Oberheim Electronics

One of the first commercially available polyphonic synthesizers, Oberheim's Two-voice TVS-1, Four-voice FVS-1 in 1975, and Eight-voice in 1977,which was the four voice frame with an external 4 SEM module, configurations were based on the SEM. The Two-voice synthesizer included a two channel voltage controlled sequencer, and the Four-voice and Eight-voice machines included a rudimentary Programmer, capable of recalling sound settings.
The video below is of Rush playing Tom Sawyer, if you skip to the last ten seconds or so you can see what I think is the early Oberheim Synth. 


If you like the sound of rush and this particular synth, here is a link 
https://obxd.wordpress.com/
to a VST plugin that replicates the sounds made. I don't know if it works or not, but it's totally worth a shot.

Buchla 700 Series

The Buchla 700 was released in 1987 as Buchla's first synthesizer with MIDI implemented. It sported a large LCD capable of showing what one was editing and the locations of various touch-sensitive controls. The keyboard and practically every other control surface on the synth was a touch-plate, thus continuing Buchla's history of advanced computer controlled analog circuitry. It outdid every other Buchla synth at the time that offered many options. Control over 190 different acoustic sounds variables. Twelve voices and four different digital oscillators per voice yielding 48 oscillators in total. Frequency modulation, waveshape interpolation, timbre modulation. Filters, modifiers, and amps. Six modifiers per voice, fifteen envelopes per voice, and the envelopes could have 96 break points all together. MIDAS VII, a music programming language, was included that gave users access to instrument, waveshape, tuning table, and score editors. Up to 40 different instrument definitions could be saved onto its 3.5 inch disk drive. A beast ahead of its time. Good luck trying to find one in working condition nowadays.

The Slim Phatty Synthesizer

The Slim Phatty is a monophonic analog synthesizer manufactured by a company called Moog Music that was created in the year 2011. It is among the first synthesizers created and produced after the death of Robert Moog (the founder of Moog Music) in 2005.

The Slim Phatty is considered by a lot of people to be an entry-level synthesizer, and a stripped down version of another one of Moog’s synthesizers called the Little Phatty (which is a more modernized version of another one of their synthesizers called the Minimoog Voyager). It is very portable due to it being only 5.5 lbs. It is also the first Moog synthesizer (beside the Little Phatty) that is capable of USB connectivity. Some of the notable features that the Slim Phatty is able to make use of include MIDI controller integration via out, in, and "thru" channels, two robust oscillators, diverse tuning controls, and the patented “Moog Ladder” filters. There are also a large number of preset sounds included.

Moog Slim Phatty

The Moog Slim Phatty is an entry level synthesizer developed by Moog Music in 2011. Aside from its predecessor, the Little Phatty, the Slim Phatty is the first synthesizer in the Moog familythat is capable of a USB connection.  The Slim Phatty comes armed with two oscillators, tuning controls, "Moog Ladder" filters, patches and presets, and MIDI in, through, and out channels.  The Slim Phatty does not have a keyboard built in to it, so MIDI is required to replicate its sound.  Ultimately, Slim Phatty is a stripped down version of the Little Phatty, which had a keyboard and more options built in. The Slim is good for live or recording sessions, weighing only 5.5 lbs.

Sequential Circuits – Prophet 5

The Talking Heads "Stop Making Sense" concert from 1983 featured the use of the Sequential Circuits Prophet-5 synthesizer. In the song "Making Flippy Floppy" it plays a small backing role throughout the song, but can be heard distinctly during a synth bridge in the middle of the song, and a synth bridge towards the end of the song.

http://youtu.be/mM8wIi2aE48?t=1m39s

It was manufactured starting in 1978, and was one of the early synthesizers which allowed the user to store patch information in memory. It was also an early polyphonic synthesizer, and allowed up to 5 voices to be played at once.

http://en.wikipedia.org/wiki/Sequential_Circuits_Prophet-5

Arturia currently offers an emulator for the Prophet-5 (in combination with a few of the Prophet-5's predecessors).

http://www.arturia.com/evolution/en/products/prophetv/details/prophet5.html

4.3 Notes

For next Tuesday blog about: 

any old synthesizer that you can, maybe find a emulator and play with it.
EX: MOOG, Slim Phatty, ARP2600, Sequential Circuits, Buchla, Oberheim, Yamaha, Rolado, Korg, IVS53

Class Lecture: 

Important types of modulation we have learned so far.
Ring(unique sounds), Frequency (bell, gong, brass) , Amplitude (tremolo), Granular

Phillip said: an emulator a piece of software that artificially creates the sound and sometimes look of an analog synth

potential quiz question: CV= Control Voltage

We talked about Delia and the tardis.
We also talked about Wendy Carlos, who is also Walter Carlos.

Tutorial on 5.1

Create your own folder on the desktop to put your stuff in.
Open Adobe Audition: and create a copy of your stuff on the desktop, don't work from your zip drive.

File>New>multitrack session>browse your folder off the desktop, change template "surround stems for video master"

this should have already created the appropriate ques on the right
In the media browser find your files, then drag and drop them into the word area

VIEW> mixer
Inside the Mixer View, the most important thing is the track panner, to get to the track panner select the dark gray circle above the slider. You can use the green slice to change which speaker the sound comes from and at what volume.

audition>preferences> audio channel mapping
check that your channels are all in order
if you have any extra channels with no connecting tracks, remove them (change them to 'none')

while working if you want to loop since there isn't a loop function for individual tracks you have to use the slider (in the shape of ']' ) at the end of the track, to loop the track, and you can do this as long as you need to while testing.

While in the mixer changer your read>write while you are in write mode you can "automate" your track. Automating your track allows you to pan it across all the speakers. An example of this would be wind howling, or a plane flying by.
After you write your track you should be able to play it back and hear the difference.

Delia Derbyshire

Delia Derbyshire was an innovantive and inspirational electronic composer throughout the 60s and 70s.  A large part of her career was based in BBC,where she most famously composed the original Doctor Who theme.  Derbyshire used both real and "artificial" sounds in her works, creating compositions in the style of musique concrete, a term originally coined by French composer Pierre Schaeffer in the 1940s.  During her time at BBC's Radiophonic workshop, Derbyshire had minimal supplies to work with, and so used any object she thought might create n interesting musical texture.  Derbyshire used a broken piano to create the sound of the TARDIS dematerializing in Doctor Who.  Derbyshire's approach to sound and composition leave much to be learned, and are inspirational for any composer looking to create unique sounds and think outside of the box.

Delia Derbyshire: Mother of the TARDIS

Delia Derbyshire finally caught her break at BBC after her work on the Doctor Who theme became popular. She was very influential in electric music. The Doctor Who theme above was one of the first television show themes to ever be created entirely from electronic sound.

Delia Derbyshire Blog

Delia Derbyshire was a musician and a composer of electronic music who was born on May 5, 1937. She learned to play piano and violin when she was young, and she attended college at Girton in Cambridge. She obtained a degree in mathematics, which she believed had the power to change music. Once she began looking for employment, she encountered sexism everywhere she went. For example, one job she applied for was Decca Records, and they informed her of their refusal to hire women for work in their recording studios. After searching for a while, and getting hired and fired, she became a trainee studio manager at the BBC in the year 1960. She became involved with the organization’s Radiophonic Workshop and helped supply  their productions with incidental music and sound effects. It was there she recorded the famous Dr. Who theme with the help of tape loops, valve oscillators, and filters. She didn’t receive any credit for the piece at first, but after people found out she composed the song after it was released in overdubbed form as a single in 1973, she became very much in demand, and she worked for several programs that required her expertise in crafting music. She left Radiophonic Workshop in 1972 and started working at art galleries, museums, and bookshops. She also spent some time as a radio operator. However, she started making music two decades later. She died on July 3, 2001.

5.1 Final Requirements

You must have : reverb, EQ, filter, delay (plugins in Ableton)

• 5 wav, aiff
• 2 perfect loops
• 3 midi
• 3 cues with a tempo change
• your patch should also have external midi (comes from Ableton and talks to a device)

if you chose

• MAX then have (2) .amxd max for live
• PD then have (2) .pd patches -soundflower
• Csound then have (Max 4 Live) player (see Pat if you have selected this) 
• 2 orc 
• 2 sco
• Csound for Live = 2
• You need to have at least one beat 

When turning it in

EXPORT file as 

PersonalName UFID NameofPiece.wav

Put all of this into the folder, in this folder 

• ALS
• Audacity 
• Midi
• VST/AU
• WAV
• Process Statement of 250 

Extra Credit if you use key mapping or midi mapping

THURSDAY BRING IN 6 MONO FILES

Usine Holly Hock Piece

https://soundcloud.com/tjnmusik/techno-intensity

Usine Hollyhock

In regards to this program, I am fairly confused. I played around with a few of the demos, and while somewhat easier to use than some audio software I've used in the past,  it was still rather confusing. Finding the buttons for even just saving your work was a challenge. It comes with a small compliment of different filters and synths, though this is offset by the confusing nature of the interface.

The interface itself is fairly easy to work, though the buttons are hard to read, and knowing where tools and racks are comes with practice. The other pieces of the interface are fairly simple to understand, though I had problems with using some of the pieces at first. Compared to "professional" pieces of software like Ableton, it could use a bit of polish, but given the time it could be a competitor with these softwares. I personally prefer Ableton.

Usine Hollyhock

Usine Hollyhock is a unique DAW and music editor.  For a free trial, the version I experimented with was quite extensive.  With loads of features and preinstalled grooves and sounds, there was a lot to do right of the bat.  For a quick demo of the software in the first couple hours, it never got boring, and only the surface seemed to have been scratched.

That said, Usine feels like a beta project.  It runs fine and does what its supposed to, but getting to that point is overly tedious.  The icons are ambiguous and the menus change with every click.  While that may be clever and useful for long time users, it is extremely confusing and difficult to adjust to.  I never figured out if I can simply export the sounds as WAVs, and recording in Audacity became a challenge as well.  Overall, Usine Hollyhock has lots of depth and potential, but it is not currently very user friendly for beginners.

Spectral and String Synthesis

Of all the types of synthesis we've learned in class, spectral might possible be my favorite. This video about spectral synth gives several examples of how spectral synth can be controlled.

Many of the types of synthesis we've learned take a lot of tweaking to find the sound that you want. While spectral isn't any different. Since it's graphical it gives the ability to fine tune your sound and really make exactly what you are looking for. Spectral synth uses colors along the y axis to configure the pitch and volume.

String synthesis is also very graphical and interested. Although String synth is like an instrument in the fact that you have to learn how to play it. While Spectral allows the user to adapt one piece at time.

Spectral Synthesis Introduction

Spectral synthesis (SMS) is an acoustic approach for sound and other sound related signals. The sounds are perceived as a combination of harmonic content and noise signals. The harmonic contents are recognized based on their peaks in the frequency spectrum. This spectral model can be applied to many different types of audio signals. For instance, various musical instruments produce sounds containing both harmonic and percussive contents.

Spectral Synthesis and String Synthesis

Spectral Synthesis 
Also known as SMS, spectral modeling synthesis which is an acoustic modeling approach for speech and other signals. It considers sounds as a series of harmonic content and noise content. The harmonic components are identified based on peaks in the frequency spectrum of the signal. The signal that remains following the removal of the spectral components (white noise) is passed through a time filter. The output is the frequencies of the detected harmonic components and the time-varying filter.

String Synthesis
Ken Freeman, audio designer, couldn't afford a mellotron to play his string parts so he invented a new string synthesis to imitate the string sounds. I found this physical model of string synthesis to be very interesting because it digitally presents visuals of the strings being plucked with the sounds of each string. https://www.youtube.com/watch?v=bUyupapSwZY

Usine Hollyhock Passes

Here are the two passes that I created using Usine Hollyhock. This first one is a homage to the game "Super Mario Bros.".



In this second one, I included a patch called Bit Crusher. In my opinion, it makes beat sound even more techno.



Overall, this program is pretty powerful for being free. It can get somewhat complex and very cluttered at times, but I bet that if I use this program more often, then I will feel more comfortable with it.

Usine Hollyhock

I'm ambivalent in regards to Usine Hollyhock while I found it to have a lot of interesting options and a lot of the stock standard filters and tools, the poor usability was a huge distraction. Often, there are random panels and buttons with arrows, the buttons don't even highlight when you hover over them. I rarely knew what I was actually doing.

That said, as an experimental tool for generating sound (I particularly enjoyed the random sound clip generator), it is fun. As a professional development tool to be used in a live performance, I'd really caution against using it. It lacks control and polish that professional software more typically has. Ableton Live may be complex, but it has rhyme and reason. Usine Hollyhock is complex, and also confusing.

For Next Time

Create to passes with Usine
http://www.sensomusic.org/download/
if it doesn't work on your windows machine re-install AISO4ALL

bring 6 mono sounds for next week
We still meet at the Sage next Tuesday, but we meet at the REV next Thursday.  we will meet in the rev next week

Spectral synthesis and string synthesis blog

Spectral modeling synthesis is a set of techniques and software implementations for the analysis, synthesis, and transformation of music based on a sinusoidal plus residual model. These techniques can be used for a variety of things related to music, such as synthesis, sound source separation, music perception, performance analysis, and more. This model was developed by X. Serra in 1989.

Karplus-Strong string synthesis is a type of synthesis that loops a short waveform through a filtered delay line to create a noise that sounds like a plucked string or some form of percussion. This type of synthesis is known to be a subtractive synthesis technique based on a feedback loop similar to a comb filter for z-transform analysis. This type of synthesis is also viewed as the simplest of a class of wavetable-modification algorithms since the delay line acts to store one period of the signal. String synthesis was developed by Alexander Strong, and Devin Karplus did the first analysis of how it worked, hence it being named Karplus-Strong string synthesis. The first song that used this type of synthesis was a song called “May All Your Children Be Acrobats” written in 1981 by David A. Jaffe.

Quiz Post - FM

Frequency modulation is a method of altering the frequency of a digital or analog waveform to create various sounds.  When modifying an analog wave, the frequency shifts continuously through the signal wave called the carrier. With digital FM, however, the frequency is shifted abruptly, as the digital data is processed.  FM can be used in synthesis to create both harmonic and inharmonic sounds.  The higher the frequency is raised, the more data that is passed through the signal in the same period, causing complex sounds that can often become atonal and busy.  Digital FM was developed by John Chowning at Stanford University in 1967.  The technique was later licensed to Yamaha after being patented in 1975.  Yamaha's DX7 synthesizer popularized FM with its huge success in the mid 80s.  Today, digital FM is accepted as the main standard of the technique because analog FM can lead to pitch instability.

Spectral Modeling and String Synthesis

Spectral modeling synthesis (SMS) is a set of techniques and modeling approach used for analysis, transformation, and synthesis of speech and other signals.  SMS is composed of two major parts, harmonics, and noise content.  The applications of SMS range from processing and coding, to sound source separation, performance analysis, and more.  The original model was developed by Xavier Serra in 1989 as part of his PhD thesis.

String synthesis was a method of modelling synthesis that simulates the sound of a plucked or hammered string.  The model uses a short looped waveform with filtered delay to recreate the acoustics and sound.  Alexander Strong invented the original algorithm, while Kevin Karplus was the first to analyze the method.  The resut of their work was a combination of guitar and digital, forming their name "Digitar."

Patchworks File

Purr patchwork synth

It's like a robot kitten purring.

TrueGrid Modular Synth

Patchwork-Synth

Patchwork homework

Here's my patchwork track.. its a bit weird, but i like the sound of it.

Assignment: Patchwork Synth

Here's what I created after using patchwork. I call it "Cheerful Nightmare," mainly because it sounds both ominous and cheerful. Enjoy!

ModularGrid

Modular Synth Assignment

Midterm Project: Table-Based Sound

Elsner Midterm

Website for Pulling Youtube Audio and Audio Converter

I use this to pull audio off of youtube clips easily as an mp3 then use media cope to turn it into whatever file type I need.
http://snipmp3.com/

I have been using this software for years to convert any of my audio into the needed format such as wav, mp3, ac3, m4a. It's free. It also converts video files.

http://www.mediacope.com/

Phil Spector's Wall of Sound / Max Matthews Bicycle Built For Two

Phil Spector's Wall of Sound 

The wall of sound is a musical production technique for pop and rock music. Spector created a dense, layered, reverberant sound that came across well on AM radio and jukeboxes in the era. The sound is created by having a number of electric and acoustic guitars play in unison, adding musical arrangements for large groups of musicians up to the size of the orchestras, then recording a sound using the echo chamber. The natural reverberation and echo from the hard walls of the echo chamber gave Spector's productions their distinctive quality and resulted in a rich, complex sound that, when played on AM radio, had impressive death rarely heard in mono recordings. His work can be seen in popular artists such as the beach boys, david bowie, and the beatles. 

Quiz Post: Max Matthews Bicycle Built For Two

Max Matthews figured out how to digitally synthesize sound on a digital computer, and wrote Music I, the first in a long line of music programming languages to which all digital synthesis has its root. He worked in acoustic research in Bell laboratories.  Bicycle Built For Two was made on Music 4 in 1961 and was a fully digitally synthesized version of Daisy Bell. It was the first computer singing song. In 2001 it was incorporated into a move.  He is know as the "father of computer music". Listening, it is funny to think of something so simple now yet to be so revolutionary. 

Midterm Remix Project

My midterm project will be a remix of songs from the Nine Inch Nails concept album Year Zero. The album concept itself is interesting, and the music therein is gives itself over to remixing. My project will give me solid experience in remixing different tracks, while allowing me the privilege to work with audio from this album. I plan on using Pure Data to create a few of the layered tracks, and Ableton to bring it all together.

Nine Inch Nails Ableton Live Sessions

This post is for anyone who wasn't able to see the disk with the Ableton Live sessions from Nine Inch Nails' album Year Zero. i suggest looking at them to see how the different pieces look together in the sidebar view.

You can view them:
Here

Thank you.
Have a great spring break, and good luck with your projects.

Csound Tutorials

sr = 44100
ksmps = 10
nchnls = 2
0dbfs = 1

giSine ftgen 0, 0, 8192, 10, 2

instr 1

; setup:
iamp = p4 * 0.3
ifreq = cpspch(p5)
idetune = 0.7
index = 3

; envelopes:
kindexenv linseg index, 0.05, (index*05), (p3-0.05), 0
kampenv linseg 0, 0.01, iamp, (p3-0.01), 0

; tone generators:
aout foscil kampenv, ifreq-idetune, 1, 1, kindexenv, giSine
aout2 foscil kampenv, ifreq+idetune, 1, 1, kindexenv, giSine

; output:
outs aout, aout2
endin




; set tempo:
t 0 120

i1 00.00 0.5 0.7 9.04
i1 00.50 0.5 0.5 9.02
i1 01.00 0.5 0.6 9.04
i1 01.50 0.5 0.4 9.02
i1 02.00 1.0 0.7 9.04
i1 03.00 1.0 0.5 9.02
i1 04.00 0.3 0.7 9.00
i1 04.33 0.3 0.5 9.02
i1 04.67 0.3 0.4 8.11
i1 05.00 0.3 0.6 9.00
i1 05.33 0.3 0.5 9.02
i1 05.67 0.3 0.4 8.11
i1 06.00 1.0 0.5 9.00
i1 07.00 1.0 0.6 9.02
i1 08.00 0.7 0.6 9.04
i1 08.67 0.7 0.5 9.05
i1 09.33 0.7 0.3 9.03
i1 10.00 0.7 0.6 9.04
i1 10.67 0.7 0.5 9.05
i1 11.33 1.7 0.7 9.04

i1 00 2.0 0.3 7.00
i1 00 2.0 0.3 7.07
i1 02 2.0 0.3 7.05
i1 02 2.0 0.3 7.09
i1 04 2.0 0.3 7.04
i1 04 2.0 0.3 7.07
i1 06 2.0 0.3 7.05
i1 06 2.0 0.3 7.09
i1 08 2.0 0.3 7.02
i1 08 2.0 0.3 7.05
i1 08 2.0 0.3 7.09
i1 10 1.3 0.3 7.07
i1 10 1.3 0.3 7.11
i1 11.33 1.7 0.3 7.00
i1 11.33 1.7 0.3 7.07

Midterm Project

I am going to do some audio for my own-designed 3D environment. I may use tools and resources like Ableton, Cecilia, freesound, etc.

CSound Power Book

CLICK ME

thank you Alachua county library

Midterm Project

       I'm using Pd and some files I was given to work on a virtual sound console. It has a Delay and Reverb in it so I can load loops and one shots and throw them through those effects. It will also be able to use a Granular Synthesizer and another Synth to play with.

Midterm Proposal

For my midterm project I plan to remix a song called "All  The Small Things" by blink-182 using Ableton Live.  I plan to use a mixture of MIDI and audio tracks from the original song.  I will incorporate the use of various VSTs I have found over the semester and implement various techniques learned in class.

Midterm Project

For this Midterm Project, I will be remixing “God Given” by Nine Inch Nails. I plan on using primarily be using Ableton, Noatikl, Audacity, and freesound.org. There are many different midi sequences that I can arrange various sends and receives as well with numerous effects. I will also be slowing down the tempo to create an environment that is separate from the orginal.

I found the complete wav and ableton files at:
http://www.ninremixes.com/multitracks.php

Midterm Project

I plan on remixing the song “And then so clear” by Brian Eno. The track is down tempo and calming with heavy emphasis on pads and ambient sound. I will be chopping up the audio file and adding my own drums and several other sounds. I also plan on incorporate several sounds from MAX MSP that blends with the overall created sound. I am currently working on extracting which audio files I want from the original song in Ableton.

Midterm Proposition

For my midterm, I am going to add sound effects to a silent film entitled "The Mechanical Man." It is an Italian science fiction film made in 1921 about a robot that is being controlled by criminals and terrorizing people. I plan to use at least Ableton Live, Csound, freesound.org, Noatikl, and Audacity. Good luck on midterms and have a great spring break!

Project Overview

For my project I am designed music and sound effects for a video game using Max/MSP and Ableton.  The game is a very simple space shoot-em-up that seamlessly transitions between levels, so only one track will play during game time.  I might implement a way for players to choose what song they play allowing for more customization and more tracks.  The game's sound effects will include shooting weapons, explosions, and button clicks.

My Midterm Project- Videogame Sound

I will be working on the full range of sound for a game I'm making. This is a simple maze/obstacle avoidance game, so there won't be a lot of tracks used for it. It will mainly involve one or two background tracks, a success and failure notification sound, and some underlying tones that will add to the background music from player interaction. The last section of sounds I believe will come from player movement and proximity to the walls. I will be working with Cecilia and Ableton Live.

Midterm Project

For my project I am using Cecelia, Csound, and Audacity. 

I have teamed up with a group of modern dancers to create the audio for a performance. The dancers are still working on what they would like me to create. They last instructed they were thinking recreating the hassle and panic of planing a wedding.  

Until I have more direction from my team I have been working on a remix as practice. 

The Cut Up Technique

"The cut-up technique is an aleatory literary technique in which a text is cut up and rearranged to create a new text."

Watch David Bowie talk about his Cut-Up Technique:

Metropolis Redux (NIN Tracks + Csound)

For my audio project, I will be taking some of the iconic scenes from Fritz Lang's Metropolis and giving them a new soundtrack. The sound bed will be from the NIN sessions and I will be adding sound effects created in Csound. I may do some video editing as well to include modern images which relate to the movie, but I'd like to focus on the audio first.

Cut-up Technique & Created Beat

The cut-up technique emerged into popularity due to the works of the Dadaists and William S. Burroughs. Cut-up is achieved by taking a completed text and cutting it in pieces with a few or single words on each piece. The resulting pieces are then rearranged into a new text. Also, Fold-in is the technique of taking two sheets of text, folding each sheet in half vertically and combining with the other, then reading across the resulting page.  This phenomenon has further evolved by being involved in music and video incorporation. 

Here is the beat I created.

The Cut-Up Technique

The Cut-Up Technique is an aleatory literary technique based on taking a text, cutting it up, and rearranging it into a new text. The idea was popularized by William S. Burroughs in the late 50's and early 60's. Now the technique is widely used, and in a variety of contexts. One of these contexts is in creating loops and cutting pieces from tracks in sound design. This lead to the first tape loops, and first loops in sound design. It was used by David Bowie extensively in creating some of his lyrics. This technique itself also helped to influence Kurt Cobain's songwriting.

Cut-up Technique and Beats Tutorial

The Cut-up technique is an aleatory literary technique in which some text is cut up and rearranged to create new sentences. This technique can be traced back to the Dadaists of the 1920s, but became popular in the late 1950s by William S. Burroughs, who is a famous writer.

This technique has also been used by many musicians, including David Bowie, Kurt Cobain, and Thom Yorke, where they usually take single lines, form them into random sentences, and use those sentences as lyrics for their song.

Although I think that this technique can rob music of its personal message and creativity, I still find it to be an interesting technique to use in some occasions.

Here is a little beat that I created thanks to the beats tutorial. I wasn’t sure if I had to post it originally, so I’m doing it now just in case. Have a great spring break!