be about visuals and audio visuals specifically connecting all the things that 24:21.647 --> 24:32.192 we've been doing all the sounds and creating visuals with that so first things first this is very processing intensive especially on the the 24:32.212 --> 24:46.697 browser here so just to prevent any potential disasters we're going to set the graphics quality to low and keep it there for the duration of 24:46.737 --> 24:55.144 this. If the browser crashes, you're gonna lose all your code, like I said, and we don't want any bad things to happen there. So let's just 24:55.164 --> 25:12.723 start off by rendering a box. So we have the capital B, the box function, and then render is also the function. There's our box. If we want a better 25:13.063 --> 25:30.249 look at the box, we can rotate it, say 45 degrees, and then along x, y, and z axes, calling 111. We can change these numbers up as well. 25:35.069 --> 25:47.923 Get different views of the box. And similarly, you can call sphere, you can call cone, small cone, but we're going to keep it on a box right now. 25:55.248 --> 26:07.597 so let's say we want to change the size of it in a sequence we can do exactly what we're doing in jibrew before with the synths size dot seek and then 26:07.657 --> 26:15.102 we can choose different sizes of the box so change it every eighth note 26:23.089 --> 26:33.495 And we can apply all of our fancy functions like we did before. But let's do something a little different. Let's do some animation. So we have a 26:35.176 --> 26:51.502 built-in onFrame function. It has one variable, time. And the onFrame function will run once for every single animation frame. So if you want 26:51.522 --> 26:55.283 to do something like b.translate, 26:55.704 --> 27:04.748 I'm actually just gonna shut this down. All audio visuals have the same command. So if you press control period, it'll also shut down the box. So 27:04.888 --> 27:20.624 we do b.translate and let's do a sine wave, let's say. Over the course of time, And this is going to be the x-axis that it's going to be translating 27:20.724 --> 27:29.905 on. And let's do a cosine for the y-axis. So render the box. 27:32.906 --> 27:43.888 Oh no, there it goes. Okay. Yeah. So now our box, I guess when you expand it becomes a rectangle like that. Let's speed it up a little bit. 28:01.951 --> 28:04.712 And we can also animate the rotation as well. 28:08.293 --> 28:21.298 Let's also do that as a sine wave. times pretty high number and then same thing along one one one like we had up here 28:27.203 --> 28:33.829 and now our box is bouncing and rotating let's make the rotation a bit let's do 360. 28:44.117 --> 28:56.226 If you want to make it a bit more complicated, Gibber also has a pretty dense library of fractals. So for instance, this one called Julia. 28:56.246 --> 29:06.113 Let's stop this real quick. Let's make a J for Julia and render this. 29:10.658 --> 29:20.042 I guess it's a little hard to see with the low quality. I think I change it to high just for right now. You can see it's quite detailed here. 29:20.482 --> 29:24.264 Actually, 29:24.304 --> 29:25.765 let's just scale it up a little bit. 29:29.727 --> 29:40.629 So when you scale and then put the number in there, it can increase the size of whatever graphic you're working with. And yeah, so we can also 29:41.449 --> 29:46.390 change up the number of folds here. Yeah, 29:46.430 --> 29:51.851 there we go. You have to make it equal to two. Three, four. 29:54.351 --> 29:59.490 Everything looks a little different. Like before, you can... Sequence it 30:02.412 --> 30:06.955 to display a bunch of different kind of visuals. I can already feel it lagging a little bit, so I'm going to change this back to low. 30:10.138 --> 30:12.439 And change this up every eighth note. 30:22.887 --> 30:37.532 OK. So now that we have some kind of command over these shapes, let's... I'm just going to delete this. Excuse me. Let's synchronize it to our 30:37.652 --> 30:42.474 audio. So let's actually start from the beginning. Let's make sphere. 30:48.217 --> 30:48.637 Render that. 30:51.648 --> 30:53.869 And let's make a kick object. 30:56.790 --> 31:02.952 And then all in the same line, I'm just going to trigger it so that it runs once every fourth note. 31:07.153 --> 31:12.755 And then pretty simply, I'm just setting the sphere.radius equal to kick. 31:16.596 --> 31:23.739 As you can see, it's pretty far away here, so we just need to make a little offset. Sphere.radius.offset. 31:23.779 --> 31:33.223 I'm going to make that equal to 1 to get it a little closer to us. Do 2, you can get even closer. 10 31:36.004 --> 31:38.585 doesn't work. Keep it at 2. 31:44.781 --> 31:53.087 And then if you want it to be a bit more extreme of a pulsing motion, you can do sphere.radius.multiplier. 31:55.468 --> 32:04.795 Make that equal to whatever number you think looks the best. Anyway, there's a few other graphics you can render as well. So for instance, we 32:04.835 --> 32:06.156 can render a plane. 32:11.221 --> 32:23.109 Again, with higher graphics quality, you'll be able to see it kind of stretch into infinity here. We can give the plane texture. So before we 32:23.270 --> 32:27.873 render it, let's give it dot texture, dots. 32:32.076 --> 32:37.740 And then, yeah, let's make it audio reactive. So I'm going to make an FM synth. 32:42.927 --> 32:54.791 gong here. Not gong gong, just gong. Another thing is that you can declare audio effects directly in here if you want. So you can have a 32:54.811 --> 32:58.632 decay of six or something like that. 33:01.593 --> 33:07.215 So we have our FM synth and now we're just going to sequence it. 33:16.355 --> 33:18.676 So it's gonna play once every four measures. 33:21.617 --> 33:32.503 And now we're just going to map this plane's texture, which is the dots, the radius of each dot. 33:35.764 --> 33:36.525 Map the gong. 33:40.643 --> 33:44.870 from three to zero. Oh, I'm sorry, yeah, yeah, yeah, I'm sorry, yeah, thank you. 33:51.921 --> 33:54.265 So now our dots are reactive to our gong. 34:11.977 --> 34:22.885 I'm just going to refresh this real quick so we get back to our normal chipper theme here. But we're going to be using P5 to generate some 34:23.386 --> 34:37.337 visuals now. Just as easy as this, use P5. And then we can go ahead and use everything in their library. So we can set the background. So if you pass 34:37.397 --> 34:51.468 it one... One argument, it's a grayscale. If you pass it three, it's RBG. And 34:51.488 --> 34:59.614 you can also draw shapes. So for instance, rectangle, it's going to take four arguments for the four different points that the corners are. 35:02.336 --> 35:11.996 So when you pass width in here, that's the width of the canvas. automatically returns that, so let's do width divided by two, height 35:13.116 --> 35:15.997 divided by two, and then 100 35:17.697 --> 35:24.338 and 100, and it'll draw us a nice little square here. If we change this, 35:27.659 --> 35:39.390 well, you need to run the background first, actually, because... We're just rendering one frame at a time. But yeah, so if you want to actually 35:39.710 --> 35:43.531 draw with this, so there's a draw function for p5.js. 35:46.931 --> 35:56.313 And we're going to set the background to this color for every single frame. This is like the on frame function that we had before. It runs 35:56.373 --> 36:07.170 every single frame. And yeah, let's give our rectangle a fill color. Let's just make it bright red stand out against the green background, 36:07.190 --> 36:10.973 and then draw our rectangle. 36:15.015 --> 36:23.461 So this is the same as before, except it's actually running for every single frame. And if we want to animate it, let's just make a variable 36:23.501 --> 36:27.184 called x up here. And 36:28.004 --> 36:40.648 yeah, let's make it x plus equals five. So now we have our rectangle moving slowly off screen. And then we just need to add a little line down 36:40.708 --> 36:50.132 here. If it becomes greater than the width of the canvas, then we need to set X back to zero. 36:55.235 --> 37:05.632 We're just gonna go straight into the audio visual aspect of this. So yeah. Let's make kick like normal. 37:08.293 --> 37:11.214 Trigger it every fourth note. 37:15.654 --> 37:19.075 And let's go back to our draw function. 37:21.816 --> 37:26.697 And for the red value of the background, let's replace that with kick.out. 37:29.387 --> 37:38.391 And that's going to return a pretty small number. So you're going to need to pass an argument here, which is a multiplier. It's going to kick that 37:38.431 --> 37:43.314 out, return its value between 0 and 1. So this is going to return a value between 0 and 127. 37:46.955 --> 37:52.278 Maybe it's better if we just do grayscale for this. Yeah, that's actually a bit less subtle there. 37:56.832 --> 38:04.335 If you don't want it to start from black and start from more of a gray, this 127 right here is going to be a bit of an offset. 38:11.718 --> 38:15.680 And yeah, let's make an FM synth. 38:46.234 --> 39:03.867 Right. So let's change our rectangle. Let's not make it move as much. Let's make it expand with the base. So let's make a constant here called 39:03.987 --> 39:15.928 B. we're going to do base dot out and multiply that by a thousand and instead of having the width and the height having a move like that we're 39:15.948 --> 39:21.769 just going to have b times minus 0.5 39:24.250 --> 39:28.551 b times minus 0.5 39:30.972 --> 39:32.632 and then these values will be b 39:37.551 --> 39:46.876 We should also probably translate the canvas as well so we can get our square over here. So we're going to translate it so that width divided by 39:47.256 --> 39:51.718 2 and height divided by 2, that becomes our 0 and 0, essentially. 39:55.237 --> 40:04.585 so now you can more easily see the uh the square reacting to the base and uh yeah we should probably smooth it out a little bit as well so we're gonna 40:04.605 --> 40:19.014 have a smoothing con constant rather uh just windowing function basically so we're going to add that to our fm dot out this zero we don't 40:19.054 --> 40:27.302 want any offset so it's just going to be zero and then we're going to add our smoothing constant we can also just add it directly into here as well 40:33.787 --> 40:45.315 looks much better So I refreshed my browser because between Hydra and p5 there might be some namespace conflicts. So we're going to start off by 40:45.335 --> 40:54.063 just using Hydra like we did before with the p5 except to initialize it we have to type .then then 40:55.825 --> 41:03.492 init and then the pointy arrow and then init with parentheses at the end. 41:06.658 --> 41:18.584 And if you get the highlighting, then everything should be fine here. And then to get visuals, it's just as easy as doing OSC parentheses dot 41:18.704 --> 41:37.012 out. And then you get a little Hydra oscillator here. Very fun to play with so here you can Change some values of it. So the there's three things 41:37.032 --> 41:45.514 you can change the the frequency which I like to think it was like the density I guess of the lines here. So if you have a higher number you have 41:45.554 --> 41:46.174 more lines 41:49.315 --> 42:00.149 Keep it at 20 here and then the the sink value is which I like to think of as like the speed of how fast the lines are moving. Higher the value, the 42:00.169 --> 42:11.715 faster it is. I'm gonna keep it at one. And then our RGB offset. Give it a little bit of color here. 42:20.459 --> 42:22.120 Same line of code, you can rotate it. 42:28.300 --> 42:29.921 You can pixelate it. 42:38.348 --> 42:46.574 Plenty of fun things you can do with Hydra. But just to relate it to us, let's just make it audio reactive. 42:49.356 --> 42:53.860 Same as before, we'll make a kick. Trigger it. 42:56.622 --> 42:57.843 Every fourth note. 43:01.502 --> 43:05.345 And let's do OSC k.out. 43:07.366 --> 43:11.409 I'm going to multiply it by 500, 0.1, 43:16.832 --> 43:17.112 10.out. 43:22.936 --> 43:31.960 So already we're getting some pretty crazy visuals here. Let's make another FM synth like before. I probably should have kept this. That's 43:32.040 --> 43:32.380 on me. 43:47.910 --> 43:50.172 And then we can take the same OSC line here. 43:59.238 --> 44:13.926 And we can modulate it based on the FM synth. We're going to use a noise function. F dot out. Multiply it by 50. Dot out. Missing one 44:13.986 --> 44:22.010 parenthesis. Sorry. FM. Forgot that. There we go. And now we're getting some modulations. 44:48.596 --> 44:48.947 Thank you.