Oh, it's Anfa. Can you hear me? Um, almost. No sound? Or is it there? Okay, yes, there's sound. My goodness. Oh, that was a rollercoaster. Getting this stream... Getting this stream to even start was a rollercoaster. Ah, welcome in 2021 everybody. If that's how the rest of the year is gonna go, I don't know if I'm not gonna go back to 2020. So today I started my preparations by messing up my partition table after a failed update because my disk failed up and it wouldn't boot up. So then I went on to try and fix it and I broke it even worse. And then I was trying to restore some data and then finally managed to fix my partitions and made the system boot. And then I updated BIOS and then a couple of other things, yeah. The webcam didn't want to work. Nothing wanted to work, but here we are. Somehow. Oh, it's a miracle. Someone told me on Discord when I was reporting all the problems that my sweet wife should be carrying a camera around me and we should make a documentary about how the hell is this even possible to have this many problems. It just works, sometimes, as Rob van den Berg says in the chat. So yes, welcome in 2021. Hopefully, I hope you're all feeling well. There's 75 people watching. It's quite a lot. So it was interesting. Even up until yesterday or up until yesterday, there was like one music track submitted for this live stream. I think everybody just got so busy with the holidays and family stuff, I guess, that they've just totally forgot to submit something. But I said it in the chat and I also announced on Discord, I posted it on then, hey, if you're sitting on some cool tracks made with FOSS, hopefully made recently, then send them over. And you delivered because we have 30 minutes of music to play and that is awesome. Another one is Greg Triek Tercek says the mushroom tower. This is a cover art for a remix of combustible lemonade's track titled The Other Castle. You can read in the upper right corner, there's the title of the track. Yeah, so I made this my wallpaper because I like this. Alrighty, we're gonna make some music. I wanted to make time to make some concrete ideas and what I want to make today, but all that time went into the fixing problems. So I'm a blank slate. We can do whatever. I'm open for ideas. If you have any ideas of what music we can make today, let me know, I'm gonna just start up Ardor and we're gonna create something. A lifeline says that remix took five years to complete. Yes, it took five years, this track. I have been making it since 2015 and released it in December, December. Only last month, last year. Alrighty, let's make a new Ardor session and I'm gonna also reduce my face size because that's apparently something I often forget to do.  Oh, that's the thing. Ah, wait, that's not better. Where's my face? Oh, my beautiful face. There's no way, there's no face. Okay, so the trouble isn't over yet. Well, wait, why is there... Okay, oh, there we go. All right, that's the thing, we need good. Okay, you can hear my voice. There's no background noise. Fabulous. Let's call it Anfa Life 2021. Zero one, zero three. Alrighty, and here is our beautiful blank canvas. We can make whatever. People say polka, face of base. What is face of base? Is that someone's name? Use be oops. I don't think I have installed. I'm really liking... We could try Gion kick a bit. All right, let's find out. Someone said synthwave. That could be interesting. I haven't made synthwave in a long time. Oh nice, it probably roots seroness of these thingies. Cool, awesome. So we have, let's call it drums. I'm going to select these things and just hide them because I'm just gonna use the first three. I'm gonna call one kick snare hi-hat. This should do for our time being. Okay, we have MIDI input. Gion kick has changed a little bit since I last used it. It looks like now it's nicer. It has more things also. The layout is a little bit different and has these presets and also samples. By the way, there's a drum kit I made before or sounds from my... Which note is that? Oh, there's a kit. Okay, but we're gonna make something fresh. Let's not use these and just make something new. Oh, I have a new... What about reset? Oh, there you go. What about reset completely? Maybe I'm just gonna delete all them. Make a new one. Call this kick. Also, I could be zooming in, couldn't I? Yeah, I could be doing this thing. Wow! That's new. Haven't seen this ever. What is that? Wait. Oh, it's reversed now! So this is the audio channel and this is the key mapping. Whoa, that's so good! I like that. That is awesome. Let's say I want to have this play on C4. I don't know if I can select multiple with control. No, no, single, okay. A4, C... Okay, C4. There we go! I like this change a lot. It makes much more sense that here we assign the output audio channel and they are numbered from one starting from one, not starting from zero. That's great. By the way... Maybe I should make my camera a little bit larger in there. Is that better? Oh, there's no sound from Ardor, my goodness. Of course there isn't. Is there now? Okay. You know what? I'm also worried that this audio video sync could be... less than ideal. No, it's good! Wow! I was... I just... I wanted to check it. I just didn't have the time and everything broke. Okay, we have a kick instrument. Let's make a snare and a hi-hat. For synthwave we will probably need some toms also. So I could maybe make one tom. And we can... We can layer assign them. Okay, C4. Now let's go there and make the C-sharp for the snare. Hi-hat, C, D4. And the tom 1, D-sharp 4. Okay. Now we should have... Yeah! These things out-putting on different channels. Let's call this tom. I wonder if we can copy and paste channels. I think we can duplicate them. You know what? I'm gonna name these tom 1, tom 2 and tom 3. Already. And we'll have this ready. And when we make the tom... Hide these. We're gonna have the tracks already there to root it. Kraber says, you can just all use all drum machine samples. Yeah, I could, but where's the fan in that? I wanna make my own... I synthesize my own drums! I can't just... I mean, I can, but I don't find it so interesting to... May use, you know, some other people's sounds. Let's make a kick drum and let's make it... Okay, it's not yet a scalable, but that would be fantastic. Oh, and the coffee is decent. Wow. Sorry. Anfam, notice us. I could focus on the melodies. We are shouting for a minute here. So you mean you want me to not make drum sounds, but focus on melodies and that kind of stuff?  All right, let's do it that way. Let's find some... Okay, I don't know if that's gonna work. If it's gonna work? Oh, it is. Just changes the mapping, okay. I'm just gonna modify it slightly, maybe. And chords and cool bass sounds and effects. We have a winner. We can use existing drums. Proceeds to design a kick drum, yes! No, I just use a preset, but... Maybe this and some snare. Okay, C, sharp. We can make this work. I mean, I think this snare can work for synth wave as well. Need some hi-hat, metallic snare. What is this one? C, sharp, major, D4, sorry, D4. That's hi-hat. This isn't very cool, but I'm gonna just shorten it and call it a day. My goodness, it's piercing. Maybe that's a bit better. Alrighty. So, you don't wanna focus on the drums. Okay, let's not do the toms then. I think this is gonna work as a basic beat. Like we could even use. Pam, pam, pam. AVL drum kits to have a drum kit. Acoustic one. I need a snapping. Okay. I don't know if this is resembling anything. I wonder what will happen if I insert it. No, that's a bad idea. I thought about adding reverb right here, but actually we can do it. What's the worst that could happen? Maybe let's use the plate. Well, that's pretty cool. That's interesting. We are adding the reverb per channel, so... That's a very quick thing. Alrighty, let's go make some melodies then, because you guys are up for some melodies. I wanna use Surge, because I just like it recently. Let me use eight instances, so we don't have to worry about not having another Surge instance to play. Alrighty, that's like the simplest... Rob Wunderberg says, I saw what you did there. Also, we can change it to brighter. Wow, I haven't been doing melodies in a while. Don't like it. The rhythm is a bit... Oh, I like this pause here. It was accidental. I didn't intend it to be here, but... And then we can repeat this phrase. Hey, we've got something going on. We can also make one of these drum patterns a bit different. Oh, no, this is not the drum pattern. Let's call this... Solid! Oh my goodness, that's a solid name! You get it. People, people, bam. Alrighty, we have some drum beats. Make them smaller. My goodness, I learned so much from this MIDI Masterclass for Ardor. I've been doing so much research. You know what I want to do? I want to get some vibrato going on in here. What I'm going to do is use a macro. I'll take this macro. I'm going to assign it to pitch. No, what am I doing? That's wrong. Let's clear this assignment. I'm going to assign it to... Rename macro to nothing. Will it work? Okay. All right. Let's do it other way. First, use the LFO. Don't stop me now. Why is Nils Hilbricht quoting Queen lyrics? I don't have an idea. Oh no, we're going to copyright strike my stream! No! It's YouTube. You can't sing a song. Or someone will reclaim it.  I don't know. Adrian's guitar says, ANFA always cracks me up. I'll watch this later. Love to all and happy new year. Have a good one. Rob Vandenberg sings songs from my band. Okay. I know one. Next stream. ANFA goes to jail. Sorry, I just went EDM there for a while. Okay, so what we want maybe is... Tempo sync this. Or maybe not. Just go with about five hertz. I think four or five hertz is like the... the natural frequency of vibrato that people do. But it probably depends. Okay. So we have this really loud... Now we need to control the amount of that modulation. And we can do this. Ha-ha! By turning this amplitude of the LFO down. Now selecting that and turning it up again. And now we can rename it to... Vibrato, yeah! We could also use some pitch bends. Uh... Let's maybe just leave it for now and play with this vibrato thing we've just built for ourselves. So processor automation surge macro one. I wonder if LV2 allows... LV2 plugins allow... modifying the... automatable parameter names. Let's try and do this. Yep! Got vibrato'd! I can make it really obnoxious and... not really musical anymore, but... let's see what happens. Oh no, it's pretty cool. Wait, what's going on? Oh, something's weird going on. It's like when a note starts... when this is changing, it's like... Oh, that weird. Okay, I think this is great. Oh, we could convert it to... We could convert it to mid-CC automation and have it... follow... our sweet, sweet MIDI clips. I don't know if I'm able to do that. Let's try controllers. Let's use this for... Is there a controller that is... used for that thing? That kind of thing? Let's use the modulation wheel. Channel 1. Maybe I shouldn't be using macros, just use modulation wheel. Okay, I'm going to select all the points. If I can... Okay, with CTRL, I can click and drag. Good. CTRL C. Now I'm going to select this thing and do CTRL V. Oh, it works! I just need to set my edit point to playhead because I can't put my mouse there. Haha! Oh, it's clipped. Oh, what? Oh, this changed too. Alright, that's weird. Set this to manual... and hide it so it's no longer... Now what we can do is the fabulousness of just copying and pasting this whole MIDI region and having everything else go along with it. I just need to copy it to the second clip because it's... Haha! Can you imagine having this technology in 2021? And now I just need to get Surge to use this input for that thingy. Whoa, I didn't want to do that. And we can actually use just this mod wheel here to modulate our velocity... Sorry, our LFO amplitude. It works! Okay, so we can just leave it or we could actually learn... I could like clear this thing and instead assign macro to MIDI CC modulation wheel. Haha! It works either way. I love it! Nicey. I'm really happy about that. So we have our macro. We can have more macros if we want. I think I want to add a little bit of wave shaping to this sound though. Just a little bit of noise. You know what? I need to stop this transport, put it here, select this and loop it. Maybe add a delay. Okay. That's our lead line. That's a lead line we can go with. Oh, there's 80 people watching. Awesome. Welcome. Nice to see you all here. 81 now. 82, what's going on?  I'm getting nervous. I think this LFO on the filter is going a little bit too deep. We can make it a little bit... Oh yes, it's going really low, really deep. Let's move it a little bit like that. More viewers! Oh yeah, there's 85, 86. What's going on? Oh, 85. Back to 85. Okay, okay, okay. For a second there I was really getting... Oh my God, 86 again! Okay. You know what? I think we should go with copying this. And the automation goes after and make a second voice for that. But I think I would duplicate this instrument to avoid having... Let's go copy it after selection so it's right below, not on the bottom of our stack. I'm going to call this lead harmony. 91. Oh, it's 90! 89. My goodness, what is happening? Did someone post a link to this live stream in some place where people appreciate what I do but I have no idea that it exists or what? Oh, it's copied our automation lane too. I'm going to clear it. And let's open up the modulation wheel channel. So we have control over that. Let's play with some harmony. Let's try this. What about that? Oh, what did I press? I've hit a key. I have hit a key. I have no idea. Oh, the two phrases are identical. I didn't need to copy and paste the automation. 93 people watching! I think that's a record. 92. I never saw more than 90, I think. 94. What is going on? 95! Oh, you've crossed my birth year.  Looks like all the troubles getting the stream to work was worth it. I think we should make some variation for the second repetition of the phrase. Ta-ta. I think it's doable, workable, usable. Could do. I would like to hypers these a bit. And you know what? There's a hypers filter just for that. Inside search. Oh, yeah, now we can get a more driving beat and the bass line going after this. Like, you know what? Let's drop into side trends and just go... But also, like, try and connect it with this synth wavy feel. What do you say? Do you know what I'm gonna need? I'm gonna need a... I'm gonna need a different kick. Sorry, I need to synthesize at least one kick during this stream. Like, come on. Oh! Whoa! Whoa! Okay. You know what? I should do this. L trucks and buses and just go visible, visible, visible, visible, visible. And rename this to... Kick 2. Not to be confused with the instrument called Kick 2. Also, Tom's, I can hide these two. Okay. Nice. Wanna kick? Wanna side trends kick? My goodness, I like side trends kicks. 5, 6, 7, 8. Because this one, Tom 1, Tom 2, Tom 3. Okay, this is gonna be it. Tom 3 is D sharp 4. Tom 1, 2, 3. Kick 2. Alrighty. F sharp 2. Sorry, F sharp 4. Yep! There we go. Oh, it's got reverb. You might need to get rid of that reverb. Or it's gonna be... Oh, and we can change this sign note here. That's so convenient. I love it. Gion Kick is getting better and better. Xavier Brand. Brand, or Xavier Brand. Says, hello from South Africa. Welcome! Nice to see you. Okay. I'm gonna make a side trends kick. So, what we need is... I'll lay out a little bit changed. I'll slate 1. Frequency, please. Frequency. There it goes. Let's make it higher for the starters. Because the side trends kicks need a lot of... Pew, pew! They're very... Pew, pew! Dependent. About a lot of... Pew, pew! They don't sound right. Kraber says, ANFA, thanks for linking all the video editor. I'm loving it. Awesome! I'm happy it works for you. Some people are having major stability issues with it, but I am very happy with it. I think we need to move this plate from the actual... like the master to the... Yeah. I think we don't need it on the kicks. Oh, we could sample that. Pew, pew! And... Mark Durand says, has this stream reached 100 plus people before? No, never crossed 100 as far as I remember. No, never crossed 100 if you were as concurrent. Yeah, I think it never went above a 90 before. It was like 85 something. Who knows, maybe we'll cross 100 today. Rob Van den Berg says, kind request to promote this live stream in your socials. Thank you. I need that 100, he says. All right, let's get back to this Psytrance kick that nobody wanted, but I really needed to do it. I think we need to tweak our pitch envelope a little bit. Ooh, that's deep. We can equalize it by altering the velocity in different frequencies. I'm cutting off the MIDI stuff. MIDI, MIDI, MIDI. Talb says, hello from Israel. Welcome. Rob Van den Berg says, wait synthesize kicks equals lose viewers? Not necessarily, there's 95 people watching. Okay, so that's... I think it's a bit too long. That should be, that should be do it. I think the highs are a little bit painful, so what I'm going to do is use air windows. Yeah, what should I do? Two vinyl. Oh, two vinyl. Two vinyl four. And that's the thing is it has an interesting limiter of high frequencies. I'm not sure it's doing what I think it's doing. I think interstage could help us. I don't know what it's supposed to be doing, but interstage is a plugin that emulates something. And what I've found it to do is really nicely round off high frequencies if you push it really hard.  There is a slight, slight difference. It is less painful in the high frequencies when I applied this interstage thing, but I had to really drive it hard. Okay, so F sharp. This is our kick new. Oh, I think this is gonna be... Whoa, this is gonna be tough. Let's change the edit point to mouse. You can see we have this blue line under our mouse cursor now. That means it's the other point. Maybe we can do something with the hi-hat. Yeah, like do this and then do the classic speed it up, speed it up, speed it up. And I think I still want to EQ this kick to LSP parametric. Closer stereo. Yay. To reduce the highs a bit. Oh, wait, what's going on? Greetings, you've just updated plugins to version 1.1.28. There's some new stuff probably, maybe. Alrighty, let's use a high pass. Make it very, very, very, very, very, very steep. Use a low shelf to give it more bass still. And use a bell. Alrighty, should be better now. Okay, do it. We need a bass. And after we have our citron's bass, we can continue our quest to make it melodic. Alrighty, I need to fit four notes in one of these. So I'm gonna just do that. And I'm going to do this. Do this. 16th. Yay. Yep, I can actually do this just to have four notes. And simply, actually I could also lower this in one octave down. How much kicks we have. This much kicks. Okay, let's make more of that, because why not. Alrighty, the important thing here is going to be sidechain, LSP sidechain compressor stereo. And we need to route in the original kick, or actually not the original kick, the citron's kick. So in that place, now we need to also change the input of the sidechain. Can lower the threshold. I think this could be pretty cool. Holy smokes, it's one of the four people watching now. Let's make a wave, everybody. And wave. Wow, that's a milestone. Oh, they're quickly running away. Seeing me doing weird things. But wow, that's amazing. This is still way too high. I'm going to open this surge and lower this. Also, I'm going to loop that so we can just listen. Let's use the filter envelope. I think this is pretty side trans-y. Oh, I like this even more. What else can we do? Interesting stuff. Add some reverb. Let's use the scene LFO too. Okay, one more thing. We need to make sure that our reverb is quickly decaying after the notes are over, so it doesn't last. So I'm going to reduce this release time for envelope. And now it doesn't leave our nasty tail. Kramer says, I have to go to sleep now. Bye, Anfa, bye, all. Nice having you. Bye-bye. Alrighty, let's listen to this so far and see what we got. It's not even in the same key. Oh, that's awesome. I love it. I think it would be better if it was in the same key. What a key am I in here? D minor. Okay, what is this then? F sharp. Okay, that's the reason. Oh, because I just copied the note we had from the kick. Oh, let's move this to D then. So F one, two, three, four, five semitones down. That's going to be too low. It's not going to sound good. Let's try it. So is it D? Oh, no, I went one too far. It was just four semitones down. Okay, four semitones down. Let's see if it sounds like it's in the same key now. I'm not sure if this bass is not too deep now. It may be so deep it won't play on any speaker system in the world. What do you think? Is this bass too low if it's going to work? Maybe I should move this up in key and keep this similar or at least a little bit up. I think I'm going to move it up three semitones. Oh, I like this tone. F. So we're going to be a little bit deeper. F and now I want to move this thing to F as well. With our D, one, two, one, two, three semitones up is going to be F. So let's do this. Actually, when I'm thinking about it, oh, I had some, okay, let's be in the grab mode so I'm not selecting like individual notes, just everything. Why doesn't this move? That's so weird. Are we F? We are F. Okay, I think we have the key change or the not changing keys, actually. That's okay. That's working. So I think we should have this side trans thingy for a while. Actually, I think we're going to need a hi-hat, but we can use this one we have already. I think I'm actually going to use this sound and then we will enter with hi-hats. I know it's not a side trans-y hi-hat, but we don't want to spend time synthesizing drums, right? Oh wait, what is going on? That's weird. I know what's weird. We're just missing the bass. Also, I think I should do something with the bass too. Let's go with 30 seconds. Oh wait, am I snapping? Okay, I am. Okay, weird. Oh no, this sound, this feels weird.  This is not good. 106 people watching. I don't think it's good that this hi-hat has reverb. It shouldn't, it should be dry. I think we are going to need a hi-hat for this thingy, right? Let's synthesize it then. It's going to be quick, don't worry. F-sharp, so this is going to be G-kit. Okay, let's make hi-hat 2. Make it send on channel 8. F-sharp 4. G4. Yep, controls. Okay, hi-hat. Very simple hi-hat. Square wave, square wave. Weird frequency, weird frequency. Perfect. White noise.  Add a hypers filter. My goodness, still painful. Now add a volume amplitude to make it decay. Shorter. There you go. All right, was that so hard to watch? Ah, move it. That's a hi-hat I'm talking about. None of that silly sluggish business. Yeah, that's good. That's a cruisant Saitran's hi-hat. Now we can do something melodic on top of that. Maybe some chords. I'm not sure how. Wow, there's 111 people watching. I'm gonna screenshot that because that's a moment to remember. And my face was perfect too. New rule. Viewer count is the BPM. That means I need to somehow write a script that's gonna read it up and change it immediately here. I think we need some weird vocal chops for this. What do you say? Weird vocal chops are very Saitran-sy or aren't they? I think we need some weird vocal chops for this. Like, you can't have Saitrans, well, weird vocal chops, can you? Ha! My instinct is to export this for Ninjas 2. Whoa, I reversed it. Let's normalize it. Yeah, let's do that. I'm gonna rename it to vocal chops 1, 0, 1. I'm gonna export it alt E. Control shift E. Control shift E. Control alt E. Now MIDI. Okay, export region. Yeah, that's the way. Sweet. Now enter Ninjas 2. I hope I have it installed. Yay! LV2. Let's use LV2. Ninjas 2. Now the problem is I need to find the, oh my goodness. Okay, there we go. There we go. Ha ha! Slice it up. 32 slices. Cool. All right, now let's just have some fun. I'm gonna mute this.  I'm not sure what note is the first one. Okay. C4. All right, C4 is the thingy. You know what? I think this is gonna be fun. And I have an idea to do it like, let's randomize it. The edit MIDI. MIDI transform. Note number is this note's number plus, wait, to this note's number plus a random number between 0 and 31. Okay, it doesn't really sit in the beat. Weird. I think I need to change the sensitivity. Onsets. Oh, because it wasn't. Oh, that's the thingy. Okay, that's a, it's an interesting thing. I'm gonna undo that. I'm gonna duplicate this way more. So we have more like, and I'm gonna repeat this. Transform. So this note's number to this note's number plus a random number between 0 and 31. Let's do it. And now I'm gonna just mess up these things and see what happens. I'm gonna see what fun things I can find. You know what? We need a sidechain gate on this so it's going pumping with the base or the kick. Or it's not gonna sound like it's in time. So kick two. All right, I think we need to shorten the release time. All right, what? Let's calm, solidate this. Yep. And make it longer. I think it's too fast. Yeah, that's something I'm talking about. Also, we could do something like WOLF LFO and maybe not sidechain. Didn't Anfa say they didn't have bobs installed and reverb to this Anfa? Reverb to the vocals, you mean? Alrighty. Dragonfly. I like the plate. So Robin Berg says plate is love, plate is live. You mean life? I think I want to tweak the little bit of the chops.  And also the flanger effect. Wow. The flanger, I mean, the, okay, what it's called, flutter plus the reverb sounds like a spring reverb. How about this?  Just something like this maybe. Okay, control. That's even more side transiting than a Use the pitch bend, Luke. No, wait, wait. Luke, use the pitch bend, Luke. Wait, I need to reverb on my voice for this to sound right. Let's use audio tracks, make them stereo. Whoa, whoa. No, no, no, make him stereo. Yeah, dragonfly. Okay, what am I doing? That's silly. I think this is a little bit too aggressive. I think I need to change this pumping effect. Maybe make this shorter. Ah, I think I also should compress this heavily before I apply the wolf LFO because compressor. Oh, actually, you know what, squeezer. Oh, I haven't found the plugin. I haven't refreshed my plugins. Maybe it's going to be quick and easy because I found this open source compressor plugin called a squeezer and I installed it recently. I haven't used it yet and I thought it could be a good idea to try it out. Oh, LSP plugins going strong. I wonder if I can do anything with Ardor. Oh yeah, I can work. This can be going in the background. I can do stuff. Great. But it's obviously making it less responsive. I think this flutter is a bit too strong. Okay, squeezer. There it is. First time I'm loading this plugin in Ardor and you know what happens when you load the plugin first time in Ardor? Sometimes it just goes poof. More plugins equals better. Oh, it's already compressing it. Wow, nice. I like compressors that compress stuff out of the box. Actually, I don't know if I like them. I just like this. I want to smash it. Okay, but that's after wolf LFO I wanted before. Use the pitch band. Of course I'm going to do that. I think we need to set the pitch band depth 12 semitones. That's great. That's what we want. And let's go with just zero. Ah, yeah, it's two things. I need to do two things. All right. Also, I need to make it slightly shorter than the whole region or it's going to disappear. That's the thing. What do you say? Well, the hi-hat is a bit painful. I need to EQ it. This is the message we are going to send aliens to listen to. Yay. It's compression like the strobe light of music production. It's compression like the strobe light of music production. I don't know. Okay, I think you know, this is the part where we get like the side transparent thing going. And then that's the part when we need to get into melodic stuff. And I want some chords. I want some some fun things. So let's maybe go this thing. So here we're going to introduce melodies, copy this four times, side trans bass. Now we're going to make a different bass. I want to maybe move the drums, move the midi drums track lower so I can see them easier. And so I want to move the bass higher. Yeah, let's make the life easier for us. Oh, I have ideas for sounds. I have ideas. We're going to abandon the side trans feel a bit, maybe, kind of sorta. Just it. So we're naff. Let's make a new lead, because why not? And make it a fem. That's a bit loud. Ha, you know what we can do? We could make this into a like an electric piano. Or we could make it glitchy. Can we modulate the speed of one LFO with another LFO? That is a question. Can I modulate rate with one LFO with another LFO? I don't think so. Assign parameter two. Okay. Hey, wait, I can. Add modulation from LFO S LFO one. Oh, it's seen LFO. LFO modulation current. Does it work? Holy snap, it works. Let me turn down the volume a bit. Oh, sorry, I will do that for you. Really nasty stuff. I think this is very interesting. I think this is a... I haven't done this in a long time. Just go absolutely crazy with synthesizers. And I missed doing that, really. Let's use this LFO as a gate. So our volume is going to be zero, and we just pulsating with this thing and make this tempo synced. So it's every eighth note, maybe. I have something in mind. What if I use the same LFO and... Oh, but it needs to be a scene LFO. I see. Let's copy it and paste it here. All right, and use it as a mix control. Just in reverse. But we are in the key of F. Why not do D? Because it does... I mean, yeah, it can work in this key, I think. It's a bit too loud still for the context. Or it should be D sharp. Holy snap, we're literally out of key. I mean... Holy snap! Why does E sound good here? We are in F. Why does E sound okay? And back and forth. We have enough drum snow. Now we have... Oh man, we need a bass. Okay, let's try and repurpose our... I'm gonna just copy this. Really, we need to make a bass line for this thing. Maybe we can make it quieter. Control C, control D. Ah, wrong. Oh, it doesn't work for a while. Oh well. Are those kind of unresponsive for a while? Okay, now it's back. That was interesting. I'm not sure if it's good, if it works, but it was interesting. And there's still 95 people watching. That's amazing. Okay, what do you say we give it this one last playback and then we jump into music submissions. It works, as Rob Wanderberg says. All right.  Maybe I can try and do something. I don't know. Stretch them. Just go crazy. Be music says, es funktioniert. Okay, we made something really weird, but that's interesting. Actually, that was really fun. All right, let's play this one more time. Everybody, thanks so much for going through this process of creation with me. And we're gonna listen to the final piece and then move on to music submissions. Let's go. Yeah, that's it. I am not sure about the tonality and like the changes and key. Like I'm not sure everything works together. And like the standard European tuning or enough like thinking of harmony, but it's interesting. And I'm happy we've done some nice synthesizer experiments, especially with this little screaming sound here, which was supposed to be a lead and turned out to be something really weird. Awesome. Xavier Brand says Cyberpunk vibes. From what I've heard, it's not not that close, but a little bit maybe. Yeah. So we started with some synth wavishness and then went to what I don't think there's any side trends in Cyberpunk. So they go with something called mid tempo and it's more like, I don't know. Actually, I was thinking about making it a Cyberpunk themed track and call it bugs and crashes or something like that. Yeah, fun stuff. Alrighty. And now the moment you've all been waiting for, playing your music. Unfortunately, I haven't managed to arrange the order perfectly like I wish I could. So it's going to be a little bit random, but also, did I mention that yesterday there was just one track submitted, but I let you guys know that there's not much music to play and you send in all the tracks very quickly and they're awesome. Did I? Okay, let's go. This is a track titled Big Top by Milo Fai and he's made it with Ardor Bristol synth, Drum Gizmo using the crotch-hell kit. Something's coming. I love the arpeggio floating around with reverb automation. And there's so much dynamics in here. I like how dynamic this mixes. Ah, lovely chord change. I love his guitar playing. He makes you want to do a collab with this guy. Wow. So that was Big Top by Milo Fai and now let's listen to Not the Same Kick by Steve Pixis. That's an inside joke, the title. He said it's done with LMS and stock plugins. He also writes, this is a work in progress of a hopefully upcoming track called Solar Wave. Tried something different this time. Let's see if it works. LMS factory sample is for the drums. LB302 for the bass. Triple a sliver for some effects. And a shift load of Zenatsum FX for everything else. That's some nice 80s vibe. It's pretty synth wavy. My goodness, so many classic synth sounds. I think it would be good to gate the reverb on the snare a little. The tail is quite long. I think it would benefit if you just cut it short with a gate. Tom Phil. You guys are absolutely loving this track. Nice pluck. Now right, that was Not the Same Kick by Steve Pixis. And the next track is titled, it's titled Car Fug by Paik. Made with Ardor. That's all the info he gave me. Pretty unusual drum sounds. I like these chords a lot. The B music says, are all tracks exactly 3.3 minutes three seconds? Not all. I do fade them out if they are longer than three minutes. That's why they are all, most of them are three minutes three seconds. By the way, still 104 people watching. Rob van der Berg says, now I want to play Minecraft in creative mode. Oh yeah, I think this really captures the mood for something like that. This should have been the track I play as last, but I've said something nice for last as well. So that was a track titled Car Fug by Paik. And the next one is titled None Moving by ST. And it was made with LMS. Rob van der Berg says, does the clip? No, it's not clipping. That red color is the bass, the deepest bass. You can see on the vector scope that there is no clipping involved. There's no cut corners, no square things. It's dynamic. Sahativa asks, was there a Lopez filter on the master bus? I think something must have happened because look, we're cut off at actually four kilohertz. But this is the file I got. Maybe it's an error. Maybe he just encoded the file wrong. I don't know. I think we're never going above four kilohertz. No, these tiny spikes of high end, these are artifacts of compression in my opinion. This is what very compressive sounds, file sounds to like if you use amp bag or maybe it was a mistake. I don't know. ST, if you're here, let us know if this was a mistake or if this track was supposed to be low-passed at four kilohertz. I like the bass and groove that it creates with the kick. Maybe it's made as telephone call waiting music. That's why it's so low-passed. Alrighty, so that was non-moving by ST. And now let's listen to Source, Work in Progress by Wulnier. And this one was made with LMS. And he says, hello, this is a Work in Progress track. Kick might be very heavy at the moment. I'm working on it. Alrighty, the kick picks around 50 hertz. This is weird. Oh, I like this change in the bass. The lead seems sound detuned. Oh, I like this lower note in the bass. A change is coming. Oh, wow. I like this wailing synth in the background. It sounds very ominous. Yeah, that's a little bit of a horror movie theme. Is this like a horror movie dance track? Ksavaritan Jengowski says, my track is in mono by a mistake. Brandon says, are you reviewing music or something? I am playing submissions from viewers to promote and inspire people to use free and open source software for music production. So that was Source, Work in Progress by Wulnier. And now let's listen to Come Inside by Kilgore. Love that synth. This is beautiful. And this track was made with Ardor. Kind of a two-step beat there. I like it. So I recognize the hi-hat sample. Oh, it's funny. Oh, I can't align the beat grid. Oh, I can't. Just, oh, that's better. There's my voice too loud. Holy snap, that bass. Oh, that bass line. I don't think I ever heard this kind of vibe from Kilgore before. Work in software. Blothled a little bit. This track is so soothing. Soothing it groovy, Klein says. These are user submissions never to be found again. So cherish it. Yeah, that was Come Inside by Kilgore. And now I think this is the first one by Xperibase. Titled by Fox. It was made with LMS and Audacity. And he says, fear me for I am fluffy. I think the kick is a little bit too loud. I like this arpeggiator in the back. The track could use some variation. Like, I'd appreciate a second voice of the lead line coming in, like, with some harmony maybe. Here we go again, man. And now we're in three. I mean, the triplet feel. Interesting. I wonder if the bass is gonna go triplet now. Yeah. Interesting pitch bends in the kick. Okay, that was by Fox by Xperibase. And I I think I've never played his tracks before. It's the first one he submitted. And now a track by our old friend Xaveri Treningovsky. And it's called Abel Thoron. And it isn't a mono. This is so cool. At least sloppy, but very groovy. So that was Xaveri Treningovsky and the track was titled Abel Thoron. Oh my goodness. Let me say what he's made with. It was made with Ardor. That's all he wrote. Now, time for a track by Quantizer. I believe this is also the first submission. Never seen this name before. And he says this track is titled Slightly Stronger Coffee. Let's go. We're up first on Drone Bass now. Yay. And he says it was made with Linux Mint, LMMS, Vital, and Audacity. And Sahadeva says Venetian. Venetian. I'm missing a kick though here. It's a longing for that kick to come. Ruba Climo says, found his soundcloud. I'm content. Ruba Wanderberg asks, who did this? The guy? The guy's or gal's name is Quantizer. Yep. So that was Slightly Stronger Coffee by Quantizer. Made in Ardor using various stuff, including Vital. And now a track by Outer Mind titled Technologic. Work in progress. And he says, made with LMMS, Synth 1, and Tyrell N6. He also says, samples, the kicks are his own. Mid-intro sounds, heavily manipulated glitch machine samples. Two plucks are samples mellow from Musicrator, Lofi sample pack, and are from Glitch Machines. Clap and snare, producer spot house drums. Back then, back on effects, Musicrator samples, crash, Melbourne bounce, crash, maybe change to center 9-on-9 for the one. Classic, trans, Outer Mind's adventuner tracks and hardstyle things are clashing together. That's awesome. All the sausage mix you can see is flipping a bit. Or it's very heavy. So that was Technologic by Outer Mind. A work in progress. And now the last track of this evening is by Nimbius. And the title is No End Cutoff. It was made with LMMS. The time it seems like Nimbius has come, something slightly more upper beat. Or bass, I don't know. I think the tempo detection wasn't perfect. Look how effective can be a filter sweep. It's just a filter sweep. A completely different feel now. Like it's a different track. But it fits so well. Today, thank you all for coming. You've had a nice evening. I wasn't sure if this theme is even gonna work, as I had so many different technical issues. But it worked out in the end and I'm really happy for it. And there's still 95 people watching. Yep, that's all for today. Thanks for watching. Thanks for coming to this live stream. Thanks to all the people who have submitted their music on my request that, hey, I need some music to play tomorrow. Thank you for delivering that. Yay. Also, huge thanks to all the people who are supporting me financially. The Patreon and LibraPay. This is very much appreciated. And the Patreon support has exploded after I released the Art or Media Masterclass video. It was two weeks ago already. Wow, time flies. Yay. Let's hope I'm gonna be back in my usual studio for the next live stream. But who knows? Yay. Take care and I'll see you in the next video.


Trauma occurs in many forms, ranging from verbal to physical and or sexual. Whether you've personally experienced abuse or have witnessed it, we want you to know that it's not your fault, nor are you alone.  We hope wherever you are today that you're in a safer place. Our hearts go out to anyone who's been a victim of childhood abuse. In our description box below, we've included a few hotlines in case you need to contact someone for help. As always, you can also reach out in the comment box. Here are seven ways childhood trauma follows you into adulthood. 1. You can't seem to remember much of your younger years at all. Do your high school years feel like a blur? You might find yourself drawing a blank when someone brings up a childhood memory, and you can't recall the same one. People with childhood trauma may experience flashbulb memories, in which they remember vivid moments, but not the full event. When you look back on the past, it's made up of more black holes than fully written chapters. You might even feel like someone or something has stolen your childhood, depending on the severity of the events. 2. You find yourself in toxic relationships. If you've ever watched or read The Perks of Being a Wallflower, you'd be familiar with the quote, We accept the love we think we deserve. When you grow up in a household devoid of love and emotional support, healthy relationships are a foreign concept to you. In fact, many people who face childhood trauma often adapt the fearful, avoidant attachment style, where they want emotionally close relationships, but find it hard to trust or depend on others completely. Consequently, without knowing it, you might seek destructive relationships, mistaking the mistreatment and uncertainty for excitement. 3. Or you feel like you don't deserve love at all. People who experienced abuse in their childhoods might avoid romantic relationships altogether, believing they can't be loved by others. This is known as the anxious preoccupied attachment, where the individual wants to establish emotional intimacy with others, but often fears rejection. As a result, vulnerability is usually avoided when they've only been hurt by people they once trusted. This kind of trauma doesn't just ache, it ruins you. 4. You develop passive aggressiveness. Did you grow up in a household with anger all the time? It can be so scarring that you might even grow fearful of this emotion. You learned at a young age that none of your emotional needs were important, so you've only resorted to burying or suppressing them. As you reach adulthood, you'll continue to exercise passive aggressive behavior, because straightforward communication was avoided when you were a child. 5. Negative self-talk is amplified. Childhood trauma gets into victims' heads and makes them believe they won't ever be good enough. It's not something they can just snap out of or fix with positivity. It's scary and real how convincing their parents might have been when their words and actions cut them deep. 6. You ride an emotional roller coaster. You might either feel too much or not enough at all. Trauma can cause a disruption in your emotional well-being. Signs include trouble-making decisions, impulsive behavior, and random outbursts of anger or frustration. 7. You don't know who you are. Identity is difficult, but it seems more impossible to grasp or pin down when you face childhood trauma. It's slippery like a fish, and the more you try to see yourself, the less you begin to recognize who you thought you were. Have you or anyone you know experienced any of these symptoms? Please share your thoughts with us below. We're an open-minded team and we will never judge you for your stories. In fact, we often find them inspiring. Also, don't forget to subscribe to our channel for more helpful tips and share this video with others. Thanks so much for watching!


Good day everyone, I am Ruchad Mistry, Assistant Professor Mechanical Engine Department at Valgen Institute of Technology Sholok. And this is the second session on industrial robot configurations. In the previous session, we looked at the definition of the industrial robot and the Cartesian configuration. So, we are going to continue from there and we are going to discuss spherical and cylindrical configuration. So, the learning outcomes of this particular lecture that you will be able to explain cylindrical and spherical configuration of industrial robots and identify applications of this configuration based on their features. So, let me just recall the definition of industrial robot which we even saw in the previous video. There is industrial robot is defined as an automatically controlled reprogrammable multipurpose manipulator. It can be programmable in three or one axis, it can be either fixed in place or mobile and is used for industrial automation applications. So, this is the definition. And we also looked at in the previous slide the classification of industrial robots. So, this is just a review of the same. So, classification as per remember this is classification as per most textbooks. You have Cartesian cylindrical, spherical, jointed arms, car and parallel configuration along another alternative way of classifying obviously is degrees of freedom and it let me try it once again that typically you would not get industrial robots which are less than 4 degrees of freedom from the practical point of view. So, they are always at the 4, 5, invariably 6 degrees of freedom. Another way of classifying obviously from application. So, you have welding robots, assembly robots, metal handling robots, inspection robots and so on. Another way of classifying which is a bit popular in the past was as per the control method. You had server and non-server robots and among server robots you had continuous path control and point to point control. This way of classifying I think it is redundant given the fact that almost every robot which is made today has very sophisticated closed-loop server control systems. So, this is just from the point of from an academic perspective since most textbooks tend to include this particular classification. Now, we saw this even in the previous video. Industrial robots as per international federation of robotics where they classified based on mechanical structure and as per this classification you have linear robots which we show last time that is Cartesian entry robots. Scarra robots, articulated robots, parallel robots, cylindrical robots and others. Now, obviously this classification doesn't include spherical configuration which is obsolete. However, a lot of textbooks actually do include them. So, I have included as a part of this discussion today. So, today we will be discussing cylindrical configuration and spherical configuration. So, moving on to the cylindrical configuration. The reason we call this as you can see from the figure the work envelope of this particular robot is a cylinder. So, that is why that time it was labeled as a cylindrical robot or cylindrical configuration robot. So, we can say that these are robots whose three principle axis is the first three axis. They form a cylindrical coordinate system. As you can see over here you have the z axis which is perpendicular you have theta and y. So, this is often labeled as RPP. So, revolving this first axis then you have prismatic or linear. The second axis and this third axis. So, often called as RPPP or PRP configuration that is prismatic revolution and prismatic. So, it's a slight difference among different authors. So, some authors actually take this you can say joint first first. So, they call it prismatic then this revolute and then prismatic. Alternatively, I have seen RPP configuration. The first joint is rotary about the vertical axis which is followed by two translations in horizontal and vertical relation. Very simple robot control solution. It was very popular till the 80s. This configuration is obsolete. Like if you look up any the website of any top manufacturer, top ten industrial robot manufacturer. You will not come across this configuration in their product line up. So, I don't think they offer it off the shelf. Probably it may be a customized solution somewhere. But I have not come across a single configuration offered by the top manufacturer which is a cylindrical configuration. I've seen Cartesian, I have seen parallel delta configurations. But invariably all configurations are the joint arm configuration. So, nowadays this is just not in use. It's very popular till the 80s.  These are images from actually they look like phano robots, which is obvious from the color. The most top manufacturers do have a sort of strategy when it comes to color. These are quite old and even if you do come across these, these are probably older robots which have been recurved and upgraded. Like I said, I doubt very much that these configurations are being used. At least I have not come across any of this configuration in the line up when I studied the data which is available on the internet. The other obviously is polar or spherical configuration. Like I said, the reason is you have a polar coordinate system or you can say the robot work envelope is actually a sphere. Hence, it's called as a spherical configuration. So, here we typically label it as RRP configuration that is revolute, revolute and prismatic. So, the first two joints are rotary joints and you have the third joint as prismatic joint. So, these are robots whose first principle axis, three principle axis. They form a sphere or a polar coordinate system. They are called as RRP that is revolute, revolute, prismatic or RRL that is revolute, revolute, linear configuration. You have two rotary joints about vertical and horizontal axis followed by a translation in the horizontal axis. This was actually the configuration in which the very first industrial robots were built. If you look at the animation robotics from the late 50s and early 60s, it's actually this particular configuration. The first robot which was actually built by George DeVol, it's actually this configuration. So, these were the very first robots in the 60s. They actually became obsolete by the early 80s. Once the jointed arm configuration came into picture, these became obsolete. So, the good thing about them was that robot control solution was simple. So, the controllers in the past with the limited amount of software and hardware capabilities, this was actually quite a popular solution there. So, let us now look at some of the advantages of the cylindrical configuration. One thing obviously is the structural and construction simplicity. It's a very rigid configuration, delivers good accuracy, fast operation. One really good feature is access from front and sides. Again, like the Cartesian configuration is one of the lowest cost for a given accuracy and control algorithms are easy to program and implement. Now, when it comes to these points, remember, we have to go by what the experts and the authors said, it is very difficult to prove these things nowadays. For example, we have jointed arm configuration as now the de facto configuration wherever you go. So, it's really unwise in that sense of the word to compare. But most textbooks and experts agree that for a given cost, this configuration is very robust and delivers very good accuracy. Then what were the possible limitations? Let's say dexterity, which you will notice actually once you start studying the specifications of different configurations, especially when you look at the work envelope of the jointed arm configuration, the amount of places that it can reach. This is where actually most of these older configurations, they are not at par when it comes to jointed arm configuration. So that's why we tend to say that it's less dextrous as compared to the jointed arm configuration, which is also true for the spherical configuration and where. It's definitely slower than SCARA. Often these SCARA and cylindrical configurations are compared because even with the SCARA, the work envelope is cylindrical. But the unique thing about SCARA is it's actually all joints are revolved and except for the fourth axis, which is perpendicular, and it is capable of extremely high speeds and extremely high repeatability. So for a given, let's say, assembly task, this configuration actually would be slower than a SCARA. And that's also one of the reasons SCARA configuration typically ended up replacing the cylindrical configuration in much of all the typical domains at the lower end of the payload spectrum. Like I said, it's not suited for complex tasks such as arc welding and spot welding, which requires very difficult orientation. And this is where obviously jointed arm configuration wins hands down. So most designs now have been replaced, as I said, by the jointed arm configuration. General applications like we can summarize as machine dending, handling for die casting, sometimes even for assembly and welding operations, parallelizing. These applications have been quoted on the basis of the potential applications in the past. So this information is available in textbooks and websites. And these were typical applications of cylindrical configuration in the past. Like I said, even the cylindrical configuration is quite obsolete, but it had some advantages. One, obviously, was structural construction simplicity, good accuracy over long distances, good payload capacity, and lowest cost for a given accuracy. So control algorithms, again, being easy to program. So it had very similar, you can say, features as compared to cylindrical, all cylindrical configuration as well. Limitation, again, same, less textures compared to jointed arm, slower than SCARA for a similar task, and not suited for arc welding and spot welding. Remember, these were used for welding and spot welding in the past, but in the past, you can say the work cell had to be designed in such a way that, what you can say, the whole thing was optimized from the point of view of robot. Now the robot is so flexible that you can weld in places which these robots cannot weld. So that's one advantage of jointed arm configuration, that it can do the kind of welding which these robots actually are unable to do. Most designs have been replaced now by the jointed arm configuration. Spherical configuration, again, you have generic domains, would be machine tending, handing for die casting, sometimes assembly, palletizing, and welding as well. Very common configuration similar to cylindrical configurations. Now, like I said, I discussed this topic state of the art in the previous lecture model. Now here, I don't say there is anything to be considered state of the art because both these configurations are now obsolete. Even though you may come across a few, these are probably older models which have been refurbished and updated with updated controllers. So that's clearly obsolete. That's why I said IFR even doesn't include spherical configuration as one of the aspect. It requires a lot of reading. International Federation of Robotics, the website to go for basic information and data. A very good information source is Robot Park, where there's a lot of information regarding robots in general. Again, Yamaha, Omron is a very informative website when it comes to applications. And one more thing I found very informative was a blog on industrial robots. So you can definitely look these up because some of the older robots, you end up finding on blogs rather than websites of manufacturers. So we'll discuss the other configurations in the next video.


जक्डित्टोगित्टी म।द्टाएक। उन्गयी ल supre कदिट्टी फिल्टर्ट्टी ६ चित लिक। कि स्मथएल्ए कर छए साज्वान्याचा जी आठता क्या जाा अपंद क्डिट्टी. जी क्भि क्ष्छवाना अपंटी बे वैंडी साज्वान, अलता ड़ाounds है वह lime करे टाथो आप its नal ज़वान क़ज़ साथ द़गा हो वर cay दश इंा आप पब भी ताऑ yarn आp बश� Da आप naath लेग तापिई चावनश् व ornaments तु 2009х Vij đ koń यास भा सय aus सरभ है to 2021 लगी is奶 शीक Nala वर कर ळिड यह सैंद़ारी भी प्यटान्तें एगा तरनमाणई देख मेंडोगा ठाडिनेवादके लिए ञीगा है। We used our chlorine tablets and hand cut cookies and filtered the water and we drained the Himalayan water. So, they are also doing their own you know design of how they can get better water. And then similarly, there is this very interesting bottle which was you know given to the Javans where the filter is inside the bottle. So , what you do is you press the bottle hard, because of the pressure the water enters through the filter . and you can drink from the top. तीम of ten javas were given three bottles and unfortunately they were saying that this is like so useless because there is a very small amount of water and then sometimes the water is dirty and you know this gets clogged which is difficult to clean and then another very important issue was that this remains inside and is humid and starts smelling. I like to now you know show a video. तो हमारे और और जवाम किले कफी फैधें मनर होगे stall does continuously


TFNN, headline, news update. Hi everyone, Basil Chappan, the host of the Tiger Technician Zawa and the author of the opening call giving you this noon time update and the Dawa is up 30 points. It was up at an all-time high of 27,560 earlier on this morning. Now it's making kind of a doji candle and it's in a potential leg after the upside. We've got to be a little care, just a little careful here. I was asked about whether this is the period from my subscribers to opening calls. I was asked if why would I be looking for some kind of a pullback? Yeah, I'll explain it all in the moment when I do my Tiger Technician Zawa coming up. Meantime the S&P is down three and this is going to be very interesting because the S&P kind of led the Dawa to the upside, excuse me, to an all-time high.  That's the narrowest parameter we've had up and down in quite some time and we've got a red candle so this is a potential G slash C and I'm suspecting that we're good. Maybe I have one little pup to the upside to go to that leg D and then pull back but this is where the technicals are really strong but the elastic band is stretched a little bit too much to have a little bit of a breather and you can see the wiki chart is broken resistance and it's right at that key period right now. Nothing wrong technically in the daily wiki chart is good but not great and we'll talk about that in a moment. The QQQ, the NDX100 also has gone to this leg F slash C, did make a nominal new high today, all-time high at 200 point 200. Can you believe that? It was at 182 just earlier October so this is a big move. So 200 point 32 right now, high of 200 point 55 leg. I believe this is a leg C, not a leg E to the upside in the weekly chart because the technicals are actually quite strong. We'll talk about monthly charts soon when we get to my show in a moment. In the meantime the IWM which periodically looked like it was leading and then it would be failing miserably. It's still failing miserably in that it is not even close to all-time high of 173. It's at 159 right now. Also this leg F to the upside says a little bit, a little stretch maybe needs a little digestive moment and it maybe may make a nominal high of 160 point 46 the high today but we've got to be a little careful here. It's getting somewhat stretched. Now what's interesting is that gold had a really sharp pullback. It's down 27. One of the biggest moves to the downside in quite some time, broken initial key support levels but really it's the 140, 114 to 80 level and the dollar is hacked very nicely. It's up sharp now.


Finally, here are just a few of the NAACP materials that we have in our civil rights collection. Ranging in date from 1955 to 1965, these pamphlets and brochures were an excellent way to share information and to fundraise. They were cheap to produce and to print and because they were lightweight they were inexpensive to mail and certainly very easy to transport and hand out at meetings, lectures, protests, and marches. And even though all of these pamphlets are dated after Terrell's death in 1954, they do all definitely carry on her work and her legacy. For instance, we have pamphlets here on desegregation in schools, activism and how to organize the legal fight for racial equality and the defense of voting rights. Particularly in this pamphlet, this very colorful pamphlet which I love so much, it's illustrated to look like a comic book and it tells the story of a community that is getting registered to vote and is reaping the benefits of those votes. Thank you so much for inviting special collections at UT Libraries to be part of Douglas Day this year. If you have any questions about the materials that we've looked at, please don't hesitate to contact us at special at utk.edu or go to our website at lib.utk.edu backslash special for more information. Thanks so much and have a wonderful day.


2. What you eat. Studies suggest that a plant-based diet with fewer animal products, more fruits, veggies, and whole foods is actually beneficial to aging and longevity, and of course, reducing things like refined sugars and the things that you know are bad for your health. And lastly, when you eat. When it comes to aging and longevity science, this is really a new area. Again, the majority of people will not be able to control their caloric intake, but research has shown that intermittent fasting can replicate some of the benefits of calorie restriction. If people can perhaps limit their eating to a brief window, it is believed that this can replicate many of the benefits that we are seeing in the calorie restriction studies.


This paper proposes a compact planer Wi-Fi antenna with optimized radiation patterns for small unmanned aerial vehicles, UVs. The antenna is designed to be mounted on the outermost side of the non-metallic wing of small UVs. The antenna's dimensions are 16.5 mm x 30.3 mm x 1.6 mm, and its impedance bandwidths range from 2.11 GHz to 2.58 GHz and 5.06 GHz to 7.5 GHz, minus 10 dB s11. At 5.8 GHz, the antenna has stronger radiation below the UAV to reduce interference from rare use directions. The antenna's maximum radiation is below the UAV and between 14° and 29° from the horizontal plane. At 2.4 GHz, the antenna has quasi-onidirectional radiation to ensure a stable link in all directions. Additionally, the antenna has good vertically polarized radiation for long distance applications. This article was authored by Yilong Yang and Ding Bing Lin. We are article.tv. Links in the description below.


The study found that transcranial vagus nerve stimulation, TVNS, can reduce reaction times and decrease brain activity related to movement when performing challenging tasks. This suggests that TVNS may have a beneficial effect on action planning, particularly in more difficult situations. This article was authored by Long Qin, Jiasheng Zhang, shown from one and others.


Everybody, welcome back to the rolling technology track. And right now, we'll welcome Mikhail Fedosin and Michael McCoon for Kubernetes deep dive on Cloud Controller Managers. And Mikhail and Michael, the stage is all yours. All right. Thank you very much, Selby. Yeah. So, welcome to everybody. My name is Michael McCoon, and I'm joined by Mikhail Fedosin today. And we are engineers at Red Hat, where we work on the OpenShift Cloud Infrastructure Team. And we're going to talk to you about Cloud Controller Managers. So, take it away, Mikhail. Okay. Hello, everyone. And let's start our talk by defining what the Cloud Controller Manager, or CCM for short, is and why it's needed. In a nutshell, CCM is an optional component of Kubernetes that is responsible for basic interaction with the cloud platform where the system is installed. In a sense, this component came about as a result of the evolution of the Kubernetes architecture to allow the system to be deployed on different cloud platforms. It should be noted that historically, this problem was partially solved with so-called entry cloud providers. But this approach has a number of limitations that prevented from being used as a universal solution. And therefore, it has been deprecated. And in the medium term, CCMs is the only way to interact with cloud platforms. And each cloud platform should implement its own CCM, which is based on the cloud provider interface. And the goal of having the interface is to ensure that all CCMs in the ecosystem are integrating with Kubernetes in a consistent and extendable way. So let's take a closer look at what the CCM is. I took this picture of the architecture from the official Kubernetes website. And generally speaking, the CCM is a collection of Kubernetes controllers that embed cloud-specific control loops. There are at least four controllers, node, service, route, and node lifecycle. We'll talk about them later in this report, but in fact, these controllers were a part of the Kube Controller Manager or QCM for short. And now they are deprecated there. Then they decided to combine them in a separate component. We will discuss the reasons that led to this in a minute. And for now, we can know that the CCM is just a detached part of QCM that has cloud platform-specific controllers. And the way these controllers work has not changed. They monitor their resources and try to make the status match the spec. This is like the standard way of doing things in Kubernetes. Okay, next slide please. Now let's talk about how the out-of-tree cloud provider approach used by CCMs is better than the legacy approach using tree cloud providers. And also why adding new inter-cloud providers was banned in Kubernetes. To begin with, what are inter-cloud providers? And these are libraries or Go modules, if you want, which were used in KubeNet, Kube API server, and Kube Controller Manager. KubeNet needed it for cluster node initialization. Like setting of the region, the node is deployed into and the resources that it has available like CPU, memory, and so on. KCM as mentioned before had the controllers. And Kube API server needed it for the now deprecated persistent volume label admission controller. The inter-cloud providers were a part of the Kubernetes code and only supported the five blast platforms. AWS, Azure, GCP, OpenSecond, vSphere. The CCM, on the other hand, is an independent component and can support only one cloud platform at a time. From the developer's point of view, it's a compiled binary packed in the container that is installed as a standard Kubernetes application with either a deployment or demon set or bug, and the rest of the required resources. And it interacts with the system with Kubernetes API. Okay, now let's discuss what is wrong with the legacy approach. I think it's the obvious point that inter-cloud providers have their own dependencies on the relevant libraries to interact with their platforms. And this causes a huge number of potential problems when the number of platform increases. Like various version conflicts, sometimes lack of backward compatibility, increase of non-core system-specific code base, and so on. And eventually it was decided that Kubernetes would have no dependencies on third-party libraries for cloud platforms. But for example, Azure Cloud Controller Manager only has a dependency on the Azure SDK and nothing related to AWS or OpenStack. And it's the same for other cloud controller managers. The next question is the development lifecycle. And it's quite obvious that cloud providers are not logically dependent on Kubernetes. But with the legacy approach, they had to make releases at the same time on the Kubernetes core, which was extremely inconvenient. And the problem was also complicated by libraries for interacting with platforms. They also have their own release cycles. In this case, developers of the Azure Cloud Providers had to decide whether to use either a raw or old version of the library. For CCS, the development cycles are completely independent from Kubernetes, which makes our slides much easier. And another point is that all in three cloud providers and their dependencies had to be released under an open source license compatible with Apache 2 in order to be included in the Kubernetes repository. And for some platforms, this presented an artificial limitation. An example might be IBM Cloud, although they have now made it open source. Originally, they released their Cloud Controller Manager closed and for a private use only, which is impossible within three cloud providers. So yeah, all in all these are the main reasons that prompted the Kubernetes developers to CCS. Okay, next slide, please. Now let's take a look at how the architecture of Kubernetes has changed since we switched to CCS. As I said a moment ago, the Azure Cloud Providers were used by three components, Kubelet, Kube API Server, and Kube Controller Manager. This is clear, it just doesn't launch the corresponding controllers in favor of the CCM. It's the same for the Kube API Server that doesn't start the persistent volume label at Mission Controller. And it's actually their default behavior. To start these controllers in Kube API Server, you have to explicitly pass the Dash Cloud Provider platform name option at their startup. This Kubelet, everything is a bit more interesting and complicated. And as you know, Kubelet used in three cloud providers to correctly register nodes in the system. The system acquired the cloud platform API for some platform specific flavor region, and then created another source in the system. You can do it without entry cloud providers because Kubelet doesn't know how to interact with a platform anymore. But the same can do it either because it starts later when nodes are already created. And for this purpose, Kubernetes uses to step initialization of nodes. To enable this mode in Kubelet, you have to specify Dash-Dash Cloud Provider external to start up. At the very beginning, like the first step, Kubelet creates an empty node resource without adding any information from the cloud platform to it. And do it so it sets a thing to be a no-schedule effect that prohibits running any workloads on this node. Next step, the CCM is activated. It must contain a delegation which allows it to bypass the taint. And in other words, it will be the only pod on the node that hasn't yet been initialized. And once started, the CCM requests information from the platform, communicating with the platform API. It adds it to the corresponding node resource and finally removes the taint, thereby allowing workloads to run on this node. As a result, we have a well-working cluster. A separate topic here is container storage interface or CSI, but we'll have another slide on it and talk about it a little bit later. Now on the next slide, please. Okay, let's see what controllers were taken from Cube Controller Manager and are part of the CCM now. First of all, this is the node controller. In fact, its task is to pull the platform API and annotate and label the node resource with cloud-specific information, such as flavor or availability zone. Then service controller, which maintains services. And services integrate with cloud infrastructure companies such as managed load balancers, IP addresses, network packet filtering, target health checking. And the service controller interacts with the cloud platforms API to set up load balancers and other infrastructure components for a service resource that requires them. Next, we have the route controller. The route controller is responsible for configuring routes in the cloud appropriately. So that containers on different nodes in the Kubernetes cluster can communicate with each other. And depending on the cloud provider, the route controller might also allocate blocks of IP address of the pod network. And finally, we have the node lifecycle controller. It verifies the node health. In case a node becomes unresponsive, this controller checks with the cloud platform API to see if the server has been deactivated, deleted or terminated. If the node has been deleted from the cloud, the controller deleted the node resource from the Kubernetes cluster as well. Okay, next slide, please. And I want to say a few words about container storage interface. This topic is not directly related to the topic of this report, but we cannot ignore it. It's all because in three modules, all also contained volume provisioners for cloud providers. And external cloud providers do not support this feature because it's not a controller. So in Kubernetes, they introduce container storage interface that allows users to attach volume drivers for their specific platform. And currently lots of different CSI drivers are available. And I'm sure that you can find one for your needs. And the whole concept of CSI, container storage interface is similar to what we have with cloud controller managers. Kubernetes just provides an interface and people develop an implementation of this interface separated from the core system. It allows decoupling platform specific code, but it also means that instead of having volume support out of the boxing Kubernetes, these drivers have to be installed and configured additionally. Okay, Michael. All right, thanks, Mikhail. So now that we know a little bit about what cloud controller managers are, let's take a look into how to use them in your cluster and some of the issues you might run into. So the first thing I wanna talk about is the external cloud provider flag. And Mikhail mentioned this, but this is something that you're gonna have to specify as you start to set these in the current timeframe. So one of the things to know is that on your Kubelet, you're gonna have to specify this cloud provider external. Now in the past, you probably would have set this to whatever provider you were using, AWS or OpenStack or something like that, this will now set the Kubelet to not use its internal routines and use the external CCMs for that. Now the next part is the docs recommend that for the API server and for the Kub controller manager, the KCM, that you not set the cloud provider. But in practice, you can actually set these to cloud provider external currently and they will work in an external manner. Now there's some deep details here and it gets into at least for the API server, how some of the older code pathways are still operational when you set that into place. But these will be deprecated eventually when we migrate past this initial phase. So probably in the 1.25 Kubernetes range. Now the other thing is this is a common pattern to see on the new cloud controller managers. So you might expect that if you were running the OpenStack cloud controller manager, I shouldn't have to set the cloud provider flag. But because of the common ancestry of the framework for a lot of these CCMs, you'll see that setting the cloud provider is usually something people do, even though you don't have to. Then another thing to be aware of is this uninitialized taint. And Mikhail mentioned this a little bit, but this is new with the external cloud providers. So when you set the Kubelet to use the external cloud provider, it will set the uninitialized taint on that node with no schedule. And you'll have to be aware of that and make sure to set any pods that you need to run, that need to happen before the CCM, perhaps like networking pods, those will have to tolerate that uninitialized taint. So there's another piece of this as well, and that is the disable cloud providers feature gate. Now this isn't needed to be used in concert with the cloud provider external flag, but you can use it to disable the old functionality so that you can ensure that your cluster is running an external cloud provider mode. So by setting this disable cloud providers feature gate, the Kubelet and the kube controller manager will actually take different code paths and completely turn off the old stuff. This was introduced in 1.22, so it's pretty new and it will probably be in use until 1.25 when all of this will become the default and there will be no old, you know, KCM controllers running. So another part of this, like as Mikhail mentioned, these are binaries that you're gonna run separately from the Kubelet and the API server and whatnot.  You are responsible for deploying these, they will not be deployed automatically for you. If you're using an existing core provider, meaning one of the providers that already has an in-tree KCM or controller, it's a little bit easier because you can see that there's a binary that's already provided in the main Kubernetes repository that essentially wraps all of the old in-tree providers to new out-of-tree providers. And there's an example manifest in the core documentation about how to deploy these. Another question you're gonna come across is whether you wanna deploy these using a demon set or a deployment. And this will depend a lot on your topology and how you're creating your clusters. The default recommendation is just to use a demon set. But there are some cases where you might wanna use a deployment depending on how you want to organize the CCMs being deployed and perhaps the ordering that you want to have them in. And also how they respond to other services that look for demon sets or deployments. You only need to deploy the CCMs on the control plane node, so they don't need to be on every node, only the control planes. You will need a service account and cluster roles for these. And the CCMs, they'll need to look at nodes, they'll need to look at services routes, depending on which ones they are. So you'll have to set all that up. Don't forget that uninitialized taint because it will come back to bite you if you have things that you're expecting to run before the node is ready. And the other side of that is the not ready taint. Now, this is something we already experienced today, but that not ready taint will most likely need to be tolerated by your CCMs so that they can run while the networking is coming up for the cooblet. And then you'll also need to manage credentials for these cloud providers. Now it's very similar to the way you're managing credentials now. So you'll use the minus, minus cloud config flag and you'll pass some local directory within the container. And usually this is a mounted secret or a config map. And the contents of that will depend on which provider you're using and what that provider's specific information is. But it'll be largely similar to what you've been doing already. So now I'm gonna show a couple examples of how we run the cloud controller managers on OpenShift. And this is just a brief snippet of the deployment we use to put these into the cluster. And what we're looking at here is the AWS CCM. Now this is a very simple cloud controller. We just specify what cloud provider we're using. We tell it to use the service account credentials because with AWS this is all plumbed through for us. And then we tell it where we want the namespace for the leader election because by default that will be CUBE system. And on OpenShift we use a different namespace for this. So this is pretty straightforward and not too complicated to deploy. But let's look at an example of one that's a little more complex. This is the Azure cloud controller manager. And you can see first off we've got two separate processes running here. This is just the way that the Azure folks have decided to break out their controllers. And this is perfectly acceptable. So they have the main cloud controller manager and then they have their cloud node manager. And you can see that there are different options here and for the cloud controller manager it's a little more complex than setting up the Amazon one. So we specified the cloud provider is Azure. This time we're passing in a cloud config. You can see we tell it what controllers we wanna start and passing some networking information and whatnot. So this just gives you an idea that you will have to have different solutions or different deployment methodologies depending on what type of CCM you're running. Now, as Mikhail mentioned, volume controllers and CSI don't really fit into this. And I just wanted to mention again that the CCMs do not implement any of the volume controllers and the CSI out of tree migration is a completely separate process. It's got its own docs and its own enhancements. And if that's something that is kind of on your critical path then I would recommend looking into those documentation sources. Now, another concern here is how do I migrate my high availability cluster that might already be running and I might have a control plane that's running in some sort of replicated state. How do I keep up time and switch from the KCMs to the CCMs? Because this will need to be done if you're doing a live upgrade. And first of all, you should already be using a leader election. You should already be familiar with this mechanism because the CCMs as you deploy them will need to have a leader election as there could be multiples deployed depending on how large your control plane is. The second step here is that there is a leader migration mechanism that has been added to the KCMs and the CCMs. And this is to help you make the transition between KCM to CCM easier. And it allows the two to coordinate and do that handover. There's also a configuration element to this that you could use to change the mappings between the controllers. So if you've changed the names from what they might be considered as default then you could use that mapping to change how your binaries are recognized by the leader migration. And of course, this is a flag that you would have to enable on your KCMs and CCMs so that they're ready to do this transition. There's a bunch more steps involved in this migration and I would really point to the documentation here because they clearly spell out what you need to do and kind of what needs to be set up in order to do it. So, perhaps you want to implement your own cloud controller manager.  This is not as complicated as it might sound. There is a cloud provider library in the Kubernetes org on GitHub at the cloud provider repo and it defines all the interfaces that you'll need to match in order for your controllers to run there. And it's kind of a multi-tiered interface where you have the top level that gives you things like load balancers and instances and whatnot and then as you descend into them, you get more detail. It also contains a sample reference provider. So if you're looking for an idea of how you can get your binary started that is there as well. Now, for the sake of reference you can go back into the main Kubernetes repo and in this command cloud controller manager directory you'll see the binary that was made to wrap the entry providers. And this was kind of one of the first steps towards making this migration is that the community wrote a binary that would just extract the entry provider to its own binary and could be run separately. So you need to specify the cloud provider with this binary because although it is separate it contains all of the providers from the entry inside of it. And it's also really useful to look at just to see how they're structured and how you might wanna write yours. And then as always for a great reference if you go into the Kubernetes org and look for a cloud provider star you'll see all the cloud providers that exist there and you can see how others have implemented this for their cloud. A great point of reference. So another thing that might come up and this is a little bit of shameless self promotion from our team is that you might want to automate the deployment of your CCMs. I mean, creating operators is a great thing to do in Kubernetes and these are some controllers that you need to automate the deployment of. And so what we did for OpenShift was we created an operator that can detect the platform you're on and then deploy the proper CCMs based on what's happening there. If you're only working in single platform environments though you probably don't need this type of automation because you're always gonna be deploying to the same platform. But it can be really useful in situations where you might have multi-platform deployments. And if you wanna see a reference you can see GitHub OpenShift, this is the link to it. So lastly, let's talk a little bit about debugging before we wrap up here because inevitably you will run into problems. The first thing I would say is be mindful of networking. Networking can really bite you here because the way the new uninitialized taint gets applied to the nodes, you also need to have your networking components tolerate that so that they can come up before that other pod does to annihilate to have the access to the network to do things like check for load balancers and nodes and whatnot. So really be up on your networking. Also, as with most things in Kubernetes the logs are gonna be your friend here. You're gonna wanna look at the logs for your CCMs to see kind of a rich output of what's happening with those errors. Then double check your deployment options. This for the Kubelet, for the KCM as well as the CCM depending on how you're setting these things up you're gonna need to make sure that you've got those cloud provider flags set and you're gonna make sure that if you're running the KCM to CCM migration you've got those leader migration flags set as well. You will most likely need a way to interact with the nodes that you're working on. So whether this is SSH or some sort of cloud provider console or maybe a keyboard plug directly into a rack of servers whatever it is, you might need to get into those machines to see what's happening at a layer that goes outside of Kubernetes. So you might have to see if, you know system D units are running, networkings running those type of things. And then lastly know your infrastructure provider as this is the lifeline between Kubernetes and the infrastructure you really need to understand like how the infrastructure provider works and where you might run into pitfalls. So with that said, we'd like to thank you and here are a few references that will probably be helpful on your journey. There's a couple of links to the main Kubernetes documentation about cloud controller managers. The third one is a blog post that really does a great job of explaining this and the last one is the cloud provider reference. And if you'd like to stay in touch and Mikhail and my emails are here, please reach out like share your woes, tell us your successes, ask us questions, we love it all. So with that, I guess we have a few minutes for questions and thanks everybody. So I'm not seeing any questions in the chat. So I'm guessing that we've answered everything you wanna know.


Bhimra Ramji Ambedkar is a visionary leader who brought dignity and rights to the most oppressed classes of people in India. Oppression unleashed upon Dalits for centuries was brought to fore and at least in law equality was reinstated, though the social situation needs much reform. He is a stellar example of showing that brilliance needs no pedigree. We owe the privilege of democratic existence to this intellectual giant, a man of great vision and compassion said, democracy is not merely a form of government but an attitude of respect and reverence to fellow human beings. Though we are a political democracy, we are not entirely democratic as a society and hence Ambedkar's dream and vision of creating a social democracy remains unfulfilled. It is the responsibility of our generation to create a society where the privileges of pedigree are replaced by individual performance and competence. All humans are equal by birth. We are Ambedkar, a remarkable man who gave a shape and form to our aspirations of nationhood. On this day, we bow to him.


To make customers happy, every interaction matters. With Ciprovis ERM, customer service manager Anna makes sure that she knows everything about a customer case before making that crucial call. Anna starts her day by checking the dashboard. It shows important insights on customer satisfaction, upcoming renewals, feedback, what customers are saying and projects that might be at risk of customers leaving. On the latest request with negative sentiments, Anna notices a ticket that catches her attention. The customer is dissatisfied and mentions they might not renew their lease. Anna navigates to the company card. Checking the activities, she discovers a completed meeting with an eternal note stating that the customer is unhappy with whiteboard support. She also finds that there was a missing training session on how to use the whiteboards. Anna sees that a future follow-up for a lease renewal and a contract that had needs attention. Anna checks for open requests and other important history between support and the customer. The whiteboard feedback ticket is still open and Anna opens the request in the service screen. Seeing previous activities, she adds an eternal note and transfers the request to the key account manager, John, with a suggestion to reach out to the customer before they cancel. As the key account manager, John receives the request and immediately gets to work. From the information he can see on Ciprovis, John believes the customer is considering not renewing because they were improperly trained to use the smart whiteboards. He sends them an email with knowledge face links and videos on how to use the whiteboards in books and on-site training for the customer. A few weeks later, Anna revisits Dashboard. In the time displaying recent Plyster printer feedback, the same customer gave positive feedback on John's visit and the smart whiteboards. Even better, the customer has placed more orders for smart whiteboards and continues to be a valid customer.


Good morning to everyone, my name is Francesco Breglia and I'm going to present the first attempt to formulate a Bronze Age paleo-environmental reconstruction of the Vallo di Diano by Anthracological Analysis. We are in southern Italy, precisely in Campania region. The Vallo di Diano is a large inter-mountain basin which is one of the main natural transit route through the southern up and in chain. Inoltre, la mia elevazione è solo 465 m above the sea level, while the surrounding mountains reach the 2,000 m. This characteristic makes the Vallo di Diano an ecotone impact despite its proximity to the Tirenian Sea that you can see in the background. The mountain range here acts as a barrier. As a result the Mediterranean and the temperate region meets here in a very peculiar way. So basically the valley bottom is a transition zone between the two macro-climate regions. Going up along the slopes of the mountain the climate quickly assumes temperate humid characteristics. The location of the sites we took into account in this work is here reported in red. In this slide geomorphological and geological map of the area are shown. The Vallo di Diano has a tectonic origin. It is precisely an alfgraben with a system of active folds along its eastern border here. And we know that this tectonic depression was once filled by a lake. Here are the acoustic deposits. Starting at least from the lower Pleistocene the Idric basin lasted until the Holocene. Here you can see a simulation or perhaps just a suggestion of how the basin could have been in the past. We used a present day relief model and applied the different lake levels starting from an altitude of 495 meters to go down to the present valley bottom. Well the first questions we asked ourselves was when did this lake disappear? Was it still present during the Bronze Age? The valley is now cultivated but this is only possible thanks to a reclamation work. Today a large canalization work drains the valley bottom. Nevertheless in case of particular heavy rains nature finds its way. This picture shows the result of 48 hours of non-stop heavy rains. Concerning the reclamation history we know from the so-called Lapis Polle, an epigraph found in the Vallo di Diano, that in the second century before Common Era a Roman road passed across the Vallo. Moreover we know that in the same period the public land was centurated for farming. This aspect is also reported in the epigraph. The council says that it was the first to ensure that shepherds were replaced by farmers. This is not a declaration of war against shepherds. The expression probably refers to the first reclamation of the land once used for grazing and now reclaimed and then arable. So before the second century the valley bottom must have been marshy at least. In the 16th century Leandro Alberti reports that near the town of Polla a town into the valley there was a swamp and still at the end of the 18th century the problem was relevant. Carlo Afander Ivera published a detailed work about the reclamation undertaken during the Bourbon dynasty. Ok, now that we have a clearer view of the context, let's make a very big step back in time. Here you can see the distribution of the late prehistoric and protohistoric sites in the Vallo. Go into details. In the Neolithic we have just a sporadic presence in caves. The finds became fewer for the early Neolithic and completely absent for the middle part of this age. In a period between the end of the Neolithic and the beginning of the Bronze Age there is a reoccupation of the caves and the settle of an open-air village in Fossa-Aimone. The Middle Bronze Age is the most attested period, the number of both cave and open-air sites grow, but also the quantity of finds within the sites is far higher. Finally, in the late and final Bronze Age we assisted to a contraction of the number of the sites, in this case probably connected to new settlement strategies not yet understood. The two main sites on which this work is based are Grotta di Pertosa and Grotta di Polla. These two caves are located in the northern part of the Vallo and they are really near one to each other, but their climatic and environmental features are sensitively different. Grotta di Pertosa is located near the Tanagro River and at a lower altitude, but it's exposure to north and the morphology of the slopes gives the area a mesotemporate humid climate. Right near Grotta di Polla there are meso-mediterranean conditions. The archaeological interest of Grotta di Polla is known since the end of the 19th century, when a bronze age-piled welding settlement were found in the initial part of the cave and investigated during two excavation campaigns. Recent archaeological surveys in 2004, 2009 and 2013 conducted by the CRS and Sode Medici brought to the discovery of 86 wooden poles in the riverbed area, six of which were dated and confirmed a middle Bronze Age chronology. Moreover, the erosion of a mud bank by the stream exposed a layer rich in plant remains here and the soil samples were collected. So far, we do not know if this layer is a damper or rather a collapsed floor of the piled welding. Anyway, a sub-sample were studied and the total amount of 114 charcoals were found and analyzed. Grotta di Polla is also a well-known site, at least from the 60s of the last century, when the archaeological investigation within the cave started. Una grande occupazione di tempo era rilegato nella parte iniziale del cave e sappiamo che durante il Bronze Age, il cave era anche usato per le risorse funerali. Questa era confermata da la Università di Molise in 2016 e 2017. In una nuova nuova iniziale locata in un'area interna del cave, un contesto funerale, andando alla transizione di un periodo di Bronze Age, era trovato. In realtà, a questo momento, questa parte del cave era direttamente connettata all'entrazione della cave. L'intensione di questa parte era prospettiva e progressiva per la sedimentazione. I due samples di soia erano collettati in questa zona e i 332 charcoali erano analizzati. Il terzo contesto che abbiamo scoperto è Grotta Maria Colombo. L'area è locata in parte del sud del Vallo, a una definizione di elevazione a più di i due cave. L'area era recentemente scoperta e investigata da un equipo da La Sapienza University di Roma 3. I risultati della scoperta sono ancora non pubblicati, ma sappiamo che il cave era usato per un rilascio funerale durante il Bronze Middle. In il nostro laboratorio, i 6 samples di soia erano collettati durante la scoperta per Beria, studiato da Dr. Chiara Belli. In questo diagramma, possiamo vedere il risultato delle analisi antracologiche. Abbiamo scoperto la scoperta in 6 tipo di ambienti. Igrophilus Forest, Geirig, Piedmont Plain, Woodland Margin, Mesophile Woodland e Mountain Forest. I tre risultati sono molto differenti. Il Sample di Grotta di Polla mostra la prevalenza della vegetazione margina di Woodland con pochi elementi di Piedmont e una buona rappresentazione di Mesophile Woodland e alcune specie di Mountain Forest. In realtà, la presenza di Pinus Silvestris Negra in questo sample può essere probabilmente relata alle specie di alta altitudine, invece di le mani di Mountain. A l'altra parte, il Sample di Grotta di Pertosa mostra le feature vegetali chiaramente linkati a Woodland di Mesophile con poche margina di Woodland e Igrophilus Forest. Il Sample di Grotta di Maria Colombo ha una vegetazione margina di Mountain Forest caratterizzata da bici e conifers, in particolarmente per la presenza di Pinus Silvestris Negra. Se mettiamo questa data a una scale altimitrica è possibile sapere come i risultati si trattano molto bene con la situazione dei sani. Concludendo, questa è la presenza e l'induzione di Valo di Diano. Potremmo parlare di alcune considerazioni di diacronica se compariamo questa mappa con il nostro data archeologico. Prima di tutto, il Valle Bottum è oggi un'area margina mentre, a l'anno del Miedervon, si diceva che era probabilmente marciata e usata come pastore, basicamente. I sani intorno ai sani sono occupati con i sani e la triplantazione. Qui abbiamo i sani, per esempio, in l'area niente di Grotta di Polla e Grotta di Pertosa, qui al nord, e l'impasto cestnato ha replacato un sani naturale. Mettiamo l'impasto e il forno bianco basicamente nella tonalità di grigio. Generalmente, sono osservati in l'area mentre i coniferi di monta e forno e i sani, in generale, sono quasi completamente desapareciati. Probabilmente queste tre parti, quindi i coniferi, erano selezionati nel pastore, magari già durante il periodo romano. Con questo ho finito. Grazie per l'inizio.