Synteza dźwięku i produkcja muzyki z wykorzystaniem otwartego oprogramowania

Nice to see you here, nerds. I'm also a nerd, I've compiled my own kernel more than once. But today, to finish SBS, I want to blow your minds a little bit, and less about technicalities and programming and security, and more about what you can do fun with a computer, with the use of open programming. My name is Tobias Karoń, I have the nickname "Unfa" and besides I make graphics with sound. I'm actually living from it right now, that I make 3D graphics. Like what's on the carpet. But besides that, I also do sound effects and music. Post-production of sound for the movie. If I get any order. And I make electronic music. And I want to show you today

such a program. It's called LMMS. It's open source. It works on Windows, Linux, Mac. and it's used for electronic music. I use it all the time because it's very comfortable. Oh, okay, I'm displaying something. Okay. Now it should be better. Oh, there it is. Okay, so this is LMMS, Open Source Music Program. The most comfortable way to make electronic music is to start with some simple bass line. I have a synthesizer called Zynad SubFX. It's really cool. Its interface is very extensive and easy to get lost. This is the main window. Here we have 16 different instruments that can play simultaneously on different MIDI channels. Here we have the instrument settings. We have three different

synthesis engines. We have the first one on, here we have the main window. And here we have volume control, filter, which means change of tone, change of pitch of sound. But there is one more layer below, which means individual voices, which is 8. And LMMS just said it will fall out. And it hasn't done it for a long time, which is strange. So far it worked quite stable. So we can add some simple melody. I will make it a little bit louder so we can hear what we are doing. I will copy it and make some variations. Since it was supposed to be a bass, it would be useful to lower it a little bit, so I will mark all

the notes, move it an octave down, maybe a little higher. I will shorten them. It is supposed to be a happy hardcore. Let it be. Maybe I will make one more copy of these notes to make it a little bit more interesting and we will change something here. Okay. Now let it play and we will make some different color.

which is a waveform wave. We can adjust it down and we can filter it. And here we have the envelope, which is something that changes the filter parameters with time. Now it starts high. And here we have the initial value. Here we have so called "filter quality" or resonance. To make it even more old school I will adjust it a bit. Okay. Now I think it will be better if I move it a little bit. One eight. And then the percussion will be wailing at once, and the bass will be wailing at once and there will be such a funny echo. Now I will make a drum, a foot, so It doesn't sound like a

stop. Sinusoidal wave. I'll adjust it to the bottom. Very low. And I'll turn on the amplitude. To make it go from top to bottom. And I need to shorten the sound, because it's still playing. Here we can see on the level indicator that it's still playing. And it's enough to play at the very beginning. I need to shorten it. Here I have the amplitude. The sound starts the loudest and then it calms down. It calms down longer. But that's enough. I would need something else to add to it. So I'll turn on the second voice. There will be another sinusoid first, but I want something else. And I'll take the noise. We can turn off filtering, because the

bottom-reverse filter is here. So this noise is now much brighter. And I'll shorten this noise itself.

Without it, it's so dull. It's better to play with it. A little bit of silence to make it not so terrible. And now my favorite dish - the space. If it's supposed to be hardcore, it has to be the space. It won't go any other way. I'll add a corrector and make such a click. I'll add a top-release filter. You see, the whole bass disappeared. But I want to... to make it more sharp and give it resonance. And to make the same bass. It's better than whiskey. And now we'll combine it with the second one. On the mushrooms, of course. Okay, let's make it a bit more ambitious, so it won't be so scary all the time.

I will leave this part, because I have a sentiment for it. I will do something more... maybe... Less happy, but still hardcore. I'll insert loop markers here. Right, middle and middle. The end one and this one. Now we can play it in a circle. Okay, we need to add something to it. I'll put aside our happy fragment for now. And maybe some lead. So a leading instrument. I'll start with taking a copy of the bass line and move it up an octave to hear what's going on.

I think I remember what was going on there. We'll give it a name so we know what it is. If you have four paths, it doesn't hurt not to call them paths, but if you have 30, it's already like that. Now maybe I'll go a little bit chiptune. Or not. I'll add a second voice with a saw. And that's how it stays. And here I'll give a filter that cuts out the middle of the spectrum. So it makes a hole. I turned it off, so you can't hear it.

The higher the Q, the narrower the spectrum. Let it spin by itself. Here we have LFO, which is a free-range oscillator, which will spin by itself with this knob. It restarts with each note. When I turn on Continuous, it will be independent. I'll lower the tempo. This sound evolves a bit. I'll change it to mono, or even legato. There's a panic button. If someone doesn't want to close the door, you press the panic button and it should close. Portamento is an option that the frequency of the note doesn't jump where it should, but it goes up. And here we have controls. Normally, when there are fewer intervals than three keys, it doesn't happen, and we always

want it. And here is the time. We want it to be gentle. And maybe we can add some delay. Echo. Let's see if it will play together. Three, two, one. What's next? You know, there are things that never happen when you work, but they happen when you do pre-lections.

So... Where would I save it? Here. Why not? I think my computer hates me today. Maybe because my disk is running out. I'm afraid that... It's not funny. Yes, it blends. Yes because I'm rebooting the machine. It's not the usual way. Generally, I'm very excited about sound synthesis. I spent many hours, I just came back from school and I sat down to take a shower and sounds, waves, oscillators, filters. I think it's great fun. Instead of sitting and playing WoW or some such things, I played music and at first I couldn't listen to it. I just let someone listen to it. "Hey, listen to it, it's cool!" "No, man, no, take it away." But a few years passed

and I even thought that it's a little better. I even want to listen to it a little. I really wanted to do it from the beginning, I don't know why, but everyone else thought it was shit. that I liked it. But after a few years, others also started to like it. And it's been 10 years and sometimes I do it on someone's order. So wow, something has changed. However, sitting on something and fooling around for years gives something. It happens. I'm afraid that this cursor means That my kernel died. Well, I can't even enter TTY. Alt sysrq b. Oh, it still works. I'm afraid that... I should have changed the disk before. But well, there's no time. I'll copy

it quickly. If someone has Windows and Internet, we can quickly download... LMMSI com... com... tnu-ovac. We're loading kernel modules. Maybe someone is fucking crazy. It's so funny. I work on this machine every day and... it works. I don't know why I don't want to today. By the way, this synthesizer, Zenad SubFX, it's hard to call it that, but Maxiwezyn in the community, because it's easier to pronounce it. A man sat down for a few months, his name is Mark D. Curry, and he wrote a new interface for it. People complained before that... And here it goes. This laptop is bricked. Replace it. And he wrote a new interface for Zenith SubFX. which has the advantage of being in one window, so you don't have

to go through all these windows and you have 20 of them on the screen when you have a few instruments and you don't know which one to go to. You press Alt+Tab and it's like: "No, no, no, no, maybe this one?" You're shooting something and then: "Oh, fuck, it wasn't this instrument! What did I change?" So it solved this problem, because now everything is in one window and there are tabs. And there's also a plus that it's scalable, you can turn it on at any time, it's drawing, scaling. It's been working for a few months and now we're going to do a crowd refunding. It will try to sell it, it will sell it for a few dozen dollars for a year. Because it's only a

graphic interface, you can turn on this synthesizer in headless mode, so without an interface, and you can turn on this interface.

So you can use it without a graphic interface or you can use it with an old one or with a new one. And I've tested it a little bit and it's cool. This is not the blue screen you're thinking about. Yes. There are no blue screens in Linux. Click on it. There are only kernel panics. There are backups. Cool. I have a disk image, incremental backups, everything that wasn't in the image. And I think I'll have to replace the disk today after the return. I'm afraid. I wanted HDMI. Now I'm looking for Jack the motherfucker. Oh, there it is. Now. Maybe I'll plug in the USB. I have it. Will it blend? Oh. Okay. On Windows...

Yes, SDL is basically the only option. It doesn't sound. Wait, it will be ready soon, I had to turn it off to start working. I know, it's on. Wait, I need some time. By the way, LMMS also has a nice plug called SFXR. It's a great plug for making sound effects in the style of chiptune. It has a generator, it has some sounds, explosions, shots, power-up, or some button. You click it and it gives you parameters in some limits, which give you sound from a certain category. To the mouse. But the mouse works, why? No, I'm a self-taught. I started making music because my friend downloaded the "Fruity Loops" program. in 2005, I think. And I started clicking on

the percussion sequences, because there are four sounds from the beginning. And I clicked. And I was like: "Oh, my God, how cool!" And I sat down and clicked, and clicked. "Hey, listen to this, buddy!" - You were so... - Yeah. - ...that I muted you. - Oh, we were muted. And... Yay! We have a sound! Thanks! - Wait. I think I will play it from the beginning or I will show you more instruments because the sub-effects are great. It's a bit tricky, but also quite complicated and hard to get it right at the beginning. So if you want to start playing electronic music and just click and listen to how it sounds, you can start using some simpler

instruments that have LMMS and are very cool. For example, when you turn it on, normally there are rhythm sequences here. Oh no! There will be an invasion of the face. Uwal sieć, nice phrase, I like it. At the beginning we have a percussion synthesizer, it's called Kicker, and it's used for rhythmic sounds. It's a loud input at the beginning. We have the frequency of the sound here. It depends on the chosen note, because we can choose a different note. Now the impact is higher, but we can turn it off.

This is the basis of our rhythm. The so-called "fucking" rhythm. The second, or rather the coolest instrument, which is the most commonly used, is the so-called "triple oscillator". This is the neck of an instrument from the FreeT-Loops program, which was called 3xOSC. It is characterized by the fact that it is quite simple, the entire interface is located in one small window, and there are a lot of options. But at the beginning it's also loud. So we'll mute it. This is the minimum width of the window. Here we have the height. 24 keys down is 2 octaves. 12 is 1. It's a number worth knowing. Because it doesn't match. Or it's all the way down. We have different types

of waves here. We can turn on the second voice. But... Instead of mixing it, we have the option of connecting the first with the second and the second with the third. We can, for example, do FM modulation. That is, the second oscillator influences the pitch of the first. Quite sharp. We can tune separately from the left and the right. I will widen the sound a bit. It sounds quite weird. I must say I wasn't expecting sounds like these.

As you can see, there are a lot of these plugs. And here is, for example, this SFXR, which creates different sounds, sound effects randomly. Sometimes I use it when I'm supposed to make chiptune effects for games. However, it can be unstable. Okay, maybe I'll try to continue with our melody. Now I'll shorten everything a bit so that there are gaps. I'll give it some sound. Maybe it will be bass. Some kind of color. Yes, we're advanced! As you can see, there is a different version of the graphic interface. But all the elements are in their place. Only the colors are different. Ok, we have a low pass filter. Frequency is decreasing. And that's enough for

now. And what if we add our stop to it? Hmm I need something else for this. This kind of conducting instrument. I need more frequency of the grid. I need a finer grid. And... I need the next note to be the same as the last one. Now we have two voices. The upper one stays. The upper one is in its place, so the lower one will fly out. Now we will add some color to it. Maybe a rectangular wave. But we will give it more voices. We will expand it in the stereo and we will stand a little more. Maybe now we'll treat it with a middle-pass filter. which cuts off the upper and lower frequencies

and only blows the band inside. How does it sound together? We can expand it a little. I drag and copy the clips with CTRL. I will duplicate this percussion section. Actually, I can do it like this. Two clicks here and now we can make a thickening here. And it will be... We need a verb. If you don't want to synthesize percussion sounds from scratch, LMMS has a base of sampled sounds. Here's an icon with a note "samples" and there are various sounds. But as I'm a fan of synthesis, I'm hardcore and synthesize. There will be a verb and a hi-hat. I'll go to the first version and add a verb every second hit. Snare. Snare. Nope. Oops.

Pardon. So, we shorten it. We add the obviate pitch. We move it down a bit. And now, the first note is a sinusoid. But we will need a noise. Because without noise, there is no verb. It's quite simple. But it does its job. Now we can... ...correct it. With a high-pass filter. It's a thick and resonant filter. It's a very high-pass filter, because it's almost 600-500 Hz. And what else do we need? Hi-hat! It's like this: This time I'll turn on the interface first, then I'll turn on the playing. So that it's not like: "Eeeh" Alt-tab and we'll shorten the sound quickly. Now we can make a more complicated sound. I like to do hi-hat sometimes

by taking a wave, for example a triangle wave, which can change into a straight wave. I cut it off a little, add random harmonics, and then turn on FM modulation and turn off the filter, which is normal. With the right force, it sounds almost like noise. I can still do it a little bit. ...to blur the stereo and give it more space. And this is hi-hat. A good way to do this is to let the sound through the top-release filter. But without resonance. Because there may be some trash in the lower register, which will hinder the bass work. We need variations. I'm dragging the control.

And now with the new percussion. Maybe it would be useful to have something else. Something that would It emphasized the end of the musical phrase. Here we have only one musical phrase, not even two. But we will still need a little run-through. I call it pre-noise, which is something that makes noise before the change. And that's it. You can do it with noise. So instead of sound I take noise. And then it will make noise. But it should not make noise all the time, but it should make this noise grow a little bit. A little too fast. And maybe we can filter it with this low-pass filter, but we want it to be very low from the beginning, the filter closed, and then open.

If I add a little resonance, it will be better to hear what is happening. Hey! That's what it was about. We can add another percussion element, the so-called crash, which is a bit of a reverse of the pre-noise, because it occurs immediately after the change. It will be one hit. And here I will show you the third synthesis engine from the ZnF, which is a Cossack. Normally we would use Add Synth. There is also Sub Synth which generates white noise and filters out the music sounds. Here they are harmonious and you can adjust the width of the filters. You can even change the width of these filters in time. It starts narrow and it gets wider. But that's

not what we wanted with this sound. So I will mute it. There is also a wonderful Add Synth which looks like this. We have the basic wave. Let's take For example, a saw, which is a triangle at the beginning and you have to bend it to be a saw. We will bend it not completely. We will add a few more copies of the same saw in higher purity. 7 times faster, 10 times faster, etc. And we have such a dense texture. You have to apply it, because PathSynth generates samples in the background that loop. And here we have a pattern, a function of distribution of frequency, energy of the sound around each harmonic. And we

can adjust it in a very strange, interesting way. Where are you? Oh, okay. The fact that we have this. I've been working on one for many years. Now I'm working on two. And they are useful. Here we have the width of the band. But we have to apply it. To calculate samples. Sample. It's so wide that it's a noise. But we can do a funny thing. For example, change the width here. We can add more fragments. And we can bend them. Stretch. We can also asymmetrizate. and we get very strange, interesting, metallic sounds. Now, if we change the low-pass filter to the top one, it sounds like a plate. We could add a sub-voice to it. This is something I showed

you before. We have tabs in the instruments. The first one is a plug, it's the most important setting for sound generation. These are things that ZnF has its own, so it doesn't use them. And we have the FX tab. And here we can add, for example, Plate. This is a sound. The name doesn't show, because there's no reverb. But there's an old technique of making sound cameras with a sheet of sheet metal. There's a transducer that sends a pulse inside or transmits a sound. It plays a signal that someone sends from the mixer. And there are microphones or other adapters connected in different places of this sheet. When you put sound into this sheet, it is

reflected in different directions. Some of this sound goes out, some goes out, some comes back, delayed in different places. And this plug tries to simulate it. And how do we have it? Here we have blend, i.e. mixing. If we put it all the time to the left, you can't hear the effects of this plug at all. If we put it to the right, you can only hear the noise. Here we have the width of the band. If we put it up, it will be brighter. It will go over more high tones. Tail, which is the length of the tail. It sounds like a cathedral. But we need it in half. And it made the sound longer. It's

so softer and also makes it a little softer. So how does it sound? I don't know if I still have time. Do I have a lot of time? So, three minutes? Or... Oh, cool. Okay. We'll see where we'll get to. How much will you need, WiMi? We could do another phrase. I'll do a smart thing. I'll write down the project. SBS 2016 01. Yay! Nothing's threatening us anymore. Unless the disk burns. The heads will eat plates or something. And here I wanted to do something a little different. It's a little bit of drum and bass. So that it's not so boring anymore. One state, moderately. And maybe in that case we'll make some new bass. The

bass is just right.

How does it end? It's a basic progression of chords. But there are no chords yet. But we can do it. A great solution. It sounds like organs. Okay. This has some musical sense. So we have chords and bass line at the same time. So maybe I'll deal with chords first. No. I'll start the interface first. Wow. Srogo. Oh no, I hope I don't hit the button. I've been using this mouse for at least 7 years. Hello? Yeah? Oh, okay. Okay, so I'm... Action! Yeah! We're back. We're left with chords that need colors. If we have the interface on and it's the right window... Yes, it's the window! I'll mute it. and we will use the PadSynth. The

name came from an instrument called Pad, which is mainly used for chords. If you listen to ambient music, there are often only pads. Hardcore ambient music has only pads. We can take a waveform wave as a basis, which is characterized by It has all the harmonics in order. For example, the rectangular wave has every second one. You can see that there are less green lines here. I turn on the saw. It's dense, it's every single one. Can you hear it? Yes! The saw is great for playing the sound of a symphony orchestra. I got lost in the windows. I can't wait for one-door interface to this synthesizer. But to make it look like a bow, you need to... ...lighten it

up a bit... ...add some vibrato... ...which is a lot. It's too much. It's a broken tape. We have here... ...a bit of... ...and I'll add... ...to make it start in random place for each note... ...in this way... ...the frequency changes won't be in the phase for all notes in the chord. but each one will be somewhere else. Okay, it should be here. Okay, we have chords. Now we need bass. First I'll turn on the interface, then I'll turn on play and then it will be okay. Since we started with drum and bass rhythm, I'll start with drum and bass bass too. So-called "rease". It's made of two strings. Let's see if it's possible to play lower. It's possible.

and one of the pins, we copy this one, we switch the sound to the other one, we paste what we had and we adjust it a little bit and now they are chasing each other and they are missing and this gives us a specific phase effect we can filter it, add a little LFO maybe we'll even adjust it a little bit in stereo, the maximum stereo width

Here is the volume of the output and here is the volume of the input. Oh, here we have a nudega set unnecessarily. And here we have filters: bottom and top. So we can also leave only the top part of this controlled sound and mix it to the original. And then, with a corrector, lighten it up a bit. High Shelf, or the top-bottom filter, free translation, creates such a shelf for us. We'll see how it plays. A useful tool is a spectrometer. Spectrum Analyzer. It's good to put it on top. Now it will show us what's going on. Here is a 400 Hz. Here is bass, about 70-60 Hz And the kick is everywhere Here is no crash And

some variation with percussion would be useful I know, yes! Ha! Classic drum and bass No, I want more of this change It should be every second hit, not every fourth

Maybe I should change the second bar. I'll name it B. It'll be easier to see. I often mark variants A, B, C, F. Then I know what's a copy of what. I know what's a copy of what and what not to copy on what, so I don't lose anything. We can also... Oh, right. Extend all these notes a bit to fit each other. I shortened the last one so it wouldn't go beyond the limit because then it would all be extended. I'll do the same with the first ones, I'll extend them a little with Alt. Without Alt I have a grid. This grid can also be there. And I'll make such a move that I'll change this bass to use Portamento, the one we had

as a lead recently. It will be Legato, No, let's go with mono. There are three modes. Polyphonic mode, so we can play as many notes as we want at once, and none of them affects any of them. Monophonic mode, so when we press another note, all the rest of it silences us, there is always just one note left, and the new note starts. And legato mode, so when we press a new note, it sounds, but changes the pitch to the new one. So we have a continuous sound, but it changes the pitch. Unless we play everything, so when we press something, we start a new note. But we want every new note to be a new note, just to... well, portamento, to make it slide. That's what it's

for. That's why these notes are coming together, so that one passes smoothly into the other, because otherwise it would sound quite dissonant if we left it in poly mode, because two bass notes would play at some point at once, and it usually doesn't sound good, because you can't hear harmony in bass too well, and it sounds like a pile most often.

Maybe we'll extend it a bit more to make it more... ...smooth. Sloppy bass. It will be easier to see if we add some high notes. A nice option is to play octaves sometimes. For fun. And I see that legato mode can be good. I wonder if it will work. A bit too short. I wonder if the chords won't make it sound muffled. Let's try. Why am I crashing? So, from this version I'll take everything... I'll actually replace it. I have a capsock pressed, I didn't even know. And I'll do something else. And this note will end here.

One small problem is that this instrument has such a low filter set that when I play higher notes, they are almost not heard because they do not penetrate through this low-pass filter. So I will make an option that there is frequency tracking, i.e. when we play higher notes, the filter is also higher. Maybe just a little higher this filter opens. I'll turn it off. The bass is a bit too loud for us, so I will use a device called a dynamic processor. Specifically, I want to make a compressor out of it. Here we have a graph of what goes in and what goes out. We want it to be above a certain limit. When something goes in, it's more

or less on the same level. It compensates it normally. Instead of silencing, I'll mute it. Unless I'm wrong. Now I'll mute it on the input to make it more visible. So it doesn't come out here, but here. It's a bit better. And what else do I want to do? I want these chords, these pads, to sit like a foot.

I will make a trick to add two channels on the mixer. Normally I do this for every channel for one instrument. It's easier because you can adjust all the volume. Oh no! But since it's time-consuming, I save it today. I will go to the merit. I will hide this analyzer. We have a pad. Here is FX2 and then I send a signal from this instrument to the mixer. I need kick signal from my foot. FX1. And now I'll play. Pads are so quiet that you can't see green here. But they are, because when I mute the channel, they disappear. I added an amplifier plug. I often make a mistake. I set the amp in this plug to zero, so

I mute the sound. And now when this plug is on, there is no sound. But there is such a thing that I can add to my stop, the so-called peak controller. This is a device that listens to the sound level and if the stop plays, it sends a control signal anywhere. And for example, I can send it here to the dry/wet control, For example, now when I have position 0, the effect has no effect at all. So the pads will play. Here is the piano roll. And when I turn it on, the pads do not play, because it is muted here. There is also a minus option. But if there is silence, it does not matter, because 0 is 0.

I click with the right mouse button and here is "Connect to controller". And now we have user control, first control and this is what we did with this foot. It normally gives us a level zero, which means that the effect does not work. But if we give a solo foot, for example, to play only the foot from this percussion set, because the rest of the instruments will play from the outside. I can set it here to at the same time mute the foot and I set the right time for the drop. I need to increase the level to get more to the ceiling. The quiet. You can hear that the drop only turns on when the stop is not playing.

Yeah. And it's popularly called side-chaining. Side-chaining. Oh, I forgot to turn on the rest of percussion instruments. I'll just type it down: Ctrl+Alt+S. And now I have a new version, 0.2. ♪ ♪ What will happen when we go back to the first phrase? It's funny. Wow, honestly I don't know if I have enough material for 15 minutes I can finish it now, actually I don't have any idea what to do more here To do something more, I would need much more time, but I don't want to Maybe you have any questions for me Or you want to know I'm working on some other Linux software, or open source. Do you make a new collection of instruments every time? Actually, I

make a new collection every time. Including percussion. Sometimes I write down what I'm going to do and if I need to sketch something quickly, it's useful for me, because I have a list. I need a kick, a high-hat, a crash, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick,

a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick,

a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick, a kick But I'm still learning. I've been practicing percussion synthesis for 8 years and only last year I decided that it should have the level it should have. These are not

the sounds I'm talking about, because I would have to spend much more time on it. That's why what I'm doing here is very fast. Besides, the quality of the listening is quite poor, because there is a loud voice and so on. So it's hard to do something very sublimated, because it's hard to hear it. But when you sit at home with headphones, not for 5 PLN, but for 50 or 150 PLN, you can hear a lot more and you can do a lot more. And you notice a lot more difference. You do something 10 times, almost the same, and every time something else comes out. And after some time you learn and you do it

differently. And it's not like you just try to do one thing and every time something else comes out. It's a learning process. It's the same as painting a picture. At first you try to paint a tree and a cow comes out. It's hard. It's the same here sometimes. You make a tree and then you have a cow. And you think: "Oh, shit, but this cow fits the composition!" Okay, so I put the cow aside and I make the tree again, which I wanted. Besides music, I make graphics. I recently got a job as a 3D graphic designer and I make in Blender, which is also open source. I help with Inkscape, I set up workstations

on Linux. I'm putting in place an internal system for 3D visualization of 2D projects. This company makes pendrives for companies. So, for example, I have a pendrive and someone orders 200 of them with a logo engraved on it. So, the dealers from this company send me a project. Where is the pen drive drawn? I prepare a template for them. They put the logo, they have the tables and put the colors in the right fields. They put it into the catalog and one more open source, i.e. Sync Thing. We don't have the Internet, so I won't show you. If I'm smart enough to do it. Oh. Yeah. I don't know if you know about BitTorrent Sync. Syncfing

is an open source answer to BitTorrent Sync. It's a tool that you plug in a few machines, you set catalogs and it directly sends files from your machine to your machine without intermediaries. On both sides, if you want. And it's great, because you can put some services on it, almost internal. And that's what I use in my company, so that the dealers can put the project in a PDF into a catalog, and Syncfing will transfer it to my machine, where the script in Bash looks like "Oh, fuck, PDF fell in, okay." So I convert it to PNG, then copy the Blender file to one catalog with this PDF, PNG, Blender loads the crack as a texture and this texture influences what happens in

the project in 3D. Blender draws it, then we copy it to the catalog and Syncfing sends it to the person who sent the project and gets something in 3D that looks a bit like a photo. So if you need to send files automatically and you want to do it open source, I recommend Syncfing.net. There are clients for all systems, including Android. It works on this shlamsung. but I had a Samsung. Generally speaking, it's not my phone, but Syncfing works on it. I haven't tested synchronization yet, but it works. On another phone, unfortunately, it didn't work. I made a mistake on GitHub, but I think they haven't figured it out yet. I'm not able to find out why it

doesn't work. I'm on DeviantArt.

Before I got my full job, I was working on my portfolio and doing various projects. It's all in Blender. I mean, 3D is in Blender, because the texture is a bit like Inkscape, which is a vector graphics program. I do all of this on open source, completely. I'm a fan of open source and I think open source is good for everything. As long as it works. And if it doesn't work, you report bugs on GitHub and move on. Originally it was supposed to be a project for a T-shirt, but I'm working with a young guy from Holland on a music album, in LMMS. Mainly with a pianist. He's 19 years old now, he's very young and very well-behaved. We decided to make an album cover out of it.

There's no album yet, it's on its way. We hope to finish it by the end of the year, but there's a cover. This is also from Blender, abstracts. It looks like you would freeze your eyes and see the world through your glasses. Once a friend told me that there is no place for a graphic designer in a company that manages Facebook profiles of Tymbark and Daftone, so I made two projects. Lorem Ipsum, an exemplary label. I wanted to get something that is on the level that they could put it in an ad. Tomatoes are also not real. Open source is in service of everything. If you don't know Blender, this is the program where I made these

projects. It's a very rich tool for 3D, for everything. For modeling, animation, you can also put movies in it. It's open source. It works on all platforms. However, if you want to play in 3D, I recommend you to watch a lot of tutorials. This program uses a lot of keyboards and without mastering basic shortcuts it's hard to do something. And when you master it, it's very fast, because you use your right hand to operate the mouse, the left keyboard and it's a very efficient tool. Any questions? On Open Source and Linux? Do you mean programs for making music? One of the coolest tools I use... I want to be recorded. Oh, come on, repeat it again. Repeat it, everyone

will hear it. A friend asked if it's open source and if it's under Linux. Not only under Linux. No. These tools are for all three major platforms, i.e. Linux, Windows and Mac. And Blender has the same interface because it draws custom OpenGL, so... It's for graphics. Yes, exactly. This program was called Linux Multimedia Studio, but since it's not just about multimedia, but music, and it's not just about Linux, they decided to leave the shortcut alone. Now it's officially called LMMS. Without any development. By the way, I was involved in the progress of this program, because I wrote a message to the community that this program is great and we can do a billion things. But let's move our asses. And they moved

their asses and made such progress that this program has changed a lot. And in appearance and a lot of functions have come and it is still changing and it is very positive. But it has its own mistakes, of course. So I invite you to GitHub. Yes, in a loop. ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Thank you very much for your attention.