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Workshop 1 - Additive and Subtractive Synthesis with SeamlessR

Thank you everyone for coming to the two thousand fifteen decibel festival conference presented by creative life a cz you heard we have an exciting three days of workshops ahead today's day one and we're excited that you guys were here there's ah very diverse collective of workshops in sound design music production on dh some really great panels from artists that have come in from all around the world to join us and be here a decibel festival are first artist from massachusetts seamless is a producer sound designer and educator today he's going to be talking about additive synthesis in this first workshop at a little bit later today he's going to be talking about fm synthesis he'll be using f l studio and show you some interesting things that you'll probably able be able to apply to your music whatever doll you might be using so I'd like to give a warm welcome for seamless and again be sure to check out the full schedule of workshops over the next three days here at the crack it up tha...

nk you hi I'm seamless and today I'm gonna talk to you about out of the hands of jackets of this is both of these things post these two things good times I'm sitting down sweet okay we got a visual their hands me nice but maybe it was a half assed long as it is now so it's a bit from the past anyway the first part of this is going to be largely philosophical because, well, there's plenty of practical aspects of out of different detractors of the system had to kind of give get some context, how all this works, it's a practice that this is probably something that most of you have really with our wedding already already, because just about every kind of sin that's ever existed in the way that anyone could use in music has used subtracted. So this is in some way or another and in fact a lot of synthesizers that exists that our brand new wouldn't use all kinds of incredible words that power music using anyway because you can't really escape it. And the same is true for out of this of this is but actually out of this of this this came first from a very long time ago, long before there was the chairman there was still out of this of this of this is because out of this that this is is based on a mathematical concept of the harmonic siri's you, if you ever like google, that you'll probably see the word four year throwing around that kind of thing, and if you going to college in character that you probably dealt with that that's a applicable to a lot of sound design, this harmonic series and fundamentals impartial is not stuff is applied and pretty much how sound is interpreted however, we haven't really been able to use that anything other than like a few medical sense until sort of the digital age which is super good because I like that I live in the future so let's start this by sorry some practical demonstrations of the ideas so if herself was just too attractive but this this is pretty basic to start off with a sound usually something like it's always something that has a lot of harmonic content and then you subtract usually usually through the use of filters but builders are not the only way of doing that and a lot of the other ways are not necessarily as like preval in your mind. And I think for example, the concept of face cancellation if I'm using us all if I could engage the concept of the re space, that kind of thing that's the most the world's most basic version of that but the idea there is that if you play two tones against each other and one is not the same pitches together they eventually get out of phase and causing the space cancellation. This is more of it on the I decide things but it is still very important on this attractive side of things because this colors the sound as a result of canceling out particular reminds of tikrit types and this is also the root of how you do what the french fries the super soft which is where you have a lot of voices and using and you get that kind of sound it's still saw wave based has made us all very intense term super cell but it's still less than the original salt wave that has to do with the harmonic content and face cancellation causing that less nous and giving us a not altogether sharp sound anymore super that's a lot of fun that's sort of the basic overview that's a packet that this is pretty easy to grasp but some of the weaker ideas like the face cancellation might not be in your mind but when you think about it just kind of go ok that's sure why not added added this that this this is where in my opinion true power lives in modern sound design has a lot to do with what I said before about how you could really we really only have I got a handle on this in the digital you know the digital age so practices this is has been around since islam is this bed and synthesizers and you know there's also fm two this is what I'm talking about later today but out of this it is this is just so freaking cold we'll talk about it so the basic idea amusing image lines harmer demonstrate this however this is there are other other things that utilize it other plug ins that have this in it, and once you start to sort of see what that is, you'll start to recognize it when its present, anyway, the core concept of attitude of this this is that, unlike the fact is that this is where you're starting with something that has a whole bunch harmonic content, you're actually starting with something that has no harmonic crackdown whatsoever. And that's the sign wave I almost had the salt wave about the opposite commitment, basic cards up is that you start off with you to the old sine wave, and then you build whatever tone you're doing out of additional sine wave harmonics. So, for example, the saw wave, you have your fundamental town first harmonic second demonic harmonics them all together, and you play him all you eventually get, you know, it's always. Now this this concept could be applied to literally any kind of sad if you think about it, if you know what the behavior of the frequencies were gonna be like and where the harmonics arm of ticker sound and you just say, ok, cool, this is where all the side we're going to go. This is where they're all doing it, you just play sine waves at however many hundreds of harmonic positions there are you think itself. Okay. Well, that should just meet, and it should sound like the actual sound, like whatever it is. And the answer, it turns out that yes, that was really the question. But, yes, you can do that. That's more or less. The case harmer actually has recently sizing it. We might have time to get to that. But everything else about harmer has to do with controlling three primary things. The pitch frequency, the figure harmonic, the volume of the particular monica on the face of the harmonic. Everything we think it does in this wacky interface that has full of every night on earth is all about doing those three things and that's more or less true for any kind of additive. Anyway. So, for example, you saw me using the filter there to demonstrate how to, you know, the back of those individual harmonics on together to create a side it's always you might ask in your head, how is that not just subtracted, that this is if you're still just using filters and it kind of mortgage randall sends? Yeah, kind of still is. But in the technical sense of what it's actually doing, it is a bit different tractors that this has to do with the idea that chick you're taking away in post so you have a sound and then the next part of that is that it's taking the sound and it's taking away from it but that sound is still creating whatever that original series of harmonics what but in out of this it is this what's happening here is that instead of it instead of taking away and post it's actually just telling it not to play those harmonics at that particular time it's happening at the generation so when I tell it to come down here it's just saying ok, so when that when that was moving to cut off you know to come down at those particular monix just saying no longer will those harmonics make sound and the remaining harmonics will make the sound that's you know allowed to make and it will sound an awful lot like there's always where this becomes really cool is because we're controlling essentially you know, just the volume of individual robotics we can tell it to do things that normal folders could never dream of doing by the fall harmer said to give you regular filter ideas you know, a little past band passed not just that kind of thing which all worked really well, but we can also create custom shapes to have it due to strange things that absolutely would not happen in normal folders at least not without an incredible amount of work and other weirdness, and this is basically just saying, ok, cool according to shape, these particular harmonics, this particular position are not going to be on or at, you know, maybe there are gonna be on, but not at much level as it was before, and so now we can tell the filter to do kind of whatever we want to do, which is really, really cool another common aspect of builders you might be thinking, because you see over here does this residence side, I'm not using it all is the idea of residents not have that in there. We're pretty basic concept, but the residents in a real folder is basically, you know, you have your cut off, and then you have a particular peak over cut off just sort of feel like a cool there is you presidents and that's, more or less how that supposed to work? But since we're basically faking it all by saying ok, the harmonics have to behave in the way that that reacts to that, and we're expected to where, we're simply saying is that these harmonics are going to be a bit louder at the point of the cut off, and the residents in armors is designed to follow around the cut off. But listen, this is really mean that has to be doing that. It's actually kind of its own little universe way, could tell it to move its position of the residents. We could tell us, you know how wide earth into this, which might be thinking, well, you can kind of do that with all this already just by saying, you know how the band band with that kind of thing is pretty regular, but just like the field there, we can also make custom resident shapes. And unlike the filter section department, the residents shape allows you to go positive and negative so you can tell some parts of the louder and some parts but b and killer years that's what? Uh, you ah, just do a lot of fun, something that right now this is all still just controlling the levels of harmonics and really it's a lot easier to do it like this. But you can still do this with normal. So attractive to this is if you just have the right chain and filters and whatever. So the next part about it is that this is well, this is demonstrating a basic implication of it is this idea okay? But what about phase and pitch these things that we really don't have that much control over in sort of normal filter world over, by the way, given the nature of how this bill does work with the idea that we're doing it at the generation level and just stopping harmonic happening, it means necessarily that it's in your face if you ever mess around with in your face voters, basically, this kind of the way that filters work is that they are essentially face canceling changed the face of harmonics position to create, you know, the the motion of filter I got the cue or whatever is doing and it's doing a process referred to the moon phase, and this is as what they do to create it with less late and see it's possible. And one of the problems with this you may have noticed yourself is that if you have a particularly hard filled there, like a really sharp cut and you run fast enough, it kind of sounds like it's changing the pitch of of harmonics of the sound of ball throwing around. That is a result of the fact you're changing the phase of a sound while you're playing it and that's going to be an important thing that we talk about later whom, again to fm for the system, like three hours, I forget, when that time, that is, but linear phases where it process is a little bit of actually and see just allow you to not do that so that you could move to filter around and it keeps everything the phase we're supposed to be, and it doesn't screw up your pitch and because we're doing this generation level with that out of this of this is just necessarily doesn't think that it doesn't affect the face whatsoever because everything is just happening. Every individual harmonic is its own little universe is receiving in information instructions without when carrying it all with the harmonics are doing, and so we don't have that we don't run into that particular issue, or you might think of something that runs that particular really awesome thing that happens, I actually want to have happening filled there's, in which case you should probably just take the filters, um, but is also all the cool phase and pitched up talking about so tio demonstrate that I'm going to talk about the phaser. So the phaser, like the filter, is not really a phaser if those things that mimics what are actual phaser does, and it does so by creating this kind of ruling filter because a real phaser when it causes face cancellation by delaying the signal really, really fast, and it creates the teeny kind of basically thiss kind of sound. And have you ever looked at like a special display of sound after a phaser you kind of see these a holes show up so harmon just like, well, we're just gonna do that right there forget about doing it via facing what is gonna have happened and like they felt that we have more you know, total control over how that works I mean, have you heard that sound before now I was talking about that talk about pitch well it's because the phaser has a special mode called frequency boat and the figures he mode basically takes the information saying, you know, let's follow evermore volume in particular times with the shape that it creates and applies that instead to the harmonic pitch which does funky things mixed up now essentially is intensity and this is where we get to something that is basically something that only I decide this is khun do of course remember that you might be hearing that is going why on earth would I do that unless I want to recreate the thx intro sound? But it does have particularly justin applications with space of things like the super saw for example a super saw you might if you've ever tried to make it or have seen tutorials about automation besides maybe think itself okay it's pretty basic stuff but the more interesting ones usually involve a lot of layering a lot of like different settings and different effects place of that stuff and the reason why all that difference exists when people suggests those kinds of things like band band splitting in different effects and even individual bands like anything is actually just to encourage more interesting like a result of face cancellation toe have the harmonics behaving special ways to because, um or interesting special behavior through basic and the cool thing about this and harmer is that because we have direct control over every day, every individual harmonics, pitching location, that kind of things and we can get that result without all the crazy layering all the crazy man sweating you could even do internally what the band sporting does through a process we'll talk about the second so you might not want to go you know, full full bore super hard on frequency mode or you might want to but if I have, you know the universe's most normal to preserve can add a little bit of action like behavior is to it like with my essentially creating more pitch uncertainty, which gives you additional control over that that your face cancellation happy with the actual keyboard um that's not something that a lot of fun I was going to say something we have them asking so the control is talking about is that by the fall of this two supplies, you know it's craziness to everything but if you didn't want to come in here and this is the section on well I guess that says masks and this is has masks for robot to stop with the builders of the residents of the phaser and this allows you to have essentially not apply to sections of harmonics or at least not as hard like say for example I would didn't want this to happen to the lower home are because I want to have a note then I would do that you could have applied to onley particular harmonics in the middle just for reasons it sounds ideas no need reasons just do things and that's the kind of control that a lot of stuff in homer gives you about with just spent everything the mask is particularly forward especially if you're going to something as unpredictable and weird as the phaser and all of its glory but something a bit more practical would be again coming back to the face cancellation option ideas of unison and super cell that kind of thing so let's get ourselves some using them in here and we got down to drive them in you and this is this is like my absolute favorite thing about harmer and this is the thing that basically made me think that I can't use anything else anymore for just even normal stuff and this is this is he just window right here? This is the houston harmonic used to pitch window and we're presented with a graph like most things, nfl graphs everywhere this graph happens to represent this in this prime and right here this pitch, the fish thickness mainstay of any units in control and this graphic represent that parameter per harmonic and the way that the scales represented that each of these black lions represents an active worth of harmonics so way have the fundamental talent down here, and we have the first harmonic and not a single thing in between because there's nothing between fundamental first and then there's the next active in their stocking, every active worth of harmonics in the series has twice as many harmonics in it then the previous art. This is actually relatively well balanced and displayed in this window, which actually is the manual volume control of every individual harmonic if you zoom in on the graphics, it really is showing how well it works that's really hard to see it there. But, um, if you can kind of see that they this colored differences of the window there we could see those are all the individual actives worth of harmonics. And in fact, the last active of any harmonic series has half of many harmonics and as the entire series, which also means that if you want to add another active worth of harmonics, you'd actually have to add essentially twice as many harmonics which have a low level, a base level that's. Not a lot, but if you're doing, you know, high frequency stuff that could be kind of a bad deal, actually that's the exact opposite of what I'm about to say. Higher frequencies doesn't really matter, because you have, like, he's playing a really high frequency lead. You have, like, six harmonics, but you play bass, you have all the harmonics, a whole series of it. This is just a kind of a cool idea. No money. I want to get that in your head before we start messing this craft that you sort of understood. But I worked out. Now the value of this is that I was talking about about the band splitting concept, like I was first introduced, the bands put in concept back in two thousand five when I was trying to be north and learning what a reese was and how that worked out and going to dogs on acid, the forum and trying to figure out how people make these crazy sounds. And it was pretty much they always talk about, you know, a little bit higher, like low, mid high, higher and splitting the bands and putting different effects out of that hole someone talk about and or even if extra hard core you have, like multiple layers of races with different depth of like rich death and then each of those represents one band and put it together and then you do all the rest of stuff too, and it becomes, you know, a good time this is essentially solving for that by saying that you find a shape like this. This is saying that these middle harmonics have more unison depth than these harmatz coming down here, but they're all different every single one of them it's like having a five hundred sixteen band split, you might be thinking that sounds terrible. Why would you do that? Because I'm not starting it suddenly glory and that behavior, especially against distortion, is why everyone ever did that. Why that banks putting idea existed why people were doing the whole trying to encourage interesting kinds of face cancellation, that kind of thing and you can do stuff just with this graph that people in two thousand six would have absolutely murdered everybody to try and figure out how to do really fast to just put that together, we have to try very hard to do that like that, right? There is enough to make added that this is just like, why isn't why isn't everything that especially like? I mean, I know why because it's really a very new thing at least in the way they were able to do anything with a lot of one in terms of that that is enough really teo for a long time that's all I knew about harmer I only knew how to do that and that learned everything else kind of is a part of doing just that but there are more fun things like for example, the prison let's have a normal sound again hey come back to base so it kind of like the phaser infrequency mood when most people first mess around with the prison there I have to imagine their ideas why would I ever use that? That seems kind of awful I guess unless you're making future anything future house future future step as I don't know I still don't know what that means but um what he writes, what the prison is doing is it's essentially an offset for pitch for every dimension harmonic much like the harmonic using window we have this graph which represents the same kind of proactive little chunk put this someplace else this guy's important that's guys say they're all right. So anyway it's this graph this this guy right here it's dividing the same way that the units of pitch window is which now I guess I'm unsure as to whether or not it could be seen but we'll get a pretty proficient anyway uh correct flying type please thank you so I guess it's a pitch offset per harmonic, has a positive and negative emotion. This now goes from one hundred, one hundred percent negative hundred sent, and the graph can go to positive pitch change. They gotta piss change, which just flips around when you go to the negative or positive, whatever you're doing right here, I'm controlling the o's individual harmonics and their pitch position, which is another one of those things that, like a lot of this change and a lot of a lot of the messing around with pitches, whatever I honestly believe has a lot of its primary illumination when you distort the stuff which why not? Because distortion makes everything better suddenly sub endless fun with that and this this kind of thing which I used very sparingly in my own work because it is very it's, very intense and its application is really all about directly manipulating get the value of our mark's position in that kind of thing and pitch in that deal and there's also you saw what you probably you might see me earlier mess around with the thiss this parameter here and actually I should probably should talk about this earlier, so there's usually a reason why in the mix, when do up here, this guy there that's, all waving a square wave and if you've ever used harmer, you might have a confused at first for wondering why is there not really a way to make anything other than a solid for a square wave? And there is a bit more complicated than it probably should be, but there's a very important reason why that's usually enough. And this is because much like subtracted, that this is where you want to start with something that has all the hallmarks of activity. You want to start with the early where they have solid squares in terms of the available siri's syriza's there are there are the series is other than the four years here, but the one that people use the most are before you just before your series. And, um, if you ever trying to reverse engineer a sound and you look at pretty much any sound through, like a spectrum analyzer and you look at the harm I content you, even if it's not assault, wave or a square wave, it usually has either saw wave or square wave harmonic content way make a sound if we screw with it enough that no longer even looks anything like a song with us right away, it's still those harmonics, so when you're when you're messing around without it the fitness is it helps to be starting with either that's all over the square wave you know we're not limited to that which is not a benefit of using I visit this is for example, the detainee thing which I was talking about has a multiplier in divine it is like the pitch I've been using the divider to make it lower it's worked on a ratio system which basically just means if you want to go on active not going twice the ratio radioactive down half the ratio um d tune it's special special ability is it moves the harmonics away from the fundamental it's actually kind of inflating the syriza bit and through the divider it also deflates the siri's way and now we no longer have that exact salir square wave uh behavior even though I might add that we still have a sorry square were going on top so has hence why almost never change that? But the primary you saw us for the details that I usually go teo ratio to which presents it and the exact same series that would actually just be a square wave and the flight is a slight difference between doing it with the two and verse is just going to the square outside and it has to do with the way the tamer system works so I mentioned this graph earlier and this just basically is a zbig old filter more or less about what harmonics are even engaged in the overall siri's and this is this is the same seriously are playing different note it kind of follows because it's basically to say it's the same count of our minds up no matter what no it actually is the other half of this is this window and this one who already has a change that has this little line type engaged what your resume and really far if you could tell but there's those little lines and on the peaks and the troughs of this particular graph and it's saying that every other harmonic is not engaged specifically the even harmonics and this is what a scribe away this and hades saw wayward growing you can change that you could make that what you want in fact you could actually drop singles like away forms into the build the tamer window itself and it will make that way form out of the harmonic content which almost has to do with resurfaces we'll talk about that I think if I have enough time at the end of the rest of the stuff to do so the difference between the d tune and just going to a solid but there is that the salt wave is accomplished up top by muting every other harmonic whereas in the d tune accomplishes this always the square wave by moving all the harmonics into position and this matters because like I said all the other parameters are all about changing the volume in the pitch and the phase of all individual monix and every harmonic is its own little universe. So whatever change you make, whatever information you're putting on those particular monix exists on that harmonic, so if you turn off the harmonic as with the option on top, then it means that that information is still being applied to something that's no longer there but he would move the harmonics and that harmonic still has information is now just moved up of it or down depending of you divide or not. And I also like that there is four decimal places on this thing the super duper specific about how you want to appreciate a work which actually is pretty sweet about a particular kind of sounded like, for example, uh if I want to make some kind of crazy super reese what I refer to as a phase word because why not words video that's making things up playing don't you have anything on? Yeah, right now this is a mess south korea messy somewhere do is I'm gonna essentially for an envelope on that parameter the pitch that doesn't have a shot at really fast? Now this isn't you might think that when you turn down the pitch, the pitch sickness that I just turn this off action being regulars always but um the whole kind of the face cancellation is that because the fate the pitches are different they run out every once in a while and then the phase would kind of get screwed up and so however long it's on is enough time for it to screw up the face but we turn it off because you want to stop any further screw which way we get a nice consistent tone where there but if I take the tube and they go to knothole numbers and or very close to hole lovers like if I say up to the o point three there and then the story because you can hear the difference we get that rhythmic face cancellation and that's happening although it's really hard to tell with the spectral display this one over here that's happening because the harmonic series is now on ly a super slightly out of actual perfect harmonic pitch and that's causing cascading face cancellation not unlike what happens with regular unison but just slightly different because we're controlling it in a very different way of course the larger you know values the faster we get which is super fun I can also make the square weaver in case anybody wanted his envoy today the that's one of the one of the benefits of using the gt two the teacher to doing that although you can actually use the top things worked out too I know that sounds a bit different and that has to do it like I said about that the information be carried around primarily from this graph from this thing what difference the unison is on per harmonic if it the harmonics often and manhattan high the difference or the harmonic has moved that it would behave differently a practical demonstration of everyone's so let's talk about recent is this reset the system terms thrown around a lot and it's also something that isn't it's not new with harmer other plug ins have done before but other out of pocket as well like camels alchemy you ever heard about that camel was bought out by apple recently that's interesting but um what's happening here is actually what we talked about waiting to get with the idea that if for whatever sound if we knew where the harmonics were going we can plan for whatever sideways you have to just be in that position and what did not to sound like the actual sound and the question is totally go find one like awesome so that would do anything now it actually just sounds like I'm playing an audio foul what I'm not that was a re synthesized scanning of the audio file and it was human really far into this little thing which again I'm not totally sure how well so come across things you can see it totally awesome all right so these black lines here represent a particular point in time of harmonic content it essentially sampled the original the original sound and said at this moment this is the harmonic content and in the next black line also it wasn't a sample and then across fades slightly more complicated than literally dis cross fade because the pitches the harmonics are actually moving in between them the pitches of the harmonics are still moving with the original sound, which causes it when played really fast and in conjunction with all the rest of it to sound like the originals out now the really cool thing about this is that like other time stretching roads, in fact in really high end time stretching out rhythms are they basically do this just behind the scenes things like not paul stretch but I first name whatever anyway something some of them do this and the results are like you have a lot of control over what's happening in a way that would just sound awful and are in fact and stupid with normal other times charging types could also be just manually moving around a lot of fun and we could also turn it into what I was talking about really about the cross fading we're right now we're moving it with removing it with pitch, but we haven't not moving pitch and make it sound basically like a really, really expensive booth if you also want to silence that boy today one or two ways of doing that there's also a kind of lovely form it controls like there's just a straight up, you know, that kind of thing, what you could do, but much like everything else in armor, that is a thing that could be controlled at a permanent basis. So instead of moving all the things that harm was interpreted to be for months, you can actually select particular stages of it and move on ly those moments was really hard to see what is moving so let's do this on then it's like right there, you can see it moving the harmonics that exist up there and so that I could take I think this is actually really good way to give you ever do vocal processor record yourself the connection more, less change, like the shape of vowels that you're saying or you could make yourself sound like not just like the corny versions of other voices relegating the sound either like the guy with the really huge throw our guy with the ball throw didn't have you could design better throats, which is just all kinds of fascinating and his endless, just fun you can have with that when you're screwing around with putting sounds in there and the whole the whole thing that like started me making. Tutorials on youtube was mostly just dicking around with harmer resembling it's not really resembling that its recent this is because it's not playing an audio file no matter how much it seems like it totally is because of how good it actually is and re synthesizing things it actually is playing a synth now and one of the reasons why that was important is because now that it isn't since we can actually treat it like it's a way to do things like uh engage unison in a meaningful way again for all of you future whatever john producers that's something that like the unison effect is something that's not really an effect it's a voice concept and there are ways of doing that in the regular world but simply a lot easier when it's in a synth or gets a sampler but either those totally fine what else is important to talk about so money is just really a lot of just incredible things that break my soul whenever I'm thinking about it in the past there is a man okay? So the two ways of controlling what the image is doing because you can also research the size pictures like it's called the imagery synthesizer because you could put pictures on it and we'll create um just sound based on that you probably seem like the bump the bmp mapper, that kind of thing and other things I've done it before so it's not really that you were interesting but it's essentially treating like what we're seeing here this visual as like an image based on the harmonic content that's presented to it and we can alter what that means from what time you felt you were here the two primary methods of controlling it are these two scale options it's all before that if I took this office essentially not paying attention as much to pitch movement anymore but you can also kind of force it to go in strange places like really really accentuated fish or do the opposite motion where like if it was going higher now it's going lower because why not also a whole bunch of different kinds of urgency modes which do things that some of them I don't even understand like I've been using armor since it's since it became a thing and I still don't know like a lot about how it works of always discovering new and strange things not the least bit because you guys kind of ridiculous against but it is this other guy put that back to normal and this is a bit like a compression knob and the reason why I'm saying that is because where does is that it is attributing level essentially to how bright the heart lead the harmonics are particular times, that kind of thing and we're simply saying that as we go down this way it's basically turning up, but turning up the brightness of everything and is less contrast, subsection less dynamic range, essentially hence the strange kind of noisy sound, because it's attributing a lot more level of things that were originally just background noise and that kind of room sound way to do the opposite, and that sounds weirdly kind of lo fi where way no longer we're hearing the sort of the lesser background elements, and that kind of thing is we're only hearing the primary, like the harmonies of the woman's voice on other aspects that were allowed enough to come through. You know, however, it decides to choose the algorithm of which there are also more options of how to deal with it on that kind of fun stuff. Let's talk about phase we're talking about phase yet that's kind important all of this stuff will still involve changes in phase, just like we do the unison, and I got mention before turning it off fast. It's still created phase complications, which gave us you know the result, but you can also more or less to having control phase and is actually whole graph for it is this guy, harmonic phase and it's basically like a temper window only it's for face, a little hard to tell when you do does normal changes things, but, um if you create something pre dense like this, you could see how it's changing the shape of the way for him there and it's because the wave forms shape is basically determined by, you know the patient pays anyway. Saul wave is only with the shape of the selwyn itself, based on harmonic content and based on all the harmonic, starting perfectly in phase and the second they're not probably in phase. You no longer have that perfect sharpness of the original shape, and this is nice for if you wanted tio, it is also phase ran in this which randomized and start a very particular face. And again, if you distort this like everything else, he created a nice kind of fun stuff in case anybody wanted something said a fun way for that. Anyway, this concludes my whole panel, we'll workshop talking about additive is back with this synthesis, uh, but so far, without screwing up, saying that this is a thank you.