1 00:00:04,200 --> 00:00:07,560 Speaker 1: Get in tech with technology with tech stuff from stuff. 2 00:00:12,480 --> 00:00:16,360 Speaker 1: Hey there, guys, it's Jonathan from text Stuff here. And 3 00:00:16,680 --> 00:00:20,120 Speaker 1: in our previous episode, we covered the first half of 4 00:00:20,160 --> 00:00:24,240 Speaker 1: the Mogue story, but the episode became so epically long 5 00:00:24,840 --> 00:00:27,800 Speaker 1: we needed to divide it into two parts. And so 6 00:00:27,880 --> 00:00:30,560 Speaker 1: without further ado, let's jump back into the conversation with 7 00:00:30,640 --> 00:00:39,240 Speaker 1: Joe McCormick about the Mogue story. Here's part two. So 8 00:00:39,479 --> 00:00:43,440 Speaker 1: then you have all the different modules that actually will 9 00:00:43,800 --> 00:00:46,920 Speaker 1: alter the sound of whatever wave you are creating. And 10 00:00:46,960 --> 00:00:49,000 Speaker 1: again I'll talk about the specific wave forms in just 11 00:00:49,080 --> 00:00:51,960 Speaker 1: a bit. But so some of the modules would include 12 00:00:52,000 --> 00:00:56,880 Speaker 1: things like filters. You probably heard about filters, right, you 13 00:00:56,920 --> 00:00:59,279 Speaker 1: know you run this through a filter. What filters are 14 00:00:59,320 --> 00:01:03,360 Speaker 1: are doing is there specifically changing the harmonic content of 15 00:01:03,400 --> 00:01:06,520 Speaker 1: a signal, and it lets you narrow down the range 16 00:01:06,560 --> 00:01:09,800 Speaker 1: of frequencies that are allowed in any produced sound, like 17 00:01:09,840 --> 00:01:13,600 Speaker 1: you can specify which harmonics are allowed to go through, 18 00:01:13,640 --> 00:01:16,000 Speaker 1: which ones are not allowed to go through, and that 19 00:01:16,080 --> 00:01:20,559 Speaker 1: alters the quality, the tonal quality of any sound you make. 20 00:01:20,760 --> 00:01:23,240 Speaker 1: So I'm going to start talking about some particular filters, 21 00:01:23,400 --> 00:01:26,679 Speaker 1: and our producer Extraordinary Knowl is going to provide us 22 00:01:26,680 --> 00:01:29,720 Speaker 1: with some examples of some of the stuff we talk about. 23 00:01:29,840 --> 00:01:32,960 Speaker 1: So from this point forward, uh, Noel is really gonna 24 00:01:33,120 --> 00:01:36,840 Speaker 1: have free rein to go crazy Broadway style. I encourage 25 00:01:36,880 --> 00:01:39,560 Speaker 1: him highly to interrupt us as often as possible with 26 00:01:39,640 --> 00:01:42,920 Speaker 1: strange noises. If he hasn't already, I expect him to 27 00:01:42,920 --> 00:01:45,360 Speaker 1: do so from this point forward. As the wonderful thing 28 00:01:45,360 --> 00:01:47,400 Speaker 1: about Noel not being in the room where we record, 29 00:01:47,720 --> 00:01:49,440 Speaker 1: we have no way of knowing what he's going to 30 00:01:49,480 --> 00:01:53,000 Speaker 1: add after this is done. But at any rate, Uh, 31 00:01:53,120 --> 00:01:55,480 Speaker 1: so you can you can change the amplitude, which obviously 32 00:01:55,560 --> 00:01:57,840 Speaker 1: changes the volume, and you can change the frequency, which 33 00:01:57,920 --> 00:02:01,240 Speaker 1: changes the pitch. Those are very basic eight but beyond 34 00:02:01,280 --> 00:02:05,120 Speaker 1: that you can start to really have fun with it. 35 00:02:05,240 --> 00:02:09,680 Speaker 1: So filters are ways to change the timbre of the sound, 36 00:02:10,000 --> 00:02:13,000 Speaker 1: even within a single note. So you can press a 37 00:02:13,080 --> 00:02:15,840 Speaker 1: note with no filter, it's gonna sound one way, and 38 00:02:15,880 --> 00:02:18,960 Speaker 1: then you apply a filter and press that same key 39 00:02:19,000 --> 00:02:20,960 Speaker 1: to create that same note, but it's going to have 40 00:02:21,120 --> 00:02:24,600 Speaker 1: a different quality. So one of the basic types of 41 00:02:24,680 --> 00:02:27,800 Speaker 1: filters would be what's called a low pass filter or 42 00:02:27,800 --> 00:02:32,480 Speaker 1: a high pass filter. Very simple concept. The name tells 43 00:02:32,520 --> 00:02:35,239 Speaker 1: you what it lets it do. So a low pass 44 00:02:35,480 --> 00:02:42,040 Speaker 1: filter and let's low frequencies pass through. It blocks high frequencies. 45 00:02:42,320 --> 00:02:46,440 Speaker 1: Now you can define what where's your cut off, so 46 00:02:46,760 --> 00:02:50,600 Speaker 1: you can say, like any frequency above this is not 47 00:02:50,720 --> 00:02:53,760 Speaker 1: allowed through. Anything that's lower than that can go through. 48 00:02:53,880 --> 00:02:56,280 Speaker 1: Now I'm gonna ask the question I think some listeners 49 00:02:56,360 --> 00:02:59,400 Speaker 1: may be wondering, Hold on a second, why would there 50 00:02:59,400 --> 00:03:03,480 Speaker 1: be multiple frequencies playing when you've got a single tone playing? 51 00:03:03,560 --> 00:03:07,400 Speaker 1: Shouldn't that be one frequency? If you're playing one pitched note, 52 00:03:07,600 --> 00:03:10,079 Speaker 1: you could be playing one pitch note if you're if 53 00:03:10,120 --> 00:03:13,360 Speaker 1: your wave is just a sign wave, right, A sign 54 00:03:13,400 --> 00:03:17,920 Speaker 1: wave is a pure tone. It means it's a fundamental frequency. 55 00:03:18,000 --> 00:03:22,000 Speaker 1: There's no harmonic added to it. But that's the That's 56 00:03:22,040 --> 00:03:26,440 Speaker 1: only one type of waveform you can play with a synthesizer. 57 00:03:26,480 --> 00:03:30,320 Speaker 1: You can actually create different types of waveforms like saw 58 00:03:30,440 --> 00:03:35,240 Speaker 1: tooth waves or square waves or triangular waves, and each 59 00:03:35,280 --> 00:03:40,800 Speaker 1: of those contains harmonics. Harmonics being uh multiples of your 60 00:03:40,840 --> 00:03:44,200 Speaker 1: fundamental frequency. Your fundamental frequency is always going to be 61 00:03:44,280 --> 00:03:47,640 Speaker 1: the loudest, the one with the greatest amplitude. Right, So 62 00:03:48,120 --> 00:03:51,520 Speaker 1: the note you're playing, there's a specific frequency associated with 63 00:03:51,520 --> 00:03:54,240 Speaker 1: that note, its amplitude is going to be the greatest 64 00:03:54,480 --> 00:03:59,720 Speaker 1: in the full sound wave, but with these other wave 65 00:03:59,760 --> 00:04:05,640 Speaker 1: for triangular square and saw tooth, you get multiples of 66 00:04:05,680 --> 00:04:10,280 Speaker 1: that particular frequency that also show up, and those are harmonics. 67 00:04:10,480 --> 00:04:12,280 Speaker 1: But if you don't want to hear any of those 68 00:04:12,360 --> 00:04:17,080 Speaker 1: high harmonics, you just want that deep, nasty, bassed rumble. Yeah, 69 00:04:17,200 --> 00:04:19,159 Speaker 1: you can do it a low pass filter. And what 70 00:04:19,279 --> 00:04:21,360 Speaker 1: that does is it actually you would think it would 71 00:04:21,400 --> 00:04:24,360 Speaker 1: be like a really base sound, but it really kind 72 00:04:24,400 --> 00:04:28,000 Speaker 1: of makes it sound sort of muffled and dark. And 73 00:04:28,040 --> 00:04:30,240 Speaker 1: then if you wanted instead to do the opposite, you 74 00:04:30,240 --> 00:04:33,039 Speaker 1: could put a high pass filter. On high pass filter, 75 00:04:33,080 --> 00:04:36,159 Speaker 1: obviously the higher frequencies are allowed to pass through and 76 00:04:36,200 --> 00:04:38,760 Speaker 1: it blocks the lower frequencies. Sounds kind of bright and 77 00:04:38,880 --> 00:04:42,800 Speaker 1: jangle exactly much much brighter sounds. So Noel, I'm sure 78 00:04:43,240 --> 00:04:46,320 Speaker 1: can give us examples of what sounds like to listen 79 00:04:46,440 --> 00:04:55,719 Speaker 1: to some tones played through a low pass filter and 80 00:04:55,920 --> 00:05:01,479 Speaker 1: some tones played through a high pass filter. There are 81 00:05:01,480 --> 00:05:03,720 Speaker 1: a couple of others that I want to mention that 82 00:05:03,880 --> 00:05:07,599 Speaker 1: also are our pass filters, but they are a little 83 00:05:07,680 --> 00:05:11,400 Speaker 1: different from low and high. Uh. There's the band pass filter, 84 00:05:11,839 --> 00:05:14,640 Speaker 1: which allows a group of frequencies that are between the 85 00:05:14,720 --> 00:05:17,000 Speaker 1: high and low ends. To pass through. So in other words, 86 00:05:17,040 --> 00:05:20,200 Speaker 1: you're saying, alright, anything below this frequency, I want you 87 00:05:20,240 --> 00:05:22,719 Speaker 1: to cut out. Anything above this frequency, I want you 88 00:05:22,720 --> 00:05:26,000 Speaker 1: to cut out. Everything in between can pass and that 89 00:05:26,040 --> 00:05:31,360 Speaker 1: gives you a different sound or band. Reject filters which 90 00:05:31,839 --> 00:05:34,960 Speaker 1: specify a specific range of frequencies that are not allowed 91 00:05:35,000 --> 00:05:38,560 Speaker 1: to go through, but everything else can. So it's essentially 92 00:05:38,560 --> 00:05:41,840 Speaker 1: like bouncers. Okay, here's a list of people. They absolutely 93 00:05:41,839 --> 00:05:44,520 Speaker 1: are not allowed in the club. My name is always 94 00:05:44,560 --> 00:05:47,479 Speaker 1: on that list all the time. At least that's what 95 00:05:47,560 --> 00:05:52,520 Speaker 1: they tell me. Um, but apparently my friend, uh, Benjamin Franklin, 96 00:05:52,720 --> 00:05:56,279 Speaker 1: he gets in all the time. Now, beyond those filters, 97 00:05:56,279 --> 00:05:58,520 Speaker 1: you can do some other fun stuff. For one thing, 98 00:05:58,720 --> 00:06:01,120 Speaker 1: you remember I said that an analog sound wave is 99 00:06:01,160 --> 00:06:04,520 Speaker 1: continuous of course, right, so it doesn't have a quick, 100 00:06:04,600 --> 00:06:08,679 Speaker 1: you know, a discrete value where there's a stop start. 101 00:06:10,279 --> 00:06:14,479 Speaker 1: Partly because of that, cut offs like where you said, 102 00:06:14,560 --> 00:06:20,280 Speaker 1: here's where I want the filter to begin are a 103 00:06:20,360 --> 00:06:25,159 Speaker 1: little hazy. So uh, when you when you have your 104 00:06:25,320 --> 00:06:30,960 Speaker 1: these uh these filters, you also have a transition band. 105 00:06:31,400 --> 00:06:36,039 Speaker 1: The transition band is a small band of frequencies that 106 00:06:36,120 --> 00:06:40,800 Speaker 1: will still play through where you've set your cut off. So, 107 00:06:40,839 --> 00:06:42,800 Speaker 1: in other words, if you say you're cut off is 108 00:06:42,960 --> 00:06:47,039 Speaker 1: five thousand hurts, anything below five thousand hurts, cut that off. 109 00:06:48,160 --> 00:06:51,000 Speaker 1: It's not a hard stop at that frequency. There's actually 110 00:06:51,000 --> 00:06:54,440 Speaker 1: it trails a little bit, which gives kind of an 111 00:06:54,440 --> 00:06:58,640 Speaker 1: interesting effect. Right, So that's really cool. But beyond that, 112 00:06:58,680 --> 00:07:01,359 Speaker 1: you can start to do things like adjust a filter 113 00:07:01,480 --> 00:07:03,680 Speaker 1: while you're actually playing a tone. You can do this 114 00:07:03,720 --> 00:07:06,120 Speaker 1: by hooking up different modules together. I'll talk about some 115 00:07:06,160 --> 00:07:08,640 Speaker 1: of the other modules in the second. And that's where 116 00:07:08,839 --> 00:07:17,040 Speaker 1: you get like, like the frequency of wah, well maybe 117 00:07:17,080 --> 00:07:19,960 Speaker 1: because I mean it's the way it sounds like the pitch. 118 00:07:20,160 --> 00:07:23,360 Speaker 1: The pitch remains the same, but the tone of the 119 00:07:24,120 --> 00:07:28,200 Speaker 1: of the note is different, So the pitch doesn't change, 120 00:07:29,000 --> 00:07:32,960 Speaker 1: but the the quality of the sound changes. Noel, I'm 121 00:07:32,960 --> 00:07:35,560 Speaker 1: sure it could play for us the sound of a 122 00:07:35,680 --> 00:07:39,720 Speaker 1: note where the filter is changed while the note is 123 00:07:39,760 --> 00:07:41,560 Speaker 1: still playing, so that we can kind of get an 124 00:07:41,600 --> 00:07:56,160 Speaker 1: idea of what that sounds like. And another thing you 125 00:07:56,200 --> 00:08:00,920 Speaker 1: can do is play with resonance. Uh. And one way 126 00:08:00,960 --> 00:08:03,680 Speaker 1: you can play with residents is you take the frequencies 127 00:08:03,680 --> 00:08:06,560 Speaker 1: that are close to that cut off frequency where you 128 00:08:06,600 --> 00:08:10,600 Speaker 1: know you've you've set the filter boundaries, and instead of 129 00:08:10,640 --> 00:08:12,840 Speaker 1: just having them play out to a speaker, you feed 130 00:08:12,880 --> 00:08:16,360 Speaker 1: them back into the filter. This creates a feedback loop 131 00:08:16,640 --> 00:08:20,320 Speaker 1: and I believe it's called a lope. How many more 132 00:08:20,320 --> 00:08:22,200 Speaker 1: times are we going to have that joke? All right? 133 00:08:22,280 --> 00:08:24,600 Speaker 1: So it creates a feedback loop, and it also changes 134 00:08:24,640 --> 00:08:27,920 Speaker 1: the timbre and volume of of the pitches that you're playing, 135 00:08:27,920 --> 00:08:31,640 Speaker 1: which is really cool. Um. So that's all in just 136 00:08:31,800 --> 00:08:35,520 Speaker 1: talking about filters. There are other modules that we can 137 00:08:35,520 --> 00:08:39,439 Speaker 1: mention that. That's just one subset of modules. Another one 138 00:08:39,600 --> 00:08:42,959 Speaker 1: is called the envelope generator. You know, there's a great 139 00:08:43,000 --> 00:08:45,560 Speaker 1: scene in that documentary where I don't know if you 140 00:08:45,600 --> 00:08:47,280 Speaker 1: saw this one because I think you so part of 141 00:08:47,320 --> 00:08:53,160 Speaker 1: it where Bob mog himself is showing off one of 142 00:08:53,240 --> 00:08:56,480 Speaker 1: his machines and he he sort of like rubs his 143 00:08:56,600 --> 00:09:01,520 Speaker 1: hand luxuriously over the envelope while he speaks of it. 144 00:09:01,600 --> 00:09:04,960 Speaker 1: Does it give uncomfortable? No? No, no, it's kind of suite. 145 00:09:05,080 --> 00:09:07,199 Speaker 1: You can tell he you know, he has he has 146 00:09:07,200 --> 00:09:09,760 Speaker 1: a love for this envelope. He has a relationship with 147 00:09:09,800 --> 00:09:12,120 Speaker 1: this envelope. And you might wonder, well, what the heck 148 00:09:12,200 --> 00:09:16,640 Speaker 1: is this thing? Anyway? Well, it's another section of the board. Yeah, 149 00:09:16,679 --> 00:09:20,199 Speaker 1: and and it's as you might imagine, as we're talking 150 00:09:20,240 --> 00:09:24,600 Speaker 1: about these different oscillators, these different waveforms, and these different filters, 151 00:09:24,880 --> 00:09:27,440 Speaker 1: it's already starting to sound pretty complicated. I mean, you've 152 00:09:27,480 --> 00:09:29,920 Speaker 1: got all these different knobs and stuff to control things, 153 00:09:30,240 --> 00:09:34,360 Speaker 1: and maybe you want to have various effects apply to 154 00:09:34,600 --> 00:09:39,880 Speaker 1: your music, but you can't by hand constantly adjust this, 155 00:09:40,120 --> 00:09:43,839 Speaker 1: or employ a second person too on the fly make 156 00:09:43,920 --> 00:09:47,280 Speaker 1: these changes to filters so that the notes you produce 157 00:09:47,360 --> 00:09:50,760 Speaker 1: have the quality that you want. Envelopes are kind of 158 00:09:50,800 --> 00:09:55,600 Speaker 1: like macros in the software world, where you make shortcuts 159 00:09:55,600 --> 00:09:58,240 Speaker 1: where you hit control and a letter and suddenly it 160 00:09:58,520 --> 00:10:03,240 Speaker 1: creates like a a series of commands that otherwise would 161 00:10:03,280 --> 00:10:08,200 Speaker 1: take you multiple mouse or key strokes to actually execute 162 00:10:08,360 --> 00:10:10,120 Speaker 1: the same sort of thing. Except in this case we're 163 00:10:10,120 --> 00:10:14,880 Speaker 1: talking about analog circuitry UM. So envelope generators can react 164 00:10:14,920 --> 00:10:18,120 Speaker 1: to an incoming signal and then send out a new 165 00:10:18,200 --> 00:10:21,280 Speaker 1: signal to a different module. And so it's another if 166 00:10:21,320 --> 00:10:25,679 Speaker 1: then gates. So if signal X comes into the envelope generator, 167 00:10:26,080 --> 00:10:30,040 Speaker 1: then send y signal to this other module so that 168 00:10:30,120 --> 00:10:33,200 Speaker 1: you get the effect you want. And one type of 169 00:10:33,280 --> 00:10:36,360 Speaker 1: envelope generator one common one is the A D S R, 170 00:10:36,480 --> 00:10:41,320 Speaker 1: and that stands for attack, decay, sustain, and release, which 171 00:10:41,360 --> 00:10:44,679 Speaker 1: are kind of like four phases in a note. So 172 00:10:44,840 --> 00:10:48,200 Speaker 1: have you ever played with a synthesizer where you pressed 173 00:10:48,200 --> 00:10:51,480 Speaker 1: down on a key and the sound kind of comes 174 00:10:51,559 --> 00:10:53,440 Speaker 1: up to a level and then backs off just a 175 00:10:53,480 --> 00:10:56,760 Speaker 1: little bit. Oh, yeah, that's the slow attack. That's the attack. Yeah, 176 00:10:56,800 --> 00:11:00,319 Speaker 1: that's the attack in decay actually, because the rise involvedvolume 177 00:11:00,400 --> 00:11:03,000 Speaker 1: is the attack when it hits its peak and starts 178 00:11:03,040 --> 00:11:05,360 Speaker 1: to come back down just a bit. Like let's say 179 00:11:05,400 --> 00:11:07,760 Speaker 1: that there's a scale of zero to one. You press 180 00:11:07,800 --> 00:11:10,040 Speaker 1: down the key, it goes from zero up to one, 181 00:11:10,600 --> 00:11:14,440 Speaker 1: then it falls back to maybe point seven. That that 182 00:11:14,600 --> 00:11:16,880 Speaker 1: fall back to point seven would be the decay phase. 183 00:11:17,240 --> 00:11:20,120 Speaker 1: So the attack phases going from zero to one decay 184 00:11:20,160 --> 00:11:24,000 Speaker 1: than one to point seven. That part happens usually pretty quickly, right, 185 00:11:24,040 --> 00:11:25,840 Speaker 1: And then you still got the key held down. As 186 00:11:25,880 --> 00:11:27,920 Speaker 1: long as you have the key held down, the note 187 00:11:27,920 --> 00:11:31,800 Speaker 1: is playing, that's the sustain. When you release the key, 188 00:11:31,920 --> 00:11:35,960 Speaker 1: you get to the release phase, which trails the note off. 189 00:11:36,080 --> 00:11:38,960 Speaker 1: And you can adjust all of these things. You can 190 00:11:39,000 --> 00:11:42,120 Speaker 1: adjust it so that the attack takes longer, so that 191 00:11:42,559 --> 00:11:46,640 Speaker 1: the build up to the peak and then the decay 192 00:11:47,360 --> 00:11:50,640 Speaker 1: is more you know, it's it's taking kind of the 193 00:11:50,679 --> 00:11:53,480 Speaker 1: scenic route. Or you can make the release last a 194 00:11:53,520 --> 00:11:56,280 Speaker 1: really long time so that the note trails off like 195 00:11:56,360 --> 00:11:59,839 Speaker 1: you have a long, sort of sustaining note. Um. All 196 00:11:59,880 --> 00:12:02,839 Speaker 1: of these are things you can adjust using this type 197 00:12:02,840 --> 00:12:05,920 Speaker 1: of technology, which gives you an incredible amount of flexibility 198 00:12:06,000 --> 00:12:09,200 Speaker 1: when you are trying to create a specific sound. And 199 00:12:09,440 --> 00:12:13,200 Speaker 1: one of the things that I think really makes synthesizers 200 00:12:13,200 --> 00:12:17,600 Speaker 1: in general, and the mogue in particular, incredibly special. It 201 00:12:17,600 --> 00:12:22,480 Speaker 1: makes me wish that I were capable of playing one. UM. 202 00:12:22,520 --> 00:12:26,720 Speaker 1: I only plink around on keyboards, so it's pretty pathetic. 203 00:12:26,880 --> 00:12:30,840 Speaker 1: Noel is like a master Jonathan. What's the song you 204 00:12:30,920 --> 00:12:33,440 Speaker 1: always play when you sit down at a piano. Everybody 205 00:12:33,480 --> 00:12:36,040 Speaker 1: has that annoying thing. They do the one song they 206 00:12:36,080 --> 00:12:37,719 Speaker 1: know how to play, and they sit down and they 207 00:12:37,760 --> 00:12:40,200 Speaker 1: do it well. There are two songs that I tend 208 00:12:40,200 --> 00:12:42,080 Speaker 1: to play. One is the theme to Raiders of the 209 00:12:42,080 --> 00:12:46,600 Speaker 1: Lost Arc. I mean, that's great triumphant music and it's 210 00:12:46,679 --> 00:12:49,240 Speaker 1: Nazi killing music, it is. And then the other one 211 00:12:49,320 --> 00:12:51,640 Speaker 1: is Jesu joy a Man's Desiring. That's that's kind of 212 00:12:51,880 --> 00:12:53,880 Speaker 1: two that I do, but I also I've also been 213 00:12:53,880 --> 00:12:57,480 Speaker 1: known to do, oh de joy. Okay, so that's a 214 00:12:57,520 --> 00:13:00,360 Speaker 1: bit of the old lidig, that's right. I have been 215 00:13:00,800 --> 00:13:04,480 Speaker 1: obviously the the actual de joy movement, which is from 216 00:13:04,520 --> 00:13:07,040 Speaker 1: you know, a much longer symphony, the Ninth Symphony. It's 217 00:13:07,080 --> 00:13:08,960 Speaker 1: only that one section that I do. I can't play 218 00:13:09,000 --> 00:13:11,079 Speaker 1: the any of the rest of it. And I can't 219 00:13:11,120 --> 00:13:13,920 Speaker 1: really play that one very well. It's like two finger typing. 220 00:13:13,960 --> 00:13:17,120 Speaker 1: It's like that, except with keyboard. I'm sure you're an 221 00:13:17,200 --> 00:13:20,240 Speaker 1: astonishing blinker. Yeah. Occasionally, you know, if I get want 222 00:13:20,240 --> 00:13:23,680 Speaker 1: to get fancy, you know, chopsticks, that's where it's at. 223 00:13:25,080 --> 00:13:29,160 Speaker 1: A big fan of the Jaws. Yeah, nice, nice. I've 224 00:13:29,160 --> 00:13:32,720 Speaker 1: been known to to do the uh, the musical motif 225 00:13:32,760 --> 00:13:35,880 Speaker 1: from Close Encounters of the third kind um, which you 226 00:13:35,880 --> 00:13:38,600 Speaker 1: can play just on the black keys. There's one other 227 00:13:38,640 --> 00:13:41,079 Speaker 1: thing I want to mention um. A couple other things actually. 228 00:13:41,160 --> 00:13:45,199 Speaker 1: One is the low frequency oscillator low frequency office oscillators 229 00:13:45,280 --> 00:13:48,640 Speaker 1: also known as lfos UH. They control other modules by 230 00:13:48,679 --> 00:13:52,640 Speaker 1: sending a low frequency. It's so low that sub audio 231 00:13:52,760 --> 00:13:55,079 Speaker 1: you can't you can't hear it. It's beneath it's below 232 00:13:55,080 --> 00:13:58,679 Speaker 1: twenty hurts um and they send a signal to other 233 00:13:58,679 --> 00:14:01,600 Speaker 1: modules to alter a set sound. So this is one 234 00:14:01,640 --> 00:14:05,040 Speaker 1: of the ways you can make that uh that sort 235 00:14:05,040 --> 00:14:10,120 Speaker 1: of vibrato sound in a sustained note is altering this 236 00:14:10,240 --> 00:14:13,880 Speaker 1: by using a low frequency oscillator gives it that wave 237 00:14:13,960 --> 00:14:30,040 Speaker 1: equality maybe Noel can demonstrate. And then you can always 238 00:14:30,160 --> 00:14:32,920 Speaker 1: use a control signal to change the frequency of another module. 239 00:14:33,040 --> 00:14:36,640 Speaker 1: That's called frequency modulation or f M. By the way, 240 00:14:36,680 --> 00:14:39,120 Speaker 1: all these things I'm talking about about changing frequencies of 241 00:14:39,200 --> 00:14:44,880 Speaker 1: electronic signals. It doesn't just apply to synthesizers like frequency 242 00:14:44,920 --> 00:14:50,000 Speaker 1: modulation oscillators, changing these things. This is all basic electronics, 243 00:14:50,000 --> 00:14:53,520 Speaker 1: whether you're making a sound or doing something else. It's 244 00:14:53,560 --> 00:14:57,040 Speaker 1: not just in in creating music. But where of course 245 00:14:57,080 --> 00:15:00,320 Speaker 1: specifically framing it in that because the topic is the mogue. 246 00:15:01,080 --> 00:15:06,920 Speaker 1: Uh So these are all super cool elements that give 247 00:15:07,000 --> 00:15:12,280 Speaker 1: the moge that that quality it possesses, that really unusual sound, 248 00:15:12,840 --> 00:15:15,880 Speaker 1: that that unique sound maybe instead of unusual, I wouldn't 249 00:15:15,920 --> 00:15:21,440 Speaker 1: want to say something that would have offended mog himself. 250 00:15:22,560 --> 00:15:27,760 Speaker 1: By unusual, I mean unique, not bad um And uh yeah, 251 00:15:27,800 --> 00:15:30,680 Speaker 1: you can these things could get monstrously huge, like I've 252 00:15:30,720 --> 00:15:35,000 Speaker 1: seen synthesizers that didn't have any keyboard attached them at all. 253 00:15:35,040 --> 00:15:38,160 Speaker 1: It was just the various modules to demonstrate what the 254 00:15:38,200 --> 00:15:41,360 Speaker 1: modules do. So all you had were the various modules, 255 00:15:41,720 --> 00:15:45,760 Speaker 1: cables to hook physically hook the modules together, pugging and 256 00:15:45,880 --> 00:15:48,880 Speaker 1: unplugging cables and turning dials, and you would have have 257 00:15:49,040 --> 00:15:52,680 Speaker 1: maybe in a scilloscope to see the wave form, so 258 00:15:52,760 --> 00:15:56,880 Speaker 1: you had something visual there too, but it was all 259 00:15:56,920 --> 00:16:00,680 Speaker 1: just plugging and unplugging cables, patching in the alters, taking 260 00:16:00,680 --> 00:16:04,240 Speaker 1: filters out by directly connecting modules. You know, that's interesting 261 00:16:04,280 --> 00:16:11,280 Speaker 1: because when when mog and Deutsch were originally designing the mode, 262 00:16:11,600 --> 00:16:14,480 Speaker 1: the you know, the synthesizer that would maybe it was 263 00:16:14,560 --> 00:16:18,160 Speaker 1: the Abomba Atron, I don't know the original model. They 264 00:16:18,160 --> 00:16:21,680 Speaker 1: were talking about the idea and they were discussing whether 265 00:16:21,880 --> 00:16:26,120 Speaker 1: or not it should have a keyboard. The keyboard is 266 00:16:26,160 --> 00:16:29,760 Speaker 1: sort of the obvious way to control the variable of pitch. 267 00:16:30,640 --> 00:16:35,200 Speaker 1: But the question is should we have gone with something else, 268 00:16:35,240 --> 00:16:39,880 Speaker 1: because does the keyboard inherently suggest this is really just 269 00:16:40,480 --> 00:16:44,200 Speaker 1: a different kind of piano, which modified piano. You should 270 00:16:44,200 --> 00:16:47,080 Speaker 1: approach it like a piano, use it like a piano. 271 00:16:47,280 --> 00:16:52,400 Speaker 1: You bring your piano playing behaviors to the machine, and 272 00:16:52,480 --> 00:16:54,880 Speaker 1: they were they were torn on that because they were thinking, well, 273 00:16:54,880 --> 00:16:58,240 Speaker 1: what if we didn't include the keyboard, might that help 274 00:16:58,360 --> 00:17:01,360 Speaker 1: encourage people to use this to generate sounds in a 275 00:17:01,360 --> 00:17:04,080 Speaker 1: way that's truly new and doesn't mimic the way we've 276 00:17:04,160 --> 00:17:07,440 Speaker 1: used other instruments before. Of course, we know they did 277 00:17:07,560 --> 00:17:09,760 Speaker 1: end up going with the keyboard, and that kind of 278 00:17:09,760 --> 00:17:11,840 Speaker 1: makes sense because the keyboard is a very useful and 279 00:17:11,880 --> 00:17:14,640 Speaker 1: intuitive way to control pitch, but especially when you get 280 00:17:14,680 --> 00:17:17,440 Speaker 1: to a point where you're capable of producing more than 281 00:17:17,520 --> 00:17:21,640 Speaker 1: one one tone by pressing more than one key at once, right, 282 00:17:21,760 --> 00:17:24,840 Speaker 1: some early synthesizers were only capable of performing like you 283 00:17:24,880 --> 00:17:26,880 Speaker 1: press one key and that's the sound you would get, 284 00:17:26,880 --> 00:17:29,560 Speaker 1: but you would not be able to create harmonies with 285 00:17:29,600 --> 00:17:33,119 Speaker 1: some early synthesizers where you know you were if you 286 00:17:33,200 --> 00:17:35,720 Speaker 1: change from key to key, you change the pitch, but 287 00:17:35,800 --> 00:17:38,640 Speaker 1: you couldn't hold down a chord and have all three 288 00:17:38,680 --> 00:17:42,120 Speaker 1: notes play, and some early early synthesizers. I think that's 289 00:17:42,160 --> 00:17:44,240 Speaker 1: the case with the mog and it I believe so, 290 00:17:44,359 --> 00:17:46,840 Speaker 1: and that that would mean that you could change out 291 00:17:46,840 --> 00:17:52,080 Speaker 1: the keyboard for something like a lever. Then you pull 292 00:17:52,119 --> 00:17:54,639 Speaker 1: the lever, and maybe when you pull the lever in 293 00:17:54,720 --> 00:17:57,240 Speaker 1: one direction the pitch increases, and when you put push 294 00:17:57,280 --> 00:17:59,760 Speaker 1: the lever the other direction, the pitch lowers. That could 295 00:17:59,800 --> 00:18:02,359 Speaker 1: have in the control device or anything else. Really it 296 00:18:02,359 --> 00:18:07,080 Speaker 1: didn't have to be the keyboard, but they decided ultimately 297 00:18:07,160 --> 00:18:10,880 Speaker 1: to have the keyboard because again it I think you're right. 298 00:18:10,920 --> 00:18:13,399 Speaker 1: I think it makes it easier to understand how to 299 00:18:13,480 --> 00:18:17,359 Speaker 1: produce the sound you want to produce. It becomes less 300 00:18:17,520 --> 00:18:20,960 Speaker 1: It slightly steps away from the element of performance art 301 00:18:21,240 --> 00:18:23,119 Speaker 1: the way a theoreman kind of is like, you can 302 00:18:23,119 --> 00:18:28,000 Speaker 1: get a really skilled theremin player to create particular sounds 303 00:18:28,040 --> 00:18:31,879 Speaker 1: and even play particular pieces of music, but it is hard. 304 00:18:32,160 --> 00:18:34,800 Speaker 1: It is is It is an art to learn how 305 00:18:34,840 --> 00:18:38,000 Speaker 1: to do that, and even then it's very imprecise. I 306 00:18:38,040 --> 00:18:42,280 Speaker 1: think they probably should have replaced the keyboard with a big, 307 00:18:43,240 --> 00:18:46,439 Speaker 1: big row of holes filled with a putty like a 308 00:18:46,520 --> 00:18:49,560 Speaker 1: google that you have to insert your fingers into to 309 00:18:49,680 --> 00:18:52,320 Speaker 1: play the note. Starting to make me think of like 310 00:18:52,400 --> 00:18:54,639 Speaker 1: some sort of combination of a musical instrument, and that 311 00:18:54,800 --> 00:18:58,480 Speaker 1: the Tree of Death and Flash Cordon reach inside and 312 00:18:58,520 --> 00:19:02,879 Speaker 1: discover the true tones of the future. Right, So, uh, 313 00:19:02,960 --> 00:19:05,240 Speaker 1: let's talk about waveforms because we mentioned them a little 314 00:19:05,240 --> 00:19:08,560 Speaker 1: bit with sign waves, square waves, triangle waves, sawtooth waves. 315 00:19:08,600 --> 00:19:11,160 Speaker 1: What what the heck to all of these mean? Um? 316 00:19:11,160 --> 00:19:14,280 Speaker 1: And we've already talked about what a waves period is, 317 00:19:14,359 --> 00:19:17,800 Speaker 1: We've talked about frequency and amplitude and uh. For for 318 00:19:17,840 --> 00:19:20,000 Speaker 1: a lot of this, I'm going to be looking at 319 00:19:20,119 --> 00:19:24,400 Speaker 1: using the example of a one hundred hurts um wave 320 00:19:25,640 --> 00:19:28,840 Speaker 1: or frequency rather one hundred hurts frequency, so that it 321 00:19:28,920 --> 00:19:32,280 Speaker 1: makes it easy for me to use the math to 322 00:19:32,400 --> 00:19:35,040 Speaker 1: describe the different wave forms, because if I go with 323 00:19:35,119 --> 00:19:38,600 Speaker 1: something that's not easy, then I would have to do 324 00:19:38,640 --> 00:19:42,600 Speaker 1: a whole bunch of different calculations of the So I 325 00:19:42,640 --> 00:19:45,280 Speaker 1: mentioned earlier, sign waves are that pure wave, is that 326 00:19:45,359 --> 00:19:48,760 Speaker 1: fundamental frequency? Uh? This would be the same as if 327 00:19:48,760 --> 00:19:51,120 Speaker 1: you were to take a tuning fork and ring it. 328 00:19:51,119 --> 00:19:54,520 Speaker 1: It's going to create a true tone with no harmonics. 329 00:20:00,440 --> 00:20:05,120 Speaker 1: It's a single sound. Uh. And so at one hundred hurts, 330 00:20:05,160 --> 00:20:07,920 Speaker 1: you would have a wave where it's period is being 331 00:20:07,960 --> 00:20:11,280 Speaker 1: repeated one hundred times every second, and that's all you 332 00:20:11,280 --> 00:20:13,760 Speaker 1: would get just that, and it would be at a 333 00:20:13,800 --> 00:20:17,800 Speaker 1: steady amplitude unless you were adjusting the volume. So again, 334 00:20:17,840 --> 00:20:20,879 Speaker 1: amplitude refers to how loud it is in this case 335 00:20:21,200 --> 00:20:24,879 Speaker 1: for for sound. Uh. And also what's really neat is 336 00:20:24,880 --> 00:20:27,440 Speaker 1: that you know, you we depict this with the the 337 00:20:27,560 --> 00:20:30,840 Speaker 1: peaks and valleys on a on an X Y axis, 338 00:20:30,840 --> 00:20:33,960 Speaker 1: whereas the like the x axis the horizontal axis that 339 00:20:34,000 --> 00:20:38,120 Speaker 1: represents time, and the vertical axis represents the the amplitude 340 00:20:38,160 --> 00:20:41,040 Speaker 1: the volume. Uh. If you were to match up two 341 00:20:41,080 --> 00:20:44,720 Speaker 1: sound waves that are identical, but the peaks of one 342 00:20:44,800 --> 00:20:47,840 Speaker 1: sound wave are matched with the troughs of the other 343 00:20:47,880 --> 00:20:51,359 Speaker 1: sound wave perfectly, they cancel each other out. So you 344 00:20:51,400 --> 00:20:56,080 Speaker 1: play these two sounds simultaneously, if they line up in 345 00:20:56,119 --> 00:20:58,600 Speaker 1: that way, they cancel one another out. It's like it's 346 00:20:58,600 --> 00:21:01,560 Speaker 1: like all the atoms can't move because they're pushing against 347 00:21:01,600 --> 00:21:05,280 Speaker 1: each other and not actually creating the vibration required for 348 00:21:05,280 --> 00:21:08,280 Speaker 1: you to hear a noise. Noise canceling headphones work on 349 00:21:08,320 --> 00:21:12,440 Speaker 1: a pretty similar principle to this to some degree. So 350 00:21:12,520 --> 00:21:14,560 Speaker 1: that's kind of interesting. All right, So let's talk about 351 00:21:14,600 --> 00:21:17,160 Speaker 1: saw tooth waves. If you look at these, it looks 352 00:21:17,160 --> 00:21:19,960 Speaker 1: like a ramp and then it's like the ramp goes 353 00:21:20,040 --> 00:21:23,399 Speaker 1: up into the right and then immediately drops off like 354 00:21:23,640 --> 00:21:25,879 Speaker 1: has a vertical drop, and then moves up into the 355 00:21:25,960 --> 00:21:28,639 Speaker 1: right again, and that's why it's called saw tooth. It 356 00:21:28,640 --> 00:21:32,879 Speaker 1: looks like the teeth of a saw blade. Um These 357 00:21:32,960 --> 00:21:35,800 Speaker 1: when you play them, have a buzzing sound that's really 358 00:21:35,800 --> 00:21:38,159 Speaker 1: strong and clear. So this is what a saw tooth 359 00:21:38,480 --> 00:21:46,280 Speaker 1: wave sounds like. Now, those are made by combining a 360 00:21:46,280 --> 00:21:49,399 Speaker 1: series of sign waves at different frequencies and volume levels. 361 00:21:49,680 --> 00:21:52,600 Speaker 1: The loudest sign wave defines the frequency of the overall 362 00:21:52,640 --> 00:21:55,800 Speaker 1: saw tooth wave, and that is the fundamental frequency, and 363 00:21:55,840 --> 00:21:59,399 Speaker 1: the other sign waves represent the harmonics, which are deally 364 00:21:59,440 --> 00:22:02,280 Speaker 1: at a frequent that complements the fundamental one. So generally 365 00:22:02,280 --> 00:22:06,520 Speaker 1: what we talk about are multiples of the fundamental frequency. 366 00:22:06,560 --> 00:22:09,080 Speaker 1: That's why I'm going to start with a one hurts. 367 00:22:09,119 --> 00:22:13,400 Speaker 1: So at a hundred hurts, your next multiple like harmonic harmonic. 368 00:22:13,440 --> 00:22:16,160 Speaker 1: The first harmonic would be number two because number one 369 00:22:16,240 --> 00:22:19,000 Speaker 1: is your fundamental that's one hurts. Number two would be 370 00:22:19,000 --> 00:22:22,360 Speaker 1: two hundred hurts because it's the multiple that's the harmonic. 371 00:22:22,520 --> 00:22:25,560 Speaker 1: Number three is three hurts, four is four hundred hurts, 372 00:22:25,560 --> 00:22:28,399 Speaker 1: so on and so forth. Multiple and harmonic number are 373 00:22:28,400 --> 00:22:30,119 Speaker 1: the same thing as what I'm trying to get across. 374 00:22:30,600 --> 00:22:32,520 Speaker 1: All of those are playing at the same time. But 375 00:22:33,480 --> 00:22:37,600 Speaker 1: the amplitude of the harmonics is lower than the amplitude 376 00:22:37,800 --> 00:22:41,760 Speaker 1: of the fundamental frequency, meaning they're quieter, right, They're not overwhelming, 377 00:22:41,760 --> 00:22:45,880 Speaker 1: Otherwise you would just have noise. So uh, it drops 378 00:22:45,920 --> 00:22:49,560 Speaker 1: with each step further away from the fundamental frequency, and 379 00:22:49,640 --> 00:22:53,760 Speaker 1: it stretches on effectively into infinity. Eventually it gets to 380 00:22:53,760 --> 00:22:56,159 Speaker 1: a point where it's so low that it's impossible for 381 00:22:56,240 --> 00:23:01,199 Speaker 1: us to understand. So yeah, while the wave effectively or 382 00:23:01,240 --> 00:23:04,640 Speaker 1: the the harmonics effectively go on into infinity, eventually one 383 00:23:04,680 --> 00:23:07,800 Speaker 1: you hit a frequency that humans cannot perceive and to 384 00:23:08,119 --> 00:23:13,960 Speaker 1: its well, in general, humans have trouble perceiving, and it's 385 00:23:14,000 --> 00:23:16,040 Speaker 1: at an amplitude that's so low that you wouldn't be 386 00:23:16,040 --> 00:23:17,560 Speaker 1: able to hear it anyway. The volume is too low 387 00:23:17,560 --> 00:23:19,680 Speaker 1: for you to be able to detect it. But that's 388 00:23:19,760 --> 00:23:24,280 Speaker 1: the that's what gives the saw tooth wave that tonal character. 389 00:23:24,840 --> 00:23:28,800 Speaker 1: Then you've got square waves, which look very square. I mean, 390 00:23:28,880 --> 00:23:30,400 Speaker 1: if you were to look at they almost looked like 391 00:23:30,400 --> 00:23:33,480 Speaker 1: like the the battlements you might see on the top 392 00:23:33,520 --> 00:23:36,800 Speaker 1: of a castle wall or something. And uh, square waves 393 00:23:36,840 --> 00:23:40,280 Speaker 1: contain harmonics like a saw tooth wave, but it only 394 00:23:40,320 --> 00:23:44,400 Speaker 1: contains the odd numbered harmonics, So you don't have harmonic 395 00:23:44,480 --> 00:23:47,680 Speaker 1: number two. If you start with one hundred hurts, you 396 00:23:47,720 --> 00:23:49,920 Speaker 1: wouldn't have two hundred hurts as a harmonic. It would 397 00:23:49,920 --> 00:23:52,800 Speaker 1: be skipped. But you would have three hundred huh and 398 00:23:52,880 --> 00:23:55,919 Speaker 1: five hundred and seven hundred and nine hundred. But you 399 00:23:55,960 --> 00:23:58,679 Speaker 1: skip all the even numbered harmonics. You only include the 400 00:23:58,680 --> 00:24:03,840 Speaker 1: odd ones. And there's an actual formula for how quiet 401 00:24:04,119 --> 00:24:06,840 Speaker 1: those harmonics arery What you do is you take the 402 00:24:06,880 --> 00:24:12,160 Speaker 1: harmonic number and then you do the inversion of that. 403 00:24:12,200 --> 00:24:16,240 Speaker 1: You invert it. So harmonic three you would invert to 404 00:24:16,960 --> 00:24:19,560 Speaker 1: one over three or point three three three three, it 405 00:24:19,600 --> 00:24:22,439 Speaker 1: would have that. That would be its amplitude compared to 406 00:24:22,480 --> 00:24:26,880 Speaker 1: the fundamental frequency. Five would be one five of the 407 00:24:26,920 --> 00:24:30,960 Speaker 1: amplitude of the fundamental frequency. Seven would be one seven, etcetera, etcetera, 408 00:24:31,000 --> 00:24:33,480 Speaker 1: all the way down the line. So a square wave 409 00:24:33,680 --> 00:24:36,239 Speaker 1: is going to have a a tone that a lot 410 00:24:36,280 --> 00:24:38,800 Speaker 1: of our listeners are going to recognize because it's the 411 00:24:38,840 --> 00:24:42,800 Speaker 1: type of wave generated by classic video game console systems 412 00:24:42,840 --> 00:24:46,600 Speaker 1: like the Nintendo Entertainment System would be a great example. Yeah, 413 00:24:46,840 --> 00:24:49,439 Speaker 1: so you gotta stop, you gotta stop and tell me 414 00:24:49,880 --> 00:24:55,520 Speaker 1: what's your favorite in nes eight bit video game music. Uh. 415 00:24:55,760 --> 00:24:58,160 Speaker 1: I know it's kind of lame to go with such 416 00:24:58,160 --> 00:25:01,040 Speaker 1: a popular answer, but I really like the Legend of Zelda. 417 00:25:01,359 --> 00:25:04,880 Speaker 1: That's a great one, you know. I also really I 418 00:25:05,040 --> 00:25:09,720 Speaker 1: really like Super Mario Brothers. It's great. I really remember 419 00:25:09,840 --> 00:25:13,080 Speaker 1: liking the music that went with the old ne ne 420 00:25:13,080 --> 00:25:18,159 Speaker 1: Nes Batman game, which the only movie based games for 421 00:25:18,200 --> 00:25:21,400 Speaker 1: the NES that wasn't horrible. Yeah, it wasn't wasn't like 422 00:25:21,640 --> 00:25:24,720 Speaker 1: a just a complete travesty of the franchise rights. It 423 00:25:24,760 --> 00:25:26,440 Speaker 1: was pretty good game, you know. That's what I'm saying 424 00:25:26,480 --> 00:25:29,160 Speaker 1: is that that's great music. You remember Do Do Do 425 00:25:29,160 --> 00:25:32,359 Speaker 1: Do Do? And I never owned it in ne e S, 426 00:25:32,400 --> 00:25:33,639 Speaker 1: but I have a friend who did, and he had 427 00:25:33,680 --> 00:25:36,040 Speaker 1: that game, so I do remember that. But anyway, this 428 00:25:36,119 --> 00:25:39,240 Speaker 1: is what those square wave forms sound like, in case 429 00:25:39,280 --> 00:25:44,480 Speaker 1: you wanted to know. So, yeah, you could tell. They're 430 00:25:44,480 --> 00:25:47,480 Speaker 1: a little a little less buzzy than the saw tooth waves. 431 00:25:47,560 --> 00:25:50,920 Speaker 1: The square ones are slightly less buzzy, but they still 432 00:25:50,960 --> 00:25:54,520 Speaker 1: have some character to them. And then we have triangle waves. 433 00:25:55,040 --> 00:26:01,080 Speaker 1: Triangle waves hate person waves. They have a fight triangle wins. Also, 434 00:26:01,200 --> 00:26:04,280 Speaker 1: they have a really more mellow sound than your square 435 00:26:04,320 --> 00:26:06,920 Speaker 1: waves or sawtooth waves do, so they kind of sit 436 00:26:07,000 --> 00:26:10,840 Speaker 1: between square waves and sign waves. They also have harmonics, 437 00:26:11,080 --> 00:26:14,240 Speaker 1: and they also have only odd numbered harmonics like the 438 00:26:14,280 --> 00:26:18,600 Speaker 1: square waves do, so just three, five, seven, nine, etcetera. 439 00:26:18,760 --> 00:26:21,760 Speaker 1: You don't have any even numbered harmonics in the triangle waves. 440 00:26:22,560 --> 00:26:26,439 Speaker 1: And in this case, the amplitude of the harmonics is 441 00:26:27,080 --> 00:26:32,280 Speaker 1: the drops off faster than it does with the square waves. 442 00:26:32,320 --> 00:26:35,439 Speaker 1: So in square remember it's the inversion of the harmonic number, 443 00:26:35,680 --> 00:26:38,760 Speaker 1: so three is one third, five is one. Five with 444 00:26:38,960 --> 00:26:43,600 Speaker 1: triangle waves is the inversion of the square of the harmonic. 445 00:26:43,720 --> 00:26:47,080 Speaker 1: So it's one over three squared or one over nine 446 00:26:47,320 --> 00:26:51,679 Speaker 1: or point one repeating. So that's it's that amplitude compared 447 00:26:51,720 --> 00:26:56,160 Speaker 1: to the fundamental frequency. And then etcetera down the road, 448 00:26:56,240 --> 00:26:59,640 Speaker 1: so it'd be one over five squared, one over seven squared, 449 00:26:59,680 --> 00:27:02,199 Speaker 1: one over nine squared, etcetera. And that would be your 450 00:27:02,240 --> 00:27:07,720 Speaker 1: amplitude of your harmonics to the fundamental frequency. Ah, so 451 00:27:07,800 --> 00:27:09,880 Speaker 1: that that's your basic ones. Oh, in a triangle wave, 452 00:27:10,080 --> 00:27:12,600 Speaker 1: we should definitely hear what that sounds like. It sounds 453 00:27:12,640 --> 00:27:19,160 Speaker 1: like this, So those are your basics, like that's you know, 454 00:27:19,200 --> 00:27:21,879 Speaker 1: those are your the basic qualities of sound you could use. 455 00:27:21,920 --> 00:27:24,879 Speaker 1: You could you could choose which type of wave you 456 00:27:24,920 --> 00:27:29,520 Speaker 1: wanted the oscillator to generate with your moge synthesizer, and 457 00:27:29,520 --> 00:27:33,560 Speaker 1: then put that through the various filters and other modules 458 00:27:33,600 --> 00:27:37,560 Speaker 1: that we talked about to create all sorts of interesting 459 00:27:37,680 --> 00:27:43,080 Speaker 1: sounds and and really give your music a very interesting 460 00:27:43,200 --> 00:27:47,760 Speaker 1: character before you even start playing a melody. So with 461 00:27:47,800 --> 00:27:52,320 Speaker 1: all of the richness of a variety of electronic music 462 00:27:52,400 --> 00:27:56,560 Speaker 1: that you can create with synthesizers, I mean, we're focusing 463 00:27:56,560 --> 00:27:59,119 Speaker 1: on analog synthesizers today, but really with any kind of 464 00:27:59,119 --> 00:28:01,720 Speaker 1: electronically gym rated in music, there's a lot you can do. 465 00:28:03,920 --> 00:28:06,880 Speaker 1: Why do why does some people still regard it as 466 00:28:06,920 --> 00:28:10,760 Speaker 1: fake music? Because some people just I think are narrow 467 00:28:10,800 --> 00:28:13,760 Speaker 1: minded jerk faces. No, I don't want to, I don't 468 00:28:13,800 --> 00:28:17,240 Speaker 1: want to really suggest that. I think I think though, 469 00:28:17,400 --> 00:28:19,840 Speaker 1: this is one of those things that historically we've seen repeated, 470 00:28:20,920 --> 00:28:24,960 Speaker 1: you know, many times, even before the age of electronic 471 00:28:25,040 --> 00:28:28,919 Speaker 1: music at all, we saw this, like just with composers 472 00:28:29,080 --> 00:28:32,600 Speaker 1: styles and you you've heard stories of how after the 473 00:28:32,640 --> 00:28:36,439 Speaker 1: performance of a particular symphony and audience might riot in 474 00:28:36,560 --> 00:28:39,640 Speaker 1: reaction because it was so different from what came before it. 475 00:28:40,160 --> 00:28:41,760 Speaker 1: And I think that's part of it. I think there's 476 00:28:41,800 --> 00:28:46,200 Speaker 1: some people who just have trouble accepting the idea that 477 00:28:46,680 --> 00:28:50,280 Speaker 1: something different from what has come before has any can 478 00:28:50,320 --> 00:28:54,280 Speaker 1: add any value, and if it doesn't fit their definition 479 00:28:54,360 --> 00:28:58,200 Speaker 1: of what is music, it therefore cannot be music. Um, 480 00:28:58,240 --> 00:29:00,200 Speaker 1: I don't believe in that. I mean, I will go 481 00:29:00,400 --> 00:29:02,360 Speaker 1: so far as to say, like, there are there's definitely 482 00:29:02,360 --> 00:29:06,400 Speaker 1: some experimental music out there that to me sounds indistinguishable 483 00:29:06,640 --> 00:29:10,560 Speaker 1: from random noise. Like there are some performance aren't pieces, 484 00:29:10,560 --> 00:29:12,120 Speaker 1: and some of them are meant to be like that, 485 00:29:12,160 --> 00:29:16,400 Speaker 1: like dropping objects onto piano wires from like twenty feet 486 00:29:16,480 --> 00:29:19,640 Speaker 1: up so that you could create these these loud noises. 487 00:29:20,280 --> 00:29:24,440 Speaker 1: It's not like that's done with surgical precision to create 488 00:29:24,480 --> 00:29:27,200 Speaker 1: a very specific sound, and that's not what the intent 489 00:29:27,280 --> 00:29:31,760 Speaker 1: of the piece is. Uh, and it it's it gets 490 00:29:31,760 --> 00:29:34,800 Speaker 1: tricky for me to refer to that as music because 491 00:29:34,840 --> 00:29:37,920 Speaker 1: it doesn't fit my definition, my personal definition of what 492 00:29:38,000 --> 00:29:41,640 Speaker 1: music is. So I'm even guilty too of that to 493 00:29:41,760 --> 00:29:45,400 Speaker 1: some extent. You know, one example I think of that 494 00:29:45,400 --> 00:29:49,280 Speaker 1: that comes up is, for example, drum machines. Yeah, you 495 00:29:49,320 --> 00:29:52,240 Speaker 1: hear that criticized all the time. People are like, oh, 496 00:29:52,360 --> 00:29:56,000 Speaker 1: you know, the music these days, any idiot with the 497 00:29:56,080 --> 00:29:58,920 Speaker 1: drum machine can just make some loops and then and 498 00:29:58,960 --> 00:30:01,200 Speaker 1: then there were a musician, and that's not real music, 499 00:30:02,240 --> 00:30:07,920 Speaker 1: or or people who program music into like it's possible 500 00:30:07,920 --> 00:30:11,640 Speaker 1: to program music into a computer file without ever touching 501 00:30:11,680 --> 00:30:15,120 Speaker 1: any kind of musical instrument. Right, You could, in theory, 502 00:30:15,320 --> 00:30:18,760 Speaker 1: create music just by manipulating numbers if you have a 503 00:30:18,880 --> 00:30:22,240 Speaker 1: great enough affinity for that. I don't think that makes 504 00:30:22,240 --> 00:30:24,920 Speaker 1: the music any less valid than anything else. I don't 505 00:30:24,920 --> 00:30:28,360 Speaker 1: think that there should be a In fact, how different 506 00:30:28,440 --> 00:30:31,720 Speaker 1: is that from being a composer who creates, who composes 507 00:30:31,800 --> 00:30:35,880 Speaker 1: music for a symphony and doesn't play it him or herself. Right, Yeah, 508 00:30:35,920 --> 00:30:38,720 Speaker 1: I would argue that is very similar. And and I 509 00:30:38,760 --> 00:30:42,280 Speaker 1: also just think that that the creation of music goes 510 00:30:42,360 --> 00:30:47,600 Speaker 1: beyond how skillful you are at tickling the ivories or 511 00:30:48,920 --> 00:30:52,080 Speaker 1: being able to plug strings. What did you just say 512 00:30:52,680 --> 00:30:56,360 Speaker 1: to tickle the ivories? Tickle the ivories? That's playing piano? 513 00:30:56,520 --> 00:30:58,920 Speaker 1: Where on earth did you learn that expression? What are you? 514 00:30:59,080 --> 00:31:03,400 Speaker 1: Are you kidding me? Look, tickle them, tickle the ivories? 515 00:31:04,000 --> 00:31:06,800 Speaker 1: You've never heard this phrase? Are you telling me that? 516 00:31:06,960 --> 00:31:10,320 Speaker 1: Oh my gosh, well I am older than you are. Uh, 517 00:31:10,400 --> 00:31:15,280 Speaker 1: tickle the ivories is a phrase that means play the piano. Okay, 518 00:31:15,440 --> 00:31:17,440 Speaker 1: I guess. I guess I'll just have to go home 519 00:31:17,480 --> 00:31:21,600 Speaker 1: and beat up my guitar. Well, I'm just saying a 520 00:31:21,680 --> 00:31:26,280 Speaker 1: phrase that doesn't matter at any rate, Like I don't 521 00:31:26,400 --> 00:31:29,440 Speaker 1: I don't think. I don't think that musical ability. I'm 522 00:31:29,440 --> 00:31:33,000 Speaker 1: gonna go roughly chop my drums. I don't think that. Look, 523 00:31:33,480 --> 00:31:36,640 Speaker 1: I'm about tickling the ivories and you're going into abuse. 524 00:31:37,520 --> 00:31:40,360 Speaker 1: I don't think of all the bizarre things you can 525 00:31:40,400 --> 00:31:44,800 Speaker 1: do with your hands that are not playing a musical instrument. Okay, 526 00:31:44,840 --> 00:31:47,920 Speaker 1: Well that's that's fair. So I'm sorry. Now I'm the 527 00:31:47,960 --> 00:31:51,440 Speaker 1: one being judgmental. I apologize, Jonathan. I think you should 528 00:31:51,480 --> 00:31:54,760 Speaker 1: feel free to tickle the ivories however you like, and 529 00:31:54,760 --> 00:31:57,000 Speaker 1: and I won't judge you for it. I just can't 530 00:31:57,040 --> 00:32:00,320 Speaker 1: believe you've never heard that phrase before I heard. Well, 531 00:32:00,400 --> 00:32:04,800 Speaker 1: it's it's pretty common down my way. Um. But at 532 00:32:04,800 --> 00:32:07,200 Speaker 1: any rate, we had a lot of ivory ticklers when 533 00:32:07,240 --> 00:32:11,680 Speaker 1: I was growing up. Um. So at the point being that, 534 00:32:11,840 --> 00:32:15,000 Speaker 1: I don't think that there's any particular skill that you 535 00:32:15,080 --> 00:32:18,080 Speaker 1: have to possess in order to be someone who makes 536 00:32:18,160 --> 00:32:22,239 Speaker 1: music other than the ability to create a melody or 537 00:32:22,360 --> 00:32:26,120 Speaker 1: or you know, to actually create the music in whatever 538 00:32:26,440 --> 00:32:29,480 Speaker 1: whatever mode you use to do it doesn't matter well, 539 00:32:29,520 --> 00:32:33,520 Speaker 1: I mean regardless, Like why would we even consider ourselves 540 00:32:33,520 --> 00:32:36,880 Speaker 1: in the business of certifying what counts as being a 541 00:32:36,960 --> 00:32:39,600 Speaker 1: musician or not? This? Like, why is that our job 542 00:32:39,680 --> 00:32:42,760 Speaker 1: to tell people, no, that's not real music. This honestly 543 00:32:42,840 --> 00:32:45,760 Speaker 1: reminds me a lot of the debate of whether or 544 00:32:45,760 --> 00:32:49,800 Speaker 1: not video games or art or video games just contain art. 545 00:32:51,640 --> 00:32:54,560 Speaker 1: So in other words, like, yeah, the graphics in a 546 00:32:54,680 --> 00:32:58,080 Speaker 1: video game can be considered art, the music accompanying a 547 00:32:58,160 --> 00:33:00,560 Speaker 1: video game can be considered art. But is a video 548 00:33:00,600 --> 00:33:05,400 Speaker 1: game itself art? And there's people who very violently say 549 00:33:05,800 --> 00:33:08,880 Speaker 1: absolutely not, there is no way a video game itself 550 00:33:08,960 --> 00:33:11,360 Speaker 1: could be art. Do they have some kind of like 551 00:33:11,400 --> 00:33:14,640 Speaker 1: philosophical principle in forming this opinion? I think they just 552 00:33:14,720 --> 00:33:18,600 Speaker 1: have some sort of ridiculous narrow definition of what they 553 00:33:18,600 --> 00:33:23,320 Speaker 1: think art has to fall in. Yeah, so I would 554 00:33:23,320 --> 00:33:26,520 Speaker 1: say that this that the electronic music has fallen into 555 00:33:26,520 --> 00:33:28,840 Speaker 1: that same thing that some people. For them, they have 556 00:33:28,880 --> 00:33:32,000 Speaker 1: a very narrow definition of what music is. An electronic 557 00:33:32,280 --> 00:33:35,040 Speaker 1: music falls outside of that definition, so therefore it cannot 558 00:33:35,040 --> 00:33:39,840 Speaker 1: be music by by definition. Problem is that's not everyone's definition. 559 00:33:39,880 --> 00:33:43,480 Speaker 1: I have a much broader opinion of what is music, 560 00:33:43,680 --> 00:33:46,160 Speaker 1: maybe not as broad as other people. In fact, certainly 561 00:33:46,240 --> 00:33:48,560 Speaker 1: not as broad as other people. I know there are 562 00:33:48,560 --> 00:33:53,040 Speaker 1: folks who like music that I just find uh baffling, 563 00:33:53,320 --> 00:33:57,120 Speaker 1: like there's no appeal to me. So I know that 564 00:33:57,160 --> 00:33:59,920 Speaker 1: I'm also guilty of that, but I'm at least aware 565 00:34:00,040 --> 00:34:04,760 Speaker 1: of it. So that's the story of the Moag synthesizer, 566 00:34:04,840 --> 00:34:08,040 Speaker 1: what it did, the the actual wave forms that are produced, 567 00:34:08,040 --> 00:34:12,319 Speaker 1: and how those come together to make various sounds. I 568 00:34:12,320 --> 00:34:15,359 Speaker 1: gotta thank you, Joe for being on the show and 569 00:34:15,480 --> 00:34:17,799 Speaker 1: joining me to have this discussion. It's been like you 570 00:34:17,840 --> 00:34:20,080 Speaker 1: for inviting me. And I have to thank Noel for 571 00:34:20,120 --> 00:34:22,920 Speaker 1: all the amazing work he will be doing on this 572 00:34:22,960 --> 00:34:25,560 Speaker 1: episode that I have not yet heard because obviously he'll 573 00:34:25,560 --> 00:34:28,040 Speaker 1: be adding it in later, but I can't wait. He 574 00:34:28,120 --> 00:34:31,320 Speaker 1: was very eager to do it, Joe. You know, Noel 575 00:34:31,480 --> 00:34:35,360 Speaker 1: is like he's crazy talented when it comes to music. 576 00:34:35,920 --> 00:34:40,080 Speaker 1: Killer He he composed created the new music that the 577 00:34:40,120 --> 00:34:42,080 Speaker 1: new theme music we have on over on stuff to 578 00:34:42,080 --> 00:34:44,839 Speaker 1: build your mind, which I much preferred to the old 579 00:34:44,880 --> 00:34:47,600 Speaker 1: theme music. He also did the music for tech stuff, 580 00:34:47,760 --> 00:34:50,640 Speaker 1: which I much prefer to the old music. So yeah, 581 00:34:50,920 --> 00:34:54,279 Speaker 1: Noel is a is a kind of a amazing and 582 00:34:54,320 --> 00:34:57,800 Speaker 1: he's always working on something. Um Actually, one thing I 583 00:34:57,800 --> 00:34:59,759 Speaker 1: would love Noel to do at some point, I'll have 584 00:34:59,800 --> 00:35:02,879 Speaker 1: to do another episode about music so that Nol can 585 00:35:02,920 --> 00:35:08,080 Speaker 1: play some of his mouth noise symphony for listeners, because 586 00:35:08,080 --> 00:35:12,640 Speaker 1: he's created musical pieces where all of the all of 587 00:35:12,680 --> 00:35:16,480 Speaker 1: the sounds come from various mouth noises. They's cut out 588 00:35:16,520 --> 00:35:21,319 Speaker 1: of podcasts and then manipulated in some way to make 589 00:35:21,360 --> 00:35:25,239 Speaker 1: the musical and you would not necessarily know that it 590 00:35:25,280 --> 00:35:27,600 Speaker 1: was a series of mouth sounds if you listen to 591 00:35:27,640 --> 00:35:30,960 Speaker 1: it without being told first. It's kind of cool as 592 00:35:31,000 --> 00:35:33,000 Speaker 1: the sort of thing he does him he can really 593 00:35:33,080 --> 00:35:35,839 Speaker 1: tickle the mouth sound. You really can. I can't believe 594 00:35:35,840 --> 00:35:38,840 Speaker 1: you're giving me crap about this very valid phrase that 595 00:35:38,960 --> 00:35:42,520 Speaker 1: when you google it you are going to be shocked 596 00:35:42,640 --> 00:35:46,799 Speaker 1: that there are other people who have used it. Okay, well, 597 00:35:46,800 --> 00:35:49,279 Speaker 1: and that we're going to wrap this up. This has 598 00:35:49,280 --> 00:35:52,240 Speaker 1: been an epic episode about Mode. It's been fun and guys, 599 00:35:52,239 --> 00:35:55,000 Speaker 1: if you enjoyed this episode, please let us know if 600 00:35:55,000 --> 00:35:58,320 Speaker 1: you have suggestions for other topics or suggestions for people 601 00:35:58,320 --> 00:36:00,560 Speaker 1: I should get on the show, either as a guest 602 00:36:00,640 --> 00:36:03,200 Speaker 1: or an interview subject. I'd love to hear from you. 603 00:36:03,480 --> 00:36:06,600 Speaker 1: Send me an email that address is tech stuff at 604 00:36:06,800 --> 00:36:09,319 Speaker 1: how stuff works dot com, or drop me a line 605 00:36:09,320 --> 00:36:11,959 Speaker 1: on Facebook, Tumbler, or Twitter. To handle it all three, 606 00:36:12,040 --> 00:36:15,440 Speaker 1: it's tech Stuff hs W, and I'll talk to you again. 607 00:36:16,080 --> 00:36:24,080 Speaker 1: Really sat. For more on this and bathans of other hathics, 608 00:36:24,280 --> 00:36:35,080 Speaker 1: visit has stuff works dot com.