What we're going to do now for the rest of this semester is go through the protocol the TCP IP protocol architecture So in the previous topic we introduced this five layer stack from the bottom physical layer data link layer network Transport application So for the rest of the semester we're going to go through technologies concepts and protocols in each of those layers working from the bottom and Finishing at the top at the end of the semester So now we're going to start at the physical layer and recall the physical layer the goal is to take some data, let's say bits and Transmitters some signal across a link so For my laptop to send data to another PC that's connected it needs to send some signal some Physical signal so this topic on data transmission. We're going to look at the structure and the design of such communication signals And we look at some of the mathematics of the signals and how that's used and eventually arrive at how The signals impact upon some some of our performance metrics But first some simple terminology And this is easy We have in the simple case if we have two devices We have a transmitting device and a receiving device the transmitting device wants to send data to the receiving device And they send data via some medium and the communication. What do they send? Well, the physical thing that they send is waveforms electromagnetic energy Think of some waves. Okay light. We can think of as a set of light waves Energy is being transferred from the light to your eye eyes My Wi-Fi signal is some energy is being transferred from my laptop up to the access point So our basic communications is via sending electromagnetic waves from transmitter to the receiver We need to look at the structure of those waves or what what are they? What do they look like and how do we design those waves or more generally the signals that we send? We want to communicate data Usually zeros are ones files images emails But what do we actually send from one computer to another is some form of energy in the form of waves? our signals All right before we get into the structure of these signals The medium between transmitter receiver we can categorize generally is to either guided or unguided a Guided medium is wires cables The signal is transmitted across wires, maybe with some coding around those wires So an an electrical signal across some copper wires I don't have the LAN cable, but the LAN cable that I plugged from laptop into PC in Inside that LAN cable. We're just some copper wires and my LAN device Generates some electrical signal that is Transmitted across those copper wires and we'd say that's a guided medium in that the signal is guided along those wires across that the physical material So other there are different types of technologies which will cover in the next topic What is twisted pair? What is coaxial cable optical fiber? But these are all examples of guided media the energy from that signal is contained more or less inside the wiring or the cabling Then the alternative is unguided Which is wireless communications or wireless signals a Wireless medium air water if we send signals through water and theory through a vacuum In that case the signals that we send are not guided by some material. They disperse almost in any direction Sometimes we can focus them a bit, but the energy is transmitted out of my antenna In my laptop my laptop has an antenna built into the back of the screen It generates some electromagnetic waveform and some energy disperses In fact it goes in all directions up down left right Some of the energy goes to the antenna on the access point up there, which receives it Wireless is unguided in an unguided medium in that the the signals are not guided by a particular material They can go almost anywhere So we can distinguish and we will look at them. They have many different properties or characteristics, so Why it is good for some things wireless is good for other things. We'll look at them in the next topic The link between transmitter and receiver Whether it's guided or unguided we can say the configuration can be either point-to-point or Point-to-multi-point or simply multi-point Multi-point medium or configuration or point-to-point configuration point-to-point is then there's just two devices Transmitter sends to one receiver multi-point is when there are more than two devices Sharing that link or sharing that medium. So for example one transmitter transmits Many receivers receive at the same time that would be multi-point configuration So a different classification In any communications link or medium we can distinguish based upon the direction of communications. We can say a link is Simplex half duplex or full duplex in simplex we send our information in one direction only an Example TV broadcast. There's a TV station. They have a tower Maybe via satellite even but they transmit their TV signal your TV at home Maybe has an antenna that receives that signal Your TV does not send anything back to the TV station That is simplex communications because the data is only going in one direction from TV station to you never goes back So that's an example of a simplex communication system Full duplex when we have a communications link where we can send data in both directions at the same time So We have a link a can send data to be and at the same time be can also be sending data to a half duplex is They can send in both directions, but only one at a time one direction at a time a can send data to be or B can send data to a But they cannot be sending data in both directions at the same time That's half duplex an example is The walkie-talkie the handheld radios you press the button to talk you talk and That sends a signal to the the receiver and then you let go and then they talk. Okay, you take in terms That's half duplex and Then many examples of full duplex for telephone for example both people can talk and send data at the same time in that case so some different terminology and classification of Communication links or mediums. I always ask my students. What is this lecture When I'm talking to you Assuming I don't have a microphone to keep it simple assuming the microphones off Are we using a guided or unguided medium in this lecture? It's unguided. Okay, it's wireless. It's air If we have that if we ignore the microphone In fact, if you consider the microphone part of it's guided in that the signal goes down the cable and then It goes to the receiver here and then goes through wires up to the speakers That makes it more complex. But if there's no microphone What's the configuration point-to-point or multi-point hands up for point-to-point? You've got two choices Eventually want to see everyone's hand hands up for point-to-point configuration this lecture hands up for multi-point Okay simple one when I'm talking at least I'm transmitting and there are multiple receivers. We've got a medium where I'm communicating to more than one at the same time What's the desired direction of communication in this lecture? hands up for simplex anyone Hands up for half duplex One two. What about full duplex? Unfortunately, it is full duplex sometimes which means I'm talking and You're talking at the same time It should not be it should be half duplex When I'm talking you're not talking or when you're asking a question. I'm listening. So ideally We can communicate in both directions, but only one at a time now We don't want it to be simplex because I'd like you to ask some questions and We don't want to be full duplex because you'll interfere with me. Okay, so we can categorize links I call to the weather report Okay, the telephone in some some uses of the telephone that the data transfer we think is simplex That is if use a recorded announcement, you can you can hear the time You can dial a number and some computer will tell you the current time or the weather Okay, that the telephone system itself the communication system would consider full duplex You can send data both directions at the same time, but some uses of it May only send in one direction so we'd say that The telephone system is full duplex. Maybe that application in of the use of it is in one direction only But the the communication system supports full duplex Anything that supports full duplex can of course allow communications in just one direction It can be turned into simplex or even half duplex But we'd consider the telephone line full duplex So the transmitter generates some signals some electromagnetic signals to send across a medium to the receiver What are these signals? That's the main focus of this course for the first part Well the signals The physical signals that are sent represent the data that we want to communicate from source to destination And a good example of data is you think of a file and think of it as a sequence of bits zeros and ones So to send the zero and one or zeros and ones between computers We can generate some some signal think of some waveform to represent that data What we're going to show today is that all communication signals that we deal with We can look at them as made up of many component simpler signals We take a simple signal like a sine waveform and Another sign and we can combine them together to create more complex signals the things that we actually transmit between Transmitter receiver so we're going to analyze and look at the different The basics of signals and then how we combine them together We can view signals from two different perspective perspectives two different time two different domains We can call the time domain and frequency domain. Maybe at the end of election today. We'll introduce the frequency domain Time domain. Well, let's look at a simple one actually I'm ahead First some simple concepts that you probably already know we can differentiate between analog and digital Wave forms or signals we're analog continuously varying over time just a digital signal we think it maintains some level and Instantaneously changes to some other level some fixed level discrete changes One characteristic of signals is that it can be either periodic In that they repeat or a periodic there's no repetition over some time frame these two examples of periodic signals Okay, that they're repeating Here's an example of an a periodic signal. We don't see any repetitions here. It's continuously changing But in fact just some terminology at this stage The simplest signal that we often deal with is a sine wave think of a a sine, you know what the shape and If we can think of sending a signal as a sine wave we can use that to represent data that we want to communicate And we'll see that the more complex the realistic signals We can view as just a combination of different sine waves. So the sine wave is very important because Even in theory a square wave like this This discrete digital signal in theory we can create this at the transmitter by combining many different sine functions together your sine you know is this shape by Adding together many different Sinusoids we can in fact create a digital signal. We'll see that today So by combining signs together we can create different shaped signals that we need for our communication systems therefore, we need to remember the characteristics of a sine wave Everyone remembers this this equation seen it before You remember the sine function okay, and the shape that you get when you plot it against time So this is a simple signal the signal s as a function of time So we're dealing with the time domain and the signal think of the s is The the height of the signal if we plot it the amplitude the general form is that we get some Multiplier times sine of some value Take a sine of some value and you get some result Where this is a function of time so s is a function of time his t here There is three parameters to this equation under the signal The peak amplitude a That's the multiplier So as we change The value of uppercase a if we plot a sine wave if we increase a we'll see the height increases We'll see some examples so changing the peak amplitude of course changes the height of the sine wave Sine of two times pi, which is constant times by f Multiplied by the current time plus phi F is the frequency of our sine wave and Phi is the phase of the sine wave Frequency is easy to visualize. I think you can understand that if we have a sine wave of some frequency If we increase the frequency then visually it Oscillates more often in a period of time Changing f Well f is the frequency of this sine wave Increasing it of course we'll get the different shape as the output The phase is a bit harder to visualize for some people. It's the shift of the sine wave relative to some position There are some slides here that illustrate that different sine waves very simple I would do it on on a computer On on the screen and generate them using some software just to show If we create a signal using as the sine function and these three parameters by changing those three parameters We change the shape Very easy I've got some mathematics software called octave here that will produce a plot of the sine wave I'm going to plot it over a period of one second from zero up to one So I've got some data t. I've created before you can't see it I've got t the data which is the time and I'm going to plot a sine function as the time varies and we'll do different plots to To show the impact of the different parameters. I have to remember how to do it We want to plot on the x-axis the time t You don't need to write this down. I you can see it later focus on the plots and consider the general Sine function a or the sine Signal a times sine 2 pi f t plus 5 So I'm going to set values of a f and the phase And we'll see how that plots a I'll set the amplitude to 1 okay, so 1 times sine of 2 times pi times the frequency Let's choose a frequency. Okay Easy a frequency of 1 times t and Then plus some phase and to start simple a phase of zero So this is going to plot I've already defined the time that goes from zero to one before so plot from zero to one a sine function with an Amplitude a peak amplitude of one a frequency of one and a phase of zero and Make a line which is blue in this case And I made an error why that should be a comma not a full stop there. Sorry Okay, easy sine wave Peak amplitude goes up to 1 down to minus 1 in one second. There's one cycle Which means the frequency is 1 Hertz Recall frequency is measured in Hertz the number of cycles or repetitions per second Let's change and Draw a red plot and let's change the frequency To 2 so now it's the same peak amplitude one sine 2 pi times 2 t plus 0 simply now the same height but Two repetitions in one second. We'd say the frequency of this signal is 2 Hertz We can change the amplitude to 1.5 and Let's change also the frequency at the same time so we can change both parameters So the green one the peak amplitude is 1.5 So you see it's higher and it goes down to minus 1.5 compared to the other two and I've set the frequency to be 3 Hertz Within one second. We will see three repetitions of that sine sine wave any questions about sine easy. This is Stuff from many years ago Change the amplitude or the peak amplitude the frequency Which I think you can visualize easily easily. What about the phase this third parameter? I'll show you the change of the phase we'll start again I'll just have to set up my plot and We'll draw a different In this first case The phase is this additional component here plus zero the phase is zero in this case Let's change the phase the phase is measured in radians okay, so Remember 2 pi radians is 360 degrees that it takes input as radians here So let's try some different values and see what how that changes the shape Instead of plus zero. I'll add plus pi on four One-quarter of a pi so I'll set the phase to be pi divided by four See what we get same shape, but it effectively shifts the sine wave along You can imagine that you take this and you shift it This far how far well by pi on four radians, so that's what the phase does it it was Produces a shift in time And we can try different phases Hi on two three-quarters pi and simply pi so I just Shifted you know added a phase shift in those different cases and we can see the the sine wave is moving along Where the phase of pi we see it's in fact opposite upside down compared to the phase of zero Phase of zero is the blue one. We go up and then down a phase of pi Cyan is the color here.  It was just flipped in that case a Phase of two pi would be the same as a phase of zero So by varying these three parameters, we can get different shaped sine waves and we can use them to represent data What have we got on the slides? There are some other parameters related to the peak amplitude frequency and phase the period and the wavelength and Period is the inverse of the frequency a Frequency of two Hertz Means a period of half a second one divided by two so Frequency is the number of repetitions per second the period is the the duration in time of a repetition or a cycle So the period of a signal is the inverse of the frequency The wavelength is the distance in meters occupied by a repetition or a cycle Calculated lambda is the speed of light divided by the frequency. I don't have an example here so if you have a frequency of two Hertz and we have the speed of light of 300 million meters per second then Divide that by two and we get 150 million Meters in that case. So that's the wavelength of that signal So the the base parameters peak amplitude frequency phase from the frequency we can in fact determine the period of wavelength now real communication signals We can think of as being Created by combining multiple sine waves not just one sine wave, but For example add two sine waves together And if you add two sine waves together, we'll see that you can get different shape signals We'll generate this on the computer in the moment, but one sine wave With one set of parameters of peak amplitude frequency and phase a second sine wave with a different set of parameters then add them together and the resulting shape is this one and Real communication signals we can think of as just being a combination of many sine waves Before we add some together and look at the Look at them All right, now think the signal that we send from One computer to another across a cable imagine that signal is just a sine wave How could we use that sine wave to represent data to represent bits for example? I want to send some bits from one computer to another the signal. I have is a I can generate a sine wave of some shape How could I use a sine a sinusoid signal to represent zeros and ones bits? any ideas Okay, when so the sine wave Where's our example this one what we could say is say? There's a mapping between the amplitude of the sine wave and the the bits for example when the signal is high Positive it reaches plus one. Let's say that means we're transmitting a bit one and When the signal is low So minus one let's say that means we're transmitting a bit zero So that's a very simple scheme to say the data we want to get between computers is zeros and ones Some sequence of bits But what we actually send is some signals and the simplest signal here is a sine wave So we could use this sine wave to represent bits We need to define a scheme that maps Each bit to some structure of that sine wave Where's my pen? Quick example Let's let's use this same scheme that when When we want to send a bit one We'll send let's say this portion of the sine wave and When we want to send a bit zero we'll send Sort of the negative part of the sine wave So if we have some data, let's say that some random data we want to send This sequence of bits my computer wants to send that to the destination first bit second bit and so on Well, what would our signal look like? Well for each bit We generate a sine wave for some period of time And again that needs to be defined but for our our case, let's say for bit zero Let's break this up into chunks even time periods Using our scheme for bit zero so we send The low portion of the sine wave our signal would look like this Now we want to transmit a bit one So let's send a high portion But then we have a another bit one to send so generate a signal So the hardware that the transmitting device generates a signal of this shape and then another bit one and then a bit zero one and Zero zero So with some random data with this very basic scheme This is an example of the output signal that we generated the transmitter That signal passes through the medium to the receiver What the receiver does is it checks the receive signal? Okay? It receives some signal for a period of time. Is it negative? If it's negative. Yes, it's negative. That means we must have received a Zero from the receiver's perspective If they measure the the signal to be positive that it must have meant that a bit one was transmitted one one zero That's from the receiver's perspective Assuming they know the scheme that the transmitter used they can From that signal get the bits which were transmitted now we'll see in practice later that it they're more complex schemes than than this and in fact The shape of the signal that represents the bits is important one more example on top of that another example Well here I use this just the sine wave as the signal and I really change the phase depending upon the bit remember the phase changes the position so Normally a sine wave goes up here. I goes down first so a phase of pi But I change a characteristic the sine wave to represent the different bits We don't have to use a sine wave We can use more complex signals One of them Maybe this a square wave Sorry, okay, that's another signal that represents the same sequence of bits where we have a negative for some period of time For bit zero positive for bit one To transmit the same data we can use different types of signals or different shape signals Which one's better? Anyone want to have a guess? Or what some advantage is a disadvantage of the red one the square signal and they're just the sine base signal the black one the The digital one that the square one Why would that be better? yes, it Closer matches that what we're trying to communicate to the other side. It's hard to explain but And we will cover it in another lecture with some more detailed examples, but you can think okay zero for this period of time the signal is always low Meaning always means zero bit zero Whereas with the sine wave in fact for this big period of time Where we want to transmit a bit zero the signal is well, it's Small here that is minus zero point one and then it eventually gets to minus one But then for some period of time, it's it's not as low as minus one all the time The result is that yes the red one better matches the data that we want to transmit The practical result is that in real life When we transmit this signal across the medium there may be errors interference and noise Which means what's received is not exactly as what was transmitted And it turns out that when you have noise The the red one will be more likely that the receiver can still decode the same sequence of bits With the black one. It's more likely that with noise The receiver will make some mistakes and think okay It's hard to draw here if this was the transmitted signal, but the received signal was with some noise was like this Because there's some random noise in there Then the receiver may measure the value here and sees on average the value is not positive It is in fact negative and therefore think as zero was received As one was transmitted, but because of noise a zero was received. That's an error and that's bad for our communications It turns out that using the square wave where more or less likely to have those errors Then is it if you use just the sine wave Because it's always minus one it's always plus one with a sine wave It's only at some instant minus one and only at this point Plus one so in practice the square wave is better than the sine wave We'll see some more examples of that later right now considering that if We'd like to get the square wave To get better quality transmissions less errors If we start with a sine wave, well, how can we generate the square wave? In fact in theory by adding many sine waves together you can generate a square wave Let's try that Okay So now if we remember that the square wave is better in this case It will produce less errors If we start with a sine wave, how can we get closer to that square wave? I'll try and plot some different cases clear our plot and Set the axis Let's plot the simple sine wave We're for this example. We're going to remove the phase. We don't we're going to set the phase to zero in all cases I'm going to We'll start with a amplitude of one and two pi and let's set the frequency to do something difference Remove the phase. We don't care about that at this example. Let's set the frequency to two so the equation if you want to write that down is S of t the signal is One times sine two pi times two t So according to the general equation a sine two pi f t a The peak amplitude is one The frequency f is two So it's in fact sine four pi t Okay, so we plot that now let's plot a different signal Which is the summation of two sinusoids? So I'll add on to that Another sinusoid which has a different amplitude in this case one-third sine two pi And we'll see a pattern soon instead of a frequency of two So the first component the first sinusoid had an amplitude of one and a frequency of two The second component has an amplitude of one-third and let's give it a frequency of six T let's make it red The red one so this red signal is some signal which has two sinusoids added together So by adding them together we get a different shape. We see we see What these two humps at each point here? What's the period of the red signal so let's say the blue one s one of t and That was one times sine four pi t Why four because it's two times pi times two the red signal is Let's say s two of t the second signal is sine Four pi t The first one plus one third sign What have we got two times six twelve pi t two times six here From looking at the plot what's the period of the red signal? The plot goes from zero up to one second What's the period of the red signal? It's zero point five that is remember the period is that the duration of one Repetition if we look closer it starts here and then at this point then it's back to the start again So the duration of one repetition is we look here is point five seconds The period uppercase t is half a second The frequency is Is the inverse of the period It's two Hertz and Again, we see that in the plot in one second. There are two repetitions meaning two Hertz And if we check for the first signal, we'll see that the best they are the same Period and the frequency match that of the second signal Why will the way I structured that second signal that we'll see later that that would be always true Why did I choose one third here and twelve here or? two times pi times six well, I know That using that combination we can get a particular shaped signal. Let's do another one in a moment, but record What's the frequency of the first component in signal two? If we separate the two sinusoids What's the frequency of this component? Hmm same okay two Hertz So let's say for this signal f the first component see we have two components here f1 is two Hertz Why sign for pi t the general form is signed to pi f t Therefore f must be two Two times pi times two is for pi t. What's the peak amplitude of the first component? One okay. I haven't written a one, but it's one here What's the phase of the first component? Plus there's no additive component here zero in all of the components. I've omitted the phase. It's zero Now let's look at the second component frequency f2 Frequency of this component not 12 Remember the general form is two pi f t We have 12 pi t therefore f must be six Hertz And in fact when I entered it into the computer I entered two times pi times six Six is the frequency of the second component and the amplitude the peak amplitude of component two is one third and the phase is also Zero and we get this shape of similar in That okay, it's high close to plus one here and then close to minus one of course it's Closer more times to to say plus one than the blue curve Is it the square wave? Well, no, it's not a square wave of course Let's add a third signal with a third component Make it green so I'll take the Other two components and add another one and we'll see some pattern one-fifth Sign two times pi times any guess You don't see the pattern yet Peek amplitude one frequency of two Peek amplitude of one-third one divided by three frequency of two times three six Next component to create a pattern that I want to achieve one-fifth peak amplitude frequency is five times Two that is ten You'll see why I'm choosing these values shortly comes to you. There's no phase Do I do it correct? The green one we see now it has multiple humps three humps here. I Will not write it down, but as an equation. It's the same as these two plus one-fifth sign What have we got 20 pi t? two times pi sorry two times pi times ten 20 pi t and If we looked at the components the first component is the same the second component the third component has a frequency of ten hertz and a peak amplitude of one-fifth one more at a fourth component so I'm just generating different signals and We'll analyze and compare them shortly and we'll follow this pattern of now one seventh time sine two times pi times 14 t Why well, we see the pattern one-third one-fifth one seventh two times three times five times seven two times seven fourteen the frequency of this component is fourteen hertz and Let's plot that one It's harder to see but I think if you look close you see the magenta one the purple one more humps here It's getting closer to our square wave By adding more components the the resulting signal He's in fact getting closer to our desirable square wave desirable in that it's Less impact of errors. It's more accurate In fact, I will not type living type it in but I copy one from before Let's see if it's correct. I've got one before where I've added many components. I typed it in I will not try Okay Let's try again You cannot read it here because I had to copy and paste a lot, but I had up to I think two times pi times Two dive by 59. So we had three Five seven and then I added Nine eleven thirteen and I went all the way up to 59 because I got tired of typing and we get the black one and We see well, it's getting much closer now to our square wave We see the shape it's going up and there's this bit of oscillation and then it's almost flat and then oscillation and so on Keep adding components. I went up to 59 keep adding more and more if you go up to infinity All right, if you keep going Then a venture then you get in theory the square wave Okay, so here's an example by combining different sinusoids together. We can get different shape signals Now let's compare them some of those signals and see what are the advantages or disadvantages of course, we could use that signal the black one to to transmit our sequence of bits Which of course have to change the phase When we transmit a zero we need it to be low a one We need it to be high and it would look almost like the red square wave except some small oscillations at the The ends of each bit. Let's go back to our lectures and let's summarize some things that we're showing in those examples Communication signals are composed of many components sinusoid signals at different frequencies That's what we've seen here when a real communication system signal We can think of as the combination of many sine waves And the example equation here has two components Or we can generalize it the structure as Sine 2 pi FT plus a third sine 2 pi 3 FT plus one fifth sine 2 pi 5 FT and that was the example I was showing on the on the plots When all frequency components so this one has two components the one on the board two components If we had a third one we have three components when all Frequency components of the signal are integer multiples of one frequency That one is called the the fundamental frequency What do we mean by that? Come back to our red s2. We had two components F1 frequency of two Hertz F2 frequency of six Hertz two Hertz is in fact One times two Hertz Six Hertz is three times two Hertz So both components have frequencies which are integer multiples one times two three times two of One of those frequencies of two Hertz So we'd say for this signal the fundamental frequency F subscript F is Two Hertz That is the frequency of the first component So that's called the fundamental frequency The others are harmonic frequencies So in this one we just had two components the fundamental frequency two Hertz and one harmonic at six Hertz If we added a third component, I think from memory we had two Hertz six Hertz and ten Hertz Five times two so we would have had one fundamental frequency of two Hertz and two harmonics in that case if we have that condition Then the resulting signal when we add them all together and get the end output signal Has a period Equal to that of the fundamental frequency component or has a frequency Equal to the fundamental frequency So in S2 of T we determined the fundamental frequency to be two Hertz because This component was two Hertz. This was three times two Hertz by both multiples of one of them the resulting signal has Also, so if we say that the frequency of this signal when we add them together is also two Hertz It's the same as the fundamental frequency You may see that a little bit in this picture Don't worry too much about the scale, but we have one component with a frequency In this period it repeats twice a Second component with three times the frequency if you check visually you see this repeats three times for this every once So this component is three times the frequency of that when we add these two together we get this and This resulting signal has the same frequency as the fundamental frequency the first component You see that this period and this period are the same and that's why I was using that pattern of Combining the components in the way I did It meets that condition why we talk about signals because All the data we send is actually sent as signals across some link and The people who design the links design the transmitters and receivers and build the hardware They must design the signals to be transmitted in Practice we want signals that send us send Data quickly a high data rate But we want to do it as cheaply as possible Cheap is measured in different ways less complex hardware. Therefore cheaper to buy hardware and Also cheap in terms of we'll see shortly spectrum and bandwidth and Also, we'd like to have signals where they I will say are more accurate less chance of errors and Without spending too much time today with an example We can say that the square wave is more accurate than just the sine wave We'll give a detailed example of that in the next lecture But there's two different signals carrying the same data. We can say one is more accurate less chance of errors than another So the people who design signals must design them to be accurate fast But cheap And there are different trade-offs to consider Everything we've looked at so far is in what's called the the time domain look at all our plots We show the signal magnitude the amplitude as a function of time So this is time increasing. This is the signal amplitude on this axis. That's in the time domain it turns out to make it easier for the designers of signals and for the analysis of signals that people Generally don't think about it from the time domain, but from the frequency domain Let's explain that and we'll start by explaining With an example We will do it we'll draw a picture Consider a red signal here as to we've got the equation for the signal. We determine there are two components f1 and f2 Frequency of first component two Hertz peak amplitude one Frequency of second component six Hertz peak amplitude one third Let's first plot that signal in the frequency domain The plot in the time domain was I think The yeah, it was the red plot in this diagram You cannot see it very well now But the red one is the plot of the time of s2 in the time domain Let's plot it in the frequency domain And let's try and draw it on the screen And we'll see the difference What do we do? The frequency the time domain is the signal magnitude Versus the time Frequency domain is the signal peak amplitude versus frequency so we have two axes here and The first one on this axis we have frequency in Hertz Hertz So in this axis we have frequency in this axis. We have the signal peak amplitude We denote it as s of f You'll see it on the slides that's a bracket and How we plot this if we consider those two components F1 The frequency is two Hertz the peak amplitude is one so we draw an impulse Or a spike at that frequency and with that height so let's say here with the particular amplitude and What have we got the frequency was two Hertz so this is at point two and the peak amplitude was one at this point and then at Say six Hertz here We have a spike or an impulse which is one third it's almost straight and Amplitude here is one third There's our signal This is a plot of the same signal but from the frequency domains perspective Compare that and I know it's hard to see But the red one in here where this is the plot of the same signal in the time domain We see the red one goes up and then down that the two humps there and so on Same signal, but just viewed from different perspectives So in summary with the frequency domain we plot the individual components. We look at their frequencies Two and six Hertz and we plot an impulse at those Frequencies two and six Hertz and the height of that impulse is the peak amplitude of that component one and one third It turns out from mathematical Doing mathematical analysis, it's much easier to operate in the frequency domain than the time domain the transformation from Time to frequency is Fourier Using Fourier analysis a Fourier transform. We're not going to cover the mathematics of it Just show the basic principle. We'll come back to that plot Actually, we'll stay here a new term For any signal We can define that signal spectrum. The spectrum is the set of frequencies contained in that signal What are the set of frequencies contained in this signal s2? What are the frequencies? Two and six okay, that's all so we'd say the spectrum of this signal is Two and six and in fact we see it in the plot very easily Two and six is the spectrum Another term is called the absolute bandwidth The absolute bandwidth of the signal is the width of the spectrum So our spectrum in this signal is two and six the bandwidth will be Absolute bandwidth of this signal. What's the width? Considering the two frequencies. What's the width of those? Frequencies it's four Hertz six minus two so if we go back to our Slides to see the definitions some new concepts Spectrum of a signal is the range of frequencies that signal contains Our example contains two frequencies four and two and six Hertz the absolute bandwidth is the width of that spectrum from the Minimum frequency component up to the maximum frequency component in this case from two up to six Therefore, we say the bandwidth or to be precise. We'll see there's another definition later The absolute bandwidth is four Hertz for this signal again hard to see but we had a green signal which was the same as the red one plus one fifth sign Two pi times Five times two T which is 20 pi T The red signal sign 4 pi T plus a third sign 12 pi T the green one when I plotted it was Signed 4 pi T plus one third sign 12 pi T plus one fifth sign 20 pi T The green one had three components again difficult to see but we see that the oscillations there try and plot the green signal in the frequency domain that is Try and Modify this plot or write a new create a new plot that shows the green signal in the frequency domain What do I do on the screen is the blue? Oh, sorry the red signal in the What we call the red signal in the frequency domain, which had two components The green signal has three components the first two plus another one What would you do on this plot? Anyone try and plot it Common exam question. Here's a equation for a signal draw that signal in the frequency domain What would you do? What's going to be different? You need to remember the definition or how we create this plot in the frequency domain We have impulses or spikes in the plot at each frequency component So we had an impulse at two Hertz and at six Hertz and The height of those impulses was the peak amplitude one-third and one So with our new signal The green one There are now three components The first two are the same as the previous one. So they have a frequency of two Hertz amplitude of one Frequency of six Hertz amplitude of one-third and the third component has a frequency of ten Hertz and An amplitude of one-fifth So a plot of the that Would we'd have to extend here and draw at ten Hertz my scale is not going to work very well But I think you'll get the idea of course the scale is not quite here, but if this was ten Hertz If this was at the point of ten Hertz and the height here is one-fifth Excuse the scale on my plot. You can do it better. This would be a plot of our signal which has three components Plotted in the frequency domain in the time domain Again hard to see it's the green one here Same signal just different perspectives Considering this new green signal we call it What is its spectrum? What is the spectrum of? The one on the screen In Facto the spectrum is The set of frequencies, so it's a set of frequency values. Yes, there'll be three values in that set We can say the spectrum is Two six and ten Hertz So it's a set of frequency values What is the absolute bandwidth of this signal eight Hertz? I think someone said it is not The bandwidth think of just the width from the maximum frequency component ten down to the minimum to the bandwidth Then is eight Hertz So and we'll see that bandwidth becomes important because it'll impact on other parameters this This signal what we call the green one has three components. It has a bandwidth of eight Hertz The previous signal the red one had two components and a bandwidth of four Hertz Half the bandwidth What we're going to see is that in general a signal that occupies a larger bandwidth Can give us a higher data rate? More bits per second But a signal that occupies occupies a larger bandwidth costs more So the financial cost eventually becomes more because of different factors, so Which signal do we use the one with two components or three components? Well, it becomes to be different trade-offs One with three components produced has a larger bandwidth Well, it will give us a higher data rate in theory But it will incur a higher cost and the other factor is Accuracy of the data received What if we add a fourth component using one seventh sign? What have we got? 28 pi t if we add a fourth component The fourth component would be a frequency of 14 Hertz So the bandwidth would range from two up to 14 Hertz A bandwidth of 12 Hertz if we add a fifth component the bandwidth gets larger And if we keep adding components the bandwidth gets more and more The higher the bandwidth the higher the cost involved with that signal So we want to minimize the bandwidth if we keep adding components forever We get it in fact in theory an infinite bandwidth and we get the square wave It's the perfect signal in terms of errors, but the bandwidth is extremely high Okay, so there are some trade-offs in fact three main trade-offs that choose a signal which So design a signal which gives a high data rate Is cheap there's generally low bandwidth less complexity and Contolerate errors that is accurate. So we'd say a square wave is more accurate than the sine wave So there's no one answer as to what is the best signal those trade-offs need to be considered when people design signals What have we missed? So go back and see what we skipped over Okay, we look at signals we can look in the time domain or frequency domain time domain is a function of time like our normal plots Communication signals are made up of sine sine waves sinusoid So we combine them together to get a resulting communication signal The examples we've given are very simple. They're not realistic, but they show how that we can combine sine waves to get other signals But the way that we combine them and the number of components impacts upon the bandwidth of the signal where the bandwidth is the maximum Frequency component minus the minimum component we want to minimize the bandwidth to reduce the cost But it turns out generally we want to increase the bandwidth to increase the data rate So there's a trade-off there. I chose this pattern of one third Three FT one fifth five FT and so on to get a particular shaped output We don't have to have this pattern, but it's common So this is an example of adding two components to get a resulting signal and This is an example of that same signal the the bottom one But plotted in the frequency domain Where we're two components and it shows the frequencies are at and the peak amplitude of each component real signals are More complex than the ones we've looked at and we may see a in general a Frequency plot like this. They're an infinite number of components So we get it instead of impulses we get a continuous curve here So it's more complex than the simple ones we've looked at and we've defined The spectrum of a signal is the set of frequencies the bandwidth or the absolute bandwidth is the The range or the width of the spectrum the DC component we're not going to deal with in this course and This summarizes what I plotted with those colored plots on the screen that by adding more components The top one is got two components the Bottom one three components and we see the shape getting closer to a square wave a square wave is more accurate then The ones shown on the screen in that there's less chance of errors Which is desirable by adding four components, which is the one on the top by adding an infinite number of components in theory We get a perfect square wave So by having more components we get a more accurate signal But it turns out the bandwidth gets larger and the cost gets larger Let's stop there for today what we'll do next week in is Go through an example that shows again this relationship between bandwidth the number of components data rate and cost It will go through an example and then move on


o amendment 18, whether there is some wider synchronisation of reporting that could be undertaken. I will undertake to do that in advance of stage 3 tomorrow. In relation to Mr Cole-Hamilton's point, on weekly reporting of deaths in care homes, this has been heavily reliant on accurate reporting by care homes. The official statistics published by National Records of Scotland are now well-established, which includes data on care homes. I therefore urge members not to support amendment 18, but I give the assurance that I will explore the point that Gillian Mackay has raised. In relation to amendment 30, this is one of the amendments that I would like Parliament not to proceed with, so that the Government can reflect on that to include wider scrutiny of the reporting requirements that can be put on the face of the bill to enhance the existing reporting arrangements that we have in place. There have been a number of requests for us to enhance reporting requirements. I would like the opportunity to consolidate those requests and to ensure that the reporting requirements can be put into the bill at stage 3 to ensure that Parliament is properly updated and advised of performance against the requirements of the legislation. I therefore urge Pam Duncan-Glancy not to press amendment 30 on the basis that I will bring forward reporting requirements in stage 3 tomorrow.  Craig Hoy's contribution suggested, and I am sure that he did not mean to do this, a degree of complacency, because there is nothing normal about the pandemic. Care homes suffered the very worst of deaths, and Parliament put in place reporting mechanisms because we believed that they were needed. There is the possibility of new surges and new variants, and care homes are vulnerable in that context. However, I understand that there may be capacity issues. I find favour with Gillian Mackay's suggestion. On the basis that the cabinet secretary does, I am happy not to press amendment 18. I hope that he will be able to consider that and bring something back tomorrow. Jackie Baillie seeks to withdraw amendment 18. Does any member object that amendment 18 is withdrawn? The question is that section 2 be agreed to. Are we all agreed? I call amendment 19, in the name of Jackie Baillie, already debated with amendment 2. Jackie Baillie, to move or not move. I think that I am withdrawing this and bringing this back at stage 3. I call amendment 20, in the name of Murdo Fraser, already debated with amendment 2. Murdo Fraser, to move or not move. The question is that amendment 20 be agreed to. Are we all agreed? Parliament is not agreed. Members should cast their votes now. The result of the vote on amendment 20, in the name of Murdo Fraser, is, yes, 55, no, 67. The amendment is therefore not agreed. I call amendment 21, in the name of Murdo Fraser, already debated with amendment 2. Murdo Fraser, to move or not move. I call amendment 22, in the name of Jamie Greene, already debated with amendment 4. Jamie Greene, to move or not move. The question is that amendment 22 be agreed to. Are we all agreed? Parliament is not agreed. Members should cast their votes now. The result of the vote on amendment 22, in the name of Jamie Greene, is, yes, 33, no, 88. There were no abstentions. The amendment is therefore not agreed. I call amendment 23, in the name of Jamie Greene, already debated with amendment 4. Jamie Greene, to move or not move. The question is that section 3 be agreed to. Are we all agreed? The question is that section 4 be agreed to. Are we all agreed? I call amendment 24, in the name of Mark Griffin, already debated with amendment 5. Mark Griffin, to move or not move. Thank you. We now move on to the next group, which is marriages and civil partnerships. I call amendment 25, in the name of Pauline McNeill, in a group on its own. Pauline McNeill, to move and speak to amendment 25. Thank you very much, Presiding Officer. Amendment 25, in my name, is another reporting procedure around the report on social distancing requirements that remain in place and the permissibility of live music, limitations on indoor and household gatherings. I mean, today there was a Government-inspired question already referred to by Jackie Baillie, which extended opening times for hospitality in Euro 2020, and this has caused the stress from the hospitality sector who are not able to benefit from these provisions. Amendment 25 asks for a report detailing the progress made towards ending restrictions at weddings, permissibility of live music and limitations on indoor gatherings. The Scottish Wedding Industry Alliance said yesterday's announcement will not be the guidance that everyone wanted. We are also disappointed regarding dancing, something that we campaigned for. We are continuing conversations to ask for the new guidance to go live on the Friday dates and will carry on fighting for everyone. Only yesterday, a constituent wrote to me—not the first one—who is due to get married very soon said that some leeway on the restrictions would certainly make some sense. All things considered, especially as most of the wedding party at this wedding will be fully vaccinated, ensuring that that should count for something. This couple have hired a DJI, which is costing almost £3,000 and a large deposit already paid. When we thought that at the end of June we would have the easing of restrictions, the constituent said that it is not as if it is going to be a rave with some cringy dancing for a couple of hours. I am only quoting here. We are all thinking of the weddings that we have been at, where there has been some cringy dancing. However, a lot of enjoyment. Also, with indoor social distancing being reduced to one meter, you would be closer to a stranger on the bus than you would having a dance. Anyway, he knows that I was going to read that out to give you all a laugh, so he is perfectly okay with that. It is a serious question that has been asked by many couples and people in the wedding sector and events. What is the reason that people cannot dance until the 19th of July? Is it really going to be such a high risk? I hope that the cabinet secretary would give us some indication of what the clinician is saying that the risk is. For the sake of nine days in this case, there simply may be a big difference to this couple's weddings. I am asking the Government to be focused on that. That is why I am asking for the age-reporting procedures. There is also a lack of clarity about some of the issues. I think that a report before the Parliament might clarify that. We had some announcements yesterday. Those announcements are very welcome. For example, the lifting of restrictions on bands from the 28th of June is very welcome by the sector, but there seems to be some need for clarity around some of it. Today, Hyra Band told me that it reported that a cancellation of a Cailey band is obviously because she cannot dance, and that is the purpose of a Cailey band, but it is causing some confusion because bands do not know whether or not to simply take the cancellation fee or take another date, and it seems a little bit arbitrary. Wedding receptions, of course, are the main thing, but, of course, those pubs and clubs that rely on live entertainment are also keen to have that back. I think that a reporting mechanism after the 9th of August would give some clarity because I think that the Government in its reporting would be required to see what restrictions, if any, are left in place. Lastly, there is nothing said about what it means for nightclubs after the 9th of August. I hope that it could be included in the reporting procedure. England, Northern Ireland and Wales mentioned nightclubs in the statement, but Scotland did not. What does it mean for live music venues and promoters? I believe that reporting on those restrictions will give some clarity to the sector that they really need. It would also focus the Government's minds on some of the things that perhaps they have not thought about, which is important to the live music sector. I rise briefly to offer support to Pauline McNeill's amendment. It offers some hope to the sector and a signal that this Parliament finally has the wedding industry at the centre of its attention. There are thousands of couples across Scotland who have had the best day of their lives deferred or cancelled. In some cases, more than once, often to the cost of tens of thousands of pounds because of the decisions of this chamber and this Government. It is only fair that, if we adopt a reporting duty, as Pauline McNeill's amendment prescribes, we will actually send a very important signal, but we will concentrate the minds of the ministers responsible for coming to those decisions so that when we get situations, like we had last week, much of Scotland expected to go down to level 1, but it was kept in level 2 and we, at a stroke, had to halve the number of wedding guests at many weddings around the country. That will be considered and the reporting will happen to this Parliament, so we are happy to support Pauline McNeill's amendment. I am grateful to Pauline McNeill for bringing this amendment because it is a very challenging part of the debate. The issues that Pauline McNeill raises, whether they are about weddings or about the impact on the live music sector or on venues as a whole, are issues of significance that I accept. I had a very helpful conversation this morning with representatives of the city of Glasgow city centre task force, on which many live music venues were represented. A number of the points that Pauline McNeill has made were raised in that discussion. The idea that, somehow, those issues are not on the Government agenda, I want to reassure Pauline McNeill that that concern is not valid. The Government has wrestled with those questions because none of us wants to be in the situation of having to disrupt or delay the life plans of individuals at these really important moments in their lives. However, we have clinical advice and guidance that informs the decision-making that we have taken. The First Minister set out yesterday our hope, subject to the continued progress and the meeting of the caveats that we have set out, that the current physical distancing requirements for one metre physical distancing will end once the country goes into level zero. Beyond that, we will remove all restrictions. There is, I think, a very clear pathway for the sector to understand the changes that are now going to be made. We are allowing live entertainment at weddings from 28 June. If there are particular additional circumstances of the type that Pauline McNeill has raised quite specifically, if she would write to me about that, I would happily consider what can be done in some of those circumstances. I give way to Pauline McNeill. I appreciate, cabinet secretary, to give way. I am really trying to get as much clarity as I possibly can, and I do appreciate that there is a lot to consider. Does that mean that, after 9 August, live music can be played without restrictions in pub venues, for example, as well as weddings? It looks like to me that, if it can, I was thinking that we could get some clarity around that that we did not get yesterday. The short answer to Pauline McNeill is yes, but there will be other considerations in terms of mitigating measures, for example, around ventilation, for example, and wider hygiene requirements, which may well go with such an approach. I do not want to give a signal that we are going back to a pre-Covid situation where there is absolutely no wider considerations. There will be some conditions that have to be applied. Those were issues that I discussed at length with Glasgow city centre task force this morning. Over the course of the next few weeks, we have to go through some detailed dialogue with the live music sector and with the weddings industry to make sure that we cover off all the issues that need to be covered off. I give Pauline McNeill the assurance that that will be done in dialogue with the sector. On that basis, I would ask her not to press the amendment that is before Parliament today. I will again reflect on that. It is one of the reporting requirement amendments that I have agreed that I will reflect on. I do not think that the issues that Pauline McNeill wants to have answered needs a piece of legislation to enable that to be the case. It needs us to respond constructively to the legitimate issues that she has raised. I will undertake to do that in preparation for the stage 3 debate tomorrow. There will be on-going dialogue with the sector, which I confirm that the Government will engage in constructively in the weeks to come. Pauline McNeill, to wind up and press or withdraw amendment 25. I genuinely welcome what the cabinet secretary has said. That is what I am trying to do, is seek some clarity. I am sure that the cabinet secretary will note that, as she did meet with the wedding sector yesterday, the wider sector has felt that the engagement could be a lot better with the night-time economy and the hospitality sector. Perhaps we are making some important progress. On that basis, I would ask the cabinet secretary to reflect on what I was trying to achieve here. There would be no harm in allowing some reporting. The mitigation measures, for example, would make sense. It is what you would expect. I am grateful to Pauline McNeill for giving way. Let me reiterate the two points. The first is that the Government is actively engaging with the sector. My colleagues have done a lot of work over the course of the whole Covid period to engage with sectors, but in my new responsibilities, I give the absolute assurance that that will be the case across all those areas. The reporting requirements that I reflect on for preparation for the stage 3 debate are designed to ensure that Parliament receives proper and full reports on all aspects of the application of the legislation. That can be featured in those reporting requirements. I acknowledge what the cabinet secretary has said, but I again ask him to acknowledge that outwith his own responsibility, the sector has been critical. I am only asking going forward that the wider diverse sector, which hospitality is of course a diverse sector with live music and all the risks attached to that, I just want to push the Government to ensure that we have the closest engagement, the closest level of clarity as we move out and ease restrictions. On that basis, Presiding Officer, I am not going to press my amendment 25. Thank you. Pauline McNeill seeks to withdraw amendment 25. Does any member object? Amendment 25 is withdrawn. A question is that the schedule be agreed to, are we all agreed? The question is that section 5 be agreed to, are we all agreed? I call amendment 26 in the name of Paul Sweeney. Already debated with amendment 14, Paul Sweeney to move or not move. In light of the Government's commitments to bring forward amendments at stage 3, I won't move, but I reserve the right to bring back the amendment if it isn't sufficient. I call amendment 27 in the name of Pauline McNeill. Already debated with amendment 4, Pauline McNeill to move or not move. I call amendment 28 in the name of Pam Duncan Glancy. Already debated with amendment 17. Pam Duncan Glancy to move or not move. Thank you. On the basis of the commitment by the Cabinet Secretary to report, I will not move this amendment. I call amendment 29 in the name of Pam Duncan Glancy. Already debated with amendment 17. Pam Duncan Glancy to move or not move. Similarly, I won't move. Thank you. I call amendment 30 in the name of Pam Duncan Glancy. Already debated with amendment 18. Pam Duncan Glancy to move or not move. Again, I won't move and I'd like to thank the chamber for their support for that amendment. Thank you. The question is that section 6 and 7 be agreed to. Are we all agreed? The question is that the long title be agreed to. Are we all agreed? That ends stage 2 consideration of the bill and concludes the meeting, this meeting of a committee of the whole Parliament. I close this meeting of the committee of the whole Parliament and there will now be a very short suspension.


horse for the speed of light, a cloud of dust, and a hearty high old silver, the lone ranger. Fletchlers in the western United States had to fight out laws in hostile Indians so constantly that even the honest men came to accept gun law as a natural thing. It was the masked writer of the planes who made them realize that the winning of the West could never be accomplished until violence gave place to law and order. It was he more than any other man who brought justice and peace to the frontier. Return with us now to those thrilling days when the West was young, and out of the past come the thundering hoofbeats of the great horse Silver, the lone ranger rides again. In the town of Freeland, the Reverend Sylvester Lamb's meeting house stood virtually empty. His sermons were misconstrued to approve cowardice.  On the day our story opens, Vic, accompanied by a group of hangers on, had caught the minister outside his meeting house and was enjoying himself at Lamb's expense. Let's see your dance, Parsons. Come on, show us a jig. Please, Vic, you should know better than that. Eat your skypile at some of them fancy steps you learn when you go to school east, Vic. Make them do a fandango. Vic, give the Parsons some music to dance to. Of course. Oh, no, wait, please. Move it up higher and shake a leg, Mr. Let's get out of the way, Parsons. You mustn't do this.  Get in a couple of shots. Oh, colleague, he looks mad in a wet hand.  Oh, now listen, Dad, I... I was... You've been drinking again. Drinking with these here no good barfly friends of yours. Only a couple. Where's my quart? Oh, here it is. I'll show you. I'll raise blisters on your hide. Mr. Donlan, I'm sorry for what my boy's been doing, Reverend, but I'll teach the young whipper snapper to... No. He... he meant no harm. What's that? Well, he was just amusing himself. He didn't realize what he was doing. Well, I'll be doggone. You mean you're sticking up for him? I don't want him punished on my account.  I heard you wasn't much of a man, but I'll be horn-swogled if I figured you was that yellow. You don't need to be scared no more. When I get through with the young whelp, he won't be able to make you no trouble. You must understand. I'm not afraid. I simply don't believe he should be punished so severely for his high spirits. High spirits? The only spirits he's got in him come from a bottle down the cafe, spending my cash to get drunk.  By treating all the bootlickin' bums and talented drinks with money he never earned. Now look here, Frank. We can't...  The rate one of you's ever done a day's work in your life.  Well, you won't do it if I have to gun whip every one of you and vick in the bargain. That's mighty strong talk. You better... Get on your horses and scat, or I'll take a gun to you right now. Well, you can't... Get! Blast ya! Ah, come on, fellas. Ain't nothing for us here anyhow. Not you, Vic. But Dad... You're going home with me. Dad, you can't talk to my friends like that. I just did, didn't I? You had no right. Yeah? Well, look at him headin' for time.  Son, is that all the school and I paid for torture? To make friends with a lot of skunks like them? They're not... they're not skunks. They're as worthless as you are. Almost $2,000 I spent sendin' you to school.  Ain't earned a dollar since you come back. Why should I work? You've got plenty, haven't you? Are you? Besides, what did they teach me in the East that I can use here? I wish I'd stayed back East. I wish...  What for?   Oh, all right. And parsley. Yes? I don't blame folks for not comin' to meetin'. We raise men in these parts, and the fellow that aims to tell them how to live has got to be a man himself. Well, I don't intend to use my fists for sermons. No? Well, sometimes they're heap more convincing than all the talk-you-sky pilots can make in a month of Sundays. Come on, Rick. Get up there.    I wonder if the day will ever come when they'll really understand what I'm trying to do. Oh, well... Come on, Silver. Masked. I heard the shots. I've been behind the meeting house. Oh, Silver. Oh. I suppose you came to rob me. I came to help you, but Frank Donlon got here first. Oh. You don't seem frightened by my mask. I have no reason to fear you or any other man. From what I've heard, I'd expect you to be frightened. I'm not the first man to be misunderstood. I said from what I'd heard. From what I've seen from myself, I'd come to a different conclusion. I don't quite see what you... I think I understand the work you're trying to do here. I believe you've got a message for the people in Freeland that they need. You could earn the respect of these people. If you could, they'd listen to you. I... I hope for that day to come. It's going to come. What do you mean? I mean you're going to be helped. You... you'll help me? I think I can. Come on, Silver. Wait, I'd like to...  He means well. But what can a masked man do to help me? The lone ranger sent Silver racing across country toward a small wood before he had made his secret camp. Tonto, his faithful Indian companion, was waiting for him. Oh, Silver, oh, boy, oh. Where... where are you right? I've been talking to the minister at Freeland, Tonto. Oh? Remember, I told you I was interested in him? I'm Tonto member. I'd heard about him and I wanted to talk to him. I think he's the kind of man this district needs. There are plenty of people in Freeland who are interested in him. I think he's the kind of man this district needs. There are plenty of trouble here. There always will be trouble as long as men are convinced the only authority is in their guns. Two men were killed just last week and drunk and brolled in town. When a man thinks he's been robbed or cheated, he doesn't turn to the law. He takes his six-gun and makes his aim the judge. Not right. Because the minister preaches against that, he's sneered at. They even laugh at him because of his name, as though a name could indicate a man's character. Not he foolish. The older men don't matter. They came into this country at a time when they had to fight to establish themselves. They built the country with the aid of their guns. And it's too late now to get them to change their way of thought. Younger men, however, should be taught that a new way of life is coming to the West. Young Vic Dunlund, for instance, he comes from a fine family. He's had the advantage of an expensive education in the East. And yet he's just as ready as anyone to criticize the minister because he teaches peace. Me, see, and Tonto not like it. I don't think Vic's a bad fellow though, Tonto. All he needs is a lesson. Tonto, Tonto here knows too. Knows? A fellow in town think engine, go on warpath. You mean the Indians on the reservation? Ah, him here, engine drum, think braves, get ready, take scalp. Well, those Indians are just celebrating their harvest ceremonies. Don't the people in town realize that? Them plenty scared. Frightened. Tonto, that gives me an idea. What that? Our old friend Chief Thundercloud. Where is he now? Him not far. Maybe four, five-day ride. I told the minister I'd help him. The time I wasn't sure how it could be done. You've got plan. There's only one thing that will ever win the town's people over to his side. Sir, ma, we'll have to show them that he isn't the coward they think him. Ah. And if those same people can get so frightened over nothing but a ceremonial dance, I believe I see a way to do it. That'd be good. Thundercloud will have to help us though. And we'll have to find a way to see that he doesn't get in the trouble because of it. Ah. Let's see. Tonto, I've got it. It's going to work out better than I thought. When it works, the minister won't only have a chance to prove himself, but Vic Dunlun may find that some of his ideas have been all wrong. What we do? We're going to ride at the home of Vic's father. We're riding at once. Here's Count. Yep. Frank Dunlun will do as we say. We're all set. Huh? And I think he will. Come on, come up, Count. The evening meal at the Dunlun home that night was silent and constrained. Vic sulked while his father glowered. Little was said, however, until they had finished eating. Then they waited until Mrs. Dunlun cleared the last of the dishes from the table and then... My, with a lot of dirty dishes, you men folks do leave. Well, there, that's the last of them. Uh, I'll help you with them, mother. You stay here. Stay in there, sir, son. I've done them alone for 30 years. I guess I can still do them without no help. Well, um, I think I'll be going to my room. I said you stay here. I promise you a good talking, too, and you're going to get it. I don't see what there's to talk about. Do you know what folks are saying about you, son? What do you mean? They're saying you're just a loafer. They're saying because I got money you figure you're too good for working like other folks got to do. They're saying the only use you've got is swillin' down liquor at the cafe. Now is that the way to have folks talking? Are you proud to know they're saying them things? You believe everything you hear. They ain't sayin' anything I haven't seen for myself. What's wrong with the way I do things? Nothing.  Now, look, Dan, it's just like I said before. You've got money, so why should I go to work? What I spend isn't gonna break ya. It's to my friends. Well, no matter what you think, they're good fellas. What if they haven't got much money and I spend a little on them? They'd be my friends even if I were broke. I know they would. They're all right. So you don't figure on change in any, eh? I've told you what I thought. I guess I ain't much of a father, son. Seems if I ought to be able to say something that'd wake ya, I wish there was somebody else could talk to you long as I can't. But you won't lead and listen to your ma. What's the use of all this arguing? If a sky pilot was a real man, he'd be the fella to talk to, but he ain't. So do no good going to him. No parson. Reed Filkins pushed him into a mud puddle yesterday, and he just got up smiling. Jake Hanley put a burr under the saddle of his horse last week, and the horse nearly threw the parson into the next county. Then he never said a word. Then you expect anybody to listen to him. I said no such thing. What I did say was that he'd be the fella to go to if he was a man. I sure ain't claiming he is. I don't see why you're making all this fuss, any. You'll see someday, and I'm just hoping it don't cost you too much before you get your eyes open. You're just old fashioned, Ed. You think because you had to work that everyone should. Why anybody knows better than that nowadays? Meaning that Cal and Jason, their mother-bar flies no better. If you can't discuss this without calling my friends names, then I'm going to my room. Go ahead. I give up. Good night. Good night, son. Frank, honey, you're looking so awful glum. Is it Vic again?  Now, don't get yourself upset. He's got good blood in him. You'll be all right one of these days. You just wait and see. I'm hoping so.  I remember. And how he said he was going to get the best schooling in the land and have the finest start in life that any boy could have. Remember that too, Frank? Uh-huh. And what a fool mistake we made by giving him that schooling. He should have been set to car-punch it. No, Frank. He's had the start. And he's got our love and hope for him. He's our boy. You just wait and see. One of these days, he's going to make us proud of him, and then we won't be sorry for a thing we've done. I wish I had your face, Carrie. A mask man. Oh, what? Don't be alarmed. What do you want? A talk with both of you. Get out. Get out of here. We ain't having no talk without us. Your gun isn't within reach, Frank. And you're going to listen whether you want to or not. The curtain falls on the first act of our Lone Ranger drama. Before the next exciting scenes, please permit us to pause for just a few moments to continue our story. The Lone Ranger, knowing that Frank Donlan was anxious to awaken his son to a sense of responsibility, outlined the idea he had in mind. The retired rancher and his wife were doubtful, however, until the masked man mentioned the name of Thunder Cloud, an Indian chief whose reputation they trusted. Having converted Vic's parents to his plan, the masked man hastily rejoined Tonto, who had been on guard outside the house. Tonto. What them say? They agreed, Kimosabi. Steady, old fellow. We ain't all right, Thunder Cloud. Yes, and we want to get there as fast as we can. The whites in Freeland and the Indians on the reservation don't have much to do with each other. But we can't take a chance on the whites learning that the Indians aren't preparing to go on the war path. We must be back before they learn the truth. Ah. Now Thunder Cloud's protected. When it's all over, Frank Donlan will explain that Thunder Cloud acted at our request. Isn't that good? Ready, Kimosabi? Let's go. We've got a long journey. I'll set up a boat! Away! The journey to Thunder Cloud's territory, ordinarily one of four days, was cut to less than three by the great horses ridden by the masked man in Tonto. They enlisted the help of their friend and then retraced their trail. In the meantime, Frank Donlan was not inactive. Each day as he stopped to gossip with his fellow townsmen, his tone became more foreboding and he prophesied dangerous times ahead. In the cafe, he expressed himself to a group of anxious listeners with him. I'm telling you, fellows, them Indians are really up to something. I've been hearing all kinds of stories. They say them braves on the reservation are going to break loose most any day now. Who told you that, Frank? Oh, more than one, Feller. You've heard about the drums and them dancing, haven't you? Yeah. Then I reckon you don't have to be told what that means. What surprises me is they ain't heard from before this. Holding off this long, they must be working up to something special. Breaking that two years ago when they went off the reservation? Sure do. Scalped every one of them nesters down along the creek they did, cleaned them out to the last mass. Shucks. This time it wouldn't surprise me if they was to head straight for town. Honest, Frank. You really think so? If them varmints do come hooping and hollering into town, we'll just have to fight them off the best way we know how, I guess. We ain't got what you'd call no choice. Well then, what if it... Look at that arrow. Ingers! Ingers! I call it. Someone yelled ingers. Come on. Let's see what he's hollering about. Come on, boys. If it's just when I was followed a trail across that covert breeze by the painted rock, I nearly jumped out of my skin. What's this? What's this saying? What was that you yelling about, Ingers? You seen any? I never seen them, but take a look at this. Who'd go on? An arrow. Where'd you get it? Was it shot at you? I was just telling about it. This dog gone arrow was shot at me when I was coming down the trail from Perryville. Gosh. Must have been shot from quite a distance, though, because it was just about spent when it caught up with me. I jumped out of the saddle, picked it up, and brought it along, so as you fellas wouldn't think, I was just telling a story. That means them redskins have left the reservation already. Painted rock ain't but 15 miles from here. What do we do? Hey, look up the road. Huh? A fellow on a white horse. He's short traveling. Right in this way, I'd like to have news. Well, I'll be. He's mad. Complains us whether he's masked or not. What's he saying? Shut up, and maybe you could hear. Step to the meeting house. Be with the dust outside town. Everyone to the meeting house. Get to the meeting house, like the mass man said, folks. It's the only place that will hold us all. Round up the women and children. Get them on their way. Come on. Get moving to the meeting house. Men, women, and children, urged by the masked man shots, hurried as fast as they could, and crowded inside the reverence of Mr. Lam's meeting house. No need to act like a herd of critters and unloading pen, folks. Just calm down now. You ain't hurt yet. Calm down, folks. Please don't be alarmed. We'll be able to defend ourselves. Anybody see them redskins here? I'm watching the trail. If they come from this direction, I'll let you know. Let's not get excited, folks. Hey, listen to who's talking. It's a sky pilot telling us not to get excited.  This is for men, folks, to handle, not fellas like you. We'll handle this, Parson. You get in the corner and hide yourselves. But, friends, don't get it, Parson. Don't you ever make... Hey, there's the mass fellas that give us the warning. The mass fans. Hey, when do you see them, Indians? Mr. They're not fire-offs. You'll see them soon enough. What's that? Listen to them. See to your guns. Get them primed and ready for action. Come on. Come on. What's the matter? Those Indians aren't members. Three to one. Don't fire a shot until you have to. Maybe it's possible to get them to leave without a fight. Don't spoil that chance. You all right, Ranger? Frank, look at them. They've grown up out there. And look who they've got with them. It can't be. Think. Are you sure it's him? That's who it is, all right. He's gone over there. Put down that gun. Put that red skin coming this way. I can knock him off without no trouble at all. Can't you see he's coming here with a message? His hand is raised. He's coming alone. Wait until you see what he has to say. I would rather fire and have them punish Vic for it. Anybody fires that Indian right in here, I'll take care of personal. He's stopping just outside. Open the door for him. You mean let him come inside? You're not afraid of one Indian, are you? Open the door. Yeah. Keep still, folks. Bring that red skin here. Get moving, red skin.  Huh? Me savvy. You brought us a message from your chief? Tonto, bring message. You listen.  Chiefs say white men come make plover. One white man. Go alone. Not take guns. What's that? You mean the chief wants one of us to go out there unarmed and talk with him? That's right. But what for? Me not know. Chief tell you. It's a trash war. It's just a trick to get another one of us. Wait. Is that all of the message? White man not come. Other white men die. You mean your president will be killed if we don't meet your demands? Uh. Them red skins must think we're a pack of fools.  They have a whip and we're surrounded. Seems to be either that or a fight to the end. Besides the death of Vic Donald. One of us must go out there. I'm going.  It's up to you, I reckon. Sure, that's fair enough. Why should we risk our lives? Frank is not going. I agree with the others here that it may be a trap. Frank, you're a married man.  Even if Vic is your son, one of the unmarried men should go out there. I agree with the message. No, it's my plan. You're not going. Who else will volunteer? Hell, how about you? Vic spent money on you, counted you his friend. Will you take the chance? Why in blazes should I?  So that's how you feel. How about you, Jason? Well, I don't see how it's hardly my place. You refuse? Well, gosh, I don't see why I should risk my scalp for him. He ain't no kin of mine or nothing like that. Yeah, he's claimed you're one of his best friends. I can't help what he claimed. Then I shall go. What? What? A sky pilot. You're gone. You mean you'll walk right up to them engines without a gun or anything? I do. But it's always been Vic that's made you the most trouble. Why, he's pestered you more than all the other fellows in town put together. That has nothing to do with my duty. I shall go. Well, I'll be all gone. You're willing to take a chance of losing your scalp in cases of trick.  Parsons, whatever I may have said about you before, I'll give you some of them words right now. Come. Don't walk any engines. It's as much as your life is worth. Friends, if talking to the chief of those red men will save Vic, I shall be happy to do it. And if this is a trick to capture me, then all I can say is that one more life will mean little. Indian, lead the way. There goes the man you said you couldn't respect. The man you sneered at because he preached against fighting. The man you said was a coward. Who didn't belong to the West? All of you.  But the man you laughed at is the only man among you with a cold courage to put himself into the hands of those Indians unarmed. The townsmen shamed both for the action of the Reverend Sylvester Lamb and the words of the masked man, watched anxiously as the minister rode toward the lines of the assembled braves. They waited for him to be seized for the triumphant red men to reveal their treachery. Every eye was fastened on his progress. The townspeople scarcely dared to breathe. And then something unbelievable occurred. No sooner had the minister reached the red men than their leader shouted a signal. The braves called to their ponies and the band wheel broke into a galloping road swiftly away from town, leaving both Vic and the minister behind them unharmed. The townspeople shouting and cheering poured to the meeting house and ran toward the two men. Are you all right, please? Hey, boys, what happened? What made them Indians clear out that something scared them off? Vic! Vic! Dad, I don't know what got into those Indians. I heard them talking. They were going to grab the parson here and then all of a sudden they changed their minds and rode away. Uh-huh. And I'm thinking you're roaring the sky pilots in pretty tall apologies. Tommy was the only one out of all those men who tried to help you. I know. And you're fine friends here.  They were so scared you could see them shaking. Folks, wait a minute. Listen to me. Listen, I don't know how the rest of you figure this. Why are them redskins cleared out and all, but I'm here to say that regardless, the sky pilots the best man the whole blame tolls. He's a man to tie to. The most nerve ever seen. Hooray for the sky pilots. Go girl parson. You can preach at me as much as you want from now on. And I've got something to say. Go on, Vic. I've been looking down on the parson.  I was fool enough to believe that because people were friendly when I spent money on them, they were really friends. Well, I found out different. I've learned that a quick draw doesn't mean courage. I'm apologizing to the parson and saying I hope the day will come when I can call myself half the man the parson is. Half the man the parson? What'd it feel like to be riding towards them engines? Please, excuse me for a moment. There's someone I must speak to. Mask man. Do you remember the day you promised to help me? I do. Then I just wanted to say it was good of you to offer. But you see, now I don't need your help. Everything's worked out for the best without it. I see it has. And there was something else. Yes? That mask. You're an outlaw, of course. But I'm convinced there's some good in you. And if you ever feel that you want to turn over a new leaf, come to me. I'll do the best for you I can. I'll remember that. Come on, Silver. I'll sell... The copyrighted feature of the Lone Ranger Incorporated.


Hey friends and welcome back or welcome to my channel. Today as you can probably tell by the title I am doing a collab with my planner babe my girl Anika's creative plans. We are setting up our hoboniches and we wanted to take you all along as we set them up. Let me tell you I was not going to fall down this rabbit hole I was determined I was good I didn't need another planner but my girl Anika she sold me on the hobonichi. Well one of my other planner babes was about to sell me on the hobonichi but I was like no I don't really need one it's cheap but I really don't need one but Anika sold me I mean whoo if she was selling a car baby I'd be driving. So anyway she sold me on the hobonichi so excuse me the Fobonichi and it was so simple to set up she was talking about the price point she did the comparison I will try to leave a link below to that video that she sold me on also I will leave a link to her channel below so that you all can check out how she sets up her hobonichi because we're gonna probably set them up totally different but she definitely gave me some ideas and we're gonna jump right into it and if you're from Anika's channel welcome welcome welcome I'm glad to have you hope you stay for a while so let's get started so she had picked this one out I went to Hobby Lobby for the first time because I've never seen a notes and none of my Joanns none of my Michaels so I was like I thought I was gonna have to order online but just popped up at the Hobby Lobby bam there it was just a coupon I think I paid $5.99 or $5.79 I already come with the notes pages the grit paper and I love that it's pink but I also picked some folders because I didn't have any classic folders so I got some of those and then I picked up some extra paper so I got the weekly meal plan finally and stopped trying to do it myself and I got some more black I already had some but I like my planners kind of thick so I just picked up some more we may add some we may not so let's go and I already had these disc here these are classic metal discs I was gonna use them in another planner but decided on something else so I thought these would go perfect because you'll see so let's get started I'll probably fast forward through it and then we'll run back over it afterwards and then look forward to an upcoming Fobonichi spread so let's get started so one of my planner babes at my meetup on Saturday she gave me this kit here oh my god this is from planner pixie co I've since ordered more but that paper oh my gosh so anyway she gave me an adhesive pocket so I'm like hey we're gonna add that to the photo oh god it's too big it's too big what if I turn it sideways and I can just slide stuff well it doesn't look right oh man it's too big let me see y'all know I'm trying to figure out how can I get this on here it's too big if she is too big well it's too big so what I'm going to do because sometimes I make my own pockets but I had some extras that I had bought but they're not in reach of me well I think I'm out I'm just gonna be honest I think that I'm out because they are normally in the same place so I may be later go and make one but I'm thinking about making this into an adhesive pocket let's see let's try to cut this and I'm done didn't really take that long I just got a little caught up on that one insert the one back here and now I see it's just as I'm gonna probably end up cutting that off but I wanted to be able to see because I'm gonna label those a little later but I have my pockets and I found like I said I found this I don't even know where that came from and yeah and then this little pocket I probably if I can maybe later go back and hit it with the Tombow tape and that's it but um I'm liking it but I want to show you guys this final last touch um I just made this leather bow it's a faux leather bow I'm gonna clip it right here let me see put it somewhere cute now it's not perfect because as you can see I got glue all on my fingernails um I was just testing it out and that's her that's how she's looking so I can't wait to do a Hobonichi's week oh I'm digging this already look at there and we have this silver metal clips on the side that did come out perfect and then the gray bow just tops the silver clips and then here we go so we got the first pocket then we have our second one I just wanted to change it up I don't know why I'm still gonna leave it um oh something got stuck I'm still gonna leave that pocket like that but I just wanted to kind of just switch it up and I had some extra paper laying around so yeah and then this one I just found on a whim so I may even take my other one out I don't know I like it though and then we have all these pages to plan and then I threw in my meal plan just so that um I might meal plan in here weekly meal plan in here because I was trying to do it in my mini but it just really went in a room but I still made recipe plan in my mini if that makes any type of sense and then here I just um put this pocket on with something random that I found you know lying around which were these um little fake I don't know if this is diamonds or what and at first I had created a T but then I just changed my mind I was like ah that's too gaudy I just want to make it like a pocket and make it shine and I don't know if I'm gonna keep it but I like this clear pocket because then you can still see straight through it and then you can just vellum I'm sorry this here is vellum I got this from Hobby Lobby so put it in and then I found that that cut that I got from Joanne's and then I had some more paper and I just cut it with the little um happy planner square thing here and just stuck them in there just for some little accents and so this is I tried to make it a pocket and hold it down with this little dictate but um I don't know it's okay but I don't plan to put too much and it's just really for decor it's not for me to haul a bunch of stuff in there and then here's the meal plan and then I put a few little note pages because I'm thinking about doing journaling in here so one of these is gonna set up for my journal which might be that clear pocket right there that clear piece right there so that's that and it was my rhyme or reason of the way I put these in um except for the back the recipe but other than that everything is just everything and I'm digging my little faux leather bow to go with the faux bonichi so she's already and don't forget you guys go check out Anika's um video on her faux bonichi and how she set it up and don't forget to subscribe to her channel as well and I look forward to seeing you guys in my next video bye