After Apple Picking by Robert Frost, read for LibriVox.org by Jan Baer. After Apple Picking My long two pointed ladders sticking through a tree toward heaven still, and there's a barrel that I didn't fill beside it, and there may be two or three apples I didn't pick upon some bow, but I am done with apple picking now. Essence of winter sleep is on the night, the scent of apples, I am drowsing off. I cannot rub the strangeness from my side, I got from looking through a pane of glass I skimmed this morning from the drinking trough and held against the world of hoary grass. It melted and I let it fall and break, but I was well upon my way to sleep before it fell, and I could tell what form my dreaming was about to take. Magnified apples appear and disappear, stem end and blossom end, and every fleck of russets showing clear. My in-step arch not only keeps the ache, it keeps the pressure of a ladder round. I feel the ladder sway as the boughs bend, and I keep hearing from the cellar bin the rumbling sound of load on load of apples coming in, for I've had too much of apple picking. I am overtired of the great harvest I myself desired. There were ten thousand thousand fruit to touch, cherish in hand, lift down and not let fall. For all that struck the earth, no matter if not bruised or spiked with stubble, went surely to the cider-apple heap as of no worth. One can see what will trouble this sleep of mine, whatever sleep it is, where he not gone the woodchuck could say whether it's like his long sleep, as I describe it's coming on, or just some human sleep. End of poem. This recording is in the public domain. Narrated by Sean McKinley. At that hour, when all things have repose, a lonely watcher of the skies, do you hear the night wind and the sighs of harps playing unto love to unclose the pale gates of sunrise? When all things repose, do you alone awake to hear the sweet harps play to love before him on his way? And the night wind answering in antiphon till night is overgone? Play on, invisible harps, unto love, whose way in heaven is aglow at that hour when soft lights come and go, soft sweet music in the air above and in the earth below. End of poem. This recording is in the public domain. From the Shore by Carl Sandberg. Read for LibriVox.org by Jason Oakley. Brisbane, Australia. www.bangrocks.com From the Shore. A lone greybird, dim-dipping, far-flying, alone in the shadows and grandeurs and tumult of night and the sea and the stars and storms. Out over the darkness it wavers and hovers. Out into the gloom it swings and batters. Out into the wind and the rain and the vast. Out into the pit of a great black world where fogs are at battle sky-driven, sea-blown. Love of mist and rapture of flight, glories of chance and hazards of death on its eager and palpitant wings. Out into the deep of the great dark world, beyond the long borders where foam and drift of the sundering waves are lost and gone on tides that plunge and rear and crumble. End of poem. This recording is in the public domain. Hysteria by T.S. Eliot. Read by Jim Tiley. Hysteria. As she laughed, I was aware of becoming involved in her laughter and being part of it, until her teeth were only accidental stars with a talent for squad drill. I was drawn in by short gasps and held at each momentary recovery, lost finally in the dark caverns of her throat, bruised by the ripple of unseen muscles. An elderly waiter with trembling hands was hurriedly spreading a pink and white-checked cloth over the rusty green iron table, saying, If the lady and gentleman wish to take their tea in the garden, If the lady and gentleman wish to take their tea in the garden, I decided that if the shaking of her breasts could be stopped, some of the fragments of the afternoon might be collected, and I concentrated my attention with careful subtlety to this end. End of poem. This poem is in the public domain. The Land of Nod by Robert Lewis Stevenson. Read for LibreVox.org by Etha Marie Kignones. From breakfast on through all the day at home among my friends I stay, but every night I go abroad afar into the land of Nod. All by myself I have to go, with none to tell me what to do, all alone beside the streams and up the mountain's sides of dreams. The strangest things are these for me, both things to eat and things to see, and many frightening sights abroad till the morning in the land of Nod. Try as I like to define my way, I never can get back by day, nor can remember plain and clear the curious music that I hear. End of poem. This recording is in the public domain. Mending Wall by Robert Frost Read for LibreVox.org by Alan Davis Drake of Long Branch, New Jersey. Something there is that doesn't like a wall that sends the frozen groundswell under it and spills the upper boulders in the sun and makes gaps even too can pass abreast. The work of hunters is another thing. I have come after them and made repair where they have left not one stone on stone but they would have a rabbit out of hiding to please the helping dogs. The gaps I mean. No one has seen them made or heard them made but at spring mending time we find them there. I let my neighbor know beyond the hill and on a day we meet to walk the line and set the wall between us once again. We keep the wall between us as we go. To each the boulders that have fallen to each and some are loaves and some are nearly balls. We have to use a spell to make them balance. Stay where you are until our backs are turned. We wear our fingers rough with handling them. Oh, just another kind of outdoor game. One on a side. It comes to little more. There where it is we do not need the wall. He is all pine and I am apple orchard. My apple trees will never get across and eat the cones under his pines, I tell him. He only says, good fences make good neighbors. Spring is the mischief in me and I wonder if I could put a notion in his head. Why do they make good neighbors? Isn't it where there are cows? But here there are no cows. Before I built a wall I'd asked to know what I was walling in or walling out and to whom I was like to give offence. Something there is that doesn't love a wall that wants it down. I could say elves to him but it's not elves exactly and I'd rather he set it for himself. I see him there bringing a stone grasped firmly by the top in each hand like an old stone savage armed. He moves in darkness as it seems to me not of woods only and the shade of trees. He will not go behind his father's saying and he likes having thought of it so well. He says again, good fences make good neighbors. End of poem. This recording is in the public domain. Music I Heard by Conrad Eichen Read for LibraVox.org by Alan Davis Drake Music I Heard with you was more than music and bread I broke with you was more than bread. Now that I am without you all is desolate all that was once so beautiful is dead. Your hands once touched this table silver and I have seen your fingers hold this glass. These things do not remember you, beloved and yet your touch upon them will not pass. For it was in my heart you moved among them and blessed them with your hands and your eyes and in my heart they will remember always. They knew you once, oh beautiful and wise. End of poem. This recording is in the public domain. My Shadow by Robert Louis Stevenson Read for LibraVox.org by Eva Marie Kenyones I have a little shadow that goes in and out with me and what can be the use of him is more than I can see.  The funniest thing about him is the way he likes to grow not at all like proper children, which is always very slow. For he sometimes shoots up taller like an India rubber ball and he sometimes goes so little that there's none of him at all. He hasn't got a notion of how children ought to play and can only make a fool of me in every sort of way.  I think shame to stick to mercy as that shadow sticks to me. One morning very early before the sun was up I rose and found the shining dew on every buttercup but my lazy little shadow, like an arrant sleepy head had stayed at home behind me and was fast asleep in bed. End of poem. This recording is in the public domain. The Purple Cow. Reflections on a mythic beast who's quite remarkable at least. By Gillette Burgess. For LibriVox.org. Narrated by Sean McKinley. I never saw a purple cow. I never hoped to see one. But I can tell you anyhow I'd rather see than be one. End of poem. This recording is in the public domain. Rain by Robert Louis Stevenson. Read for LibriVox.org by Eva Marie Cagnones. The rain is falling all around. It falls on fields and trees. It rains on the umbrellas here and on the ships at sea. End of poem. This recording is in the public domain. Reformers. A Hymn of Hate by Dorothy Parker. Read for LibriVox.org by Caitlyn Hire.  They raise my blood pressure. They're the prohibitionists. The fathers are bootlegging. They made us what we are today. I hope they're satisfied. They can prove that the Johnstown flood and the blizzard of 1888 and the destruction of Pompeii were all due to alcohol. They haven't figured out that anyone who would give a gin-daisy a friendly look is just wasting time out of jail and anyone who would stay under the same roof with a bottle of scotch is right in line for a cozy seat in the electric chair. They fix things all up pretty for us. Now that they've dried up the country you can hardly get a drink unless you go in and order one. They're in a nasty state of this light wines and beer idea. They say that lips that touch liquor shall never touch wine.  Fair enough. Then there are the suppressors of vice. The boys who made the name of Cabal a household word. Their aim is to keep art and letters in their place. If they see a book which does not come right out and say that the doctor rings babies in his little black bag or find a painting of a young lady showing her without her rubbers they call out the militia. They have a mean eye for dirt. They can find it. In a copy of what Katie did at school or snapshot of Aunt Bessie and bathing at Sandy Creek or a picture postcard of Moonlight and Bryant Park they're always running around suppressing things beginning with their desires. They get a lot of excitement out of life. They're constantly discovering the new Chabalay or the 20th century Hogarth. Their leader is regarded as the representative of Comstock here on earth. How does that song of toasties go? Goodbye Sumner. Goodbye. Goodbye. There are the movie censors. The motion picture is still in its infancy. They're the boys who keep it there.  They fix up all the historical events so that their own mothers wouldn't know them. They make to bury Mrs. Louis XV and show that Antony and Cleopatra were like brother and sister and announce Salamé's engagement to John the Baptist so that the audiences won't go and get ideas in their heads. They insist that Sherlock Holmes was made to say quick Watson the crochet needle and the state pays them for it. They say they're going to take the sin out of cinema if they perish in the attempt. I wish to God they would. And then there are the all-American crabs the brave little band that is against everything. They've got up the idea that things are not what they were when grandma was a girl. They say that they don't know what we're coming to as if they just written the line. They're writing a temperature where the modern dances or the new skirts are the goings on of the younger set. They can barely hold themselves in when they think of the menace of the drama. They seem to be going ahead under the idea that everything that the passion played was written by Avery Hawkwood. They will never feel really themselves until every theater in the country is raised. They're forever signing petitions urging that cigarette smokers should be deported and that all places of amusement should be closed on Sunday all week. They take everything personally. They go about shaking their heads and saying it's all wrong. It's all wrong. They said it.  They raise my blood pressure. End of poem. This recording is in the public domain. Rhapsody on a Windy Night 12 o'clock Along the reaches of the street held in a lunar synthesis whispering lunar incantations dissolved the floors of memory and all its clear relations its divisions and precisions. Every street lamp that I pass beats like a fatalistic drum and through the spaces of the dark midnight shakes the memory as a madman shakes a dead geranium. Half past one the street lamp sputtered the street lamp muttered the street lamp said regard that woman who hesitates toward you in the light of the door which opens on her like a grin you see the border of her dress is torn and stained with sand and you see the corner of her eye twists like a crooked pin the memory throws up high and dry a crowd of twisted things a twisted branch upon the beach eaten smooth and polished as if the world gave up the secret of its skeleton stiff and white a broken spring in a factory yard rust that clings to the form that the strength has left hard and curled and ready to snap Half past two the street lamp said remark the cat which flattens itself in the gutter slips out its tongue and devours a morsel of rancid butter so the hand of the child automatic slipped out and pocketed a toy that was running along the quay I could see nothing behind that child's eye I have seen eyes in the street trying to peer through lighted shutters and a crab one afternoon in a pool an old crab with barnacles on his back gripped the end of a stick which I held him Half past three the lamp sputtered the lamp muttered in the dark the lamp hummed regard the moon la lune negarde acune rancune she winks a feeble eye she smiles into corners she smooths the hair of the grass the moon has lost her memory a washed out smallpox cracks her face her hand twists a paper rose that smells of dust and ode cologne she is alone with all the old nocturnal smells that cross and cross across her brain the reminiscence comes of sunless dry geraniums and dust in crevices smells of chestnuts in the streets and female smells in shuttered rooms and cigarettes in corridors and cocktail smells in bars the lamp said four o'clock here is the number on the door memory you have the key the little lamp spreads a ring on the stair mount the bed is open the toothbrush hangs on the wall put your shoes at the door sleep prepare for life the last twist of the knife end of poem this poem is in the public domain a sea dirge by Lewis Carroll read for LibriVox.org by The Giant Snail there are certain things as a spider, a ghost the income tax gout an umbrella for three that I hate but the thing that I hate the most is the thing they call the sea pour some salt water over the floor ugly I'm sure you'll allow it to be suppose it extended for a mile or more that's very like the sea beat a dog till it howls outright cruel a bit all very well for a spree suppose that he did so day and night that would be like the sea I had a vision of nursery maids tens of thousands passed by me all leading children with wooden spades and this was by the sea who invented those spades of woods who was it that cut them out of the tree none I could think of but an idiot could or one that loved the sea it is pleasant and dreamy no doubt to float with thoughts as boundless and souls as free but suppose you are very unwell on the boat how well do you like the sea there is an insect that people avoid whence is derived the verb to flee where have you been by it most annoyed in lodgings by the sea if you like your coffee with sand for dregs a decided hint of salt in your tea and a fishy taste in the very eggs by all means choose the sea and if with these dainties to drink and eat you prefer not a vestige of grass or tree and a chronic state of wet in your feet then I recommend the sea for I have friends who dwell by the coast pleasant friends they are to me it is when I am with them I wonder most that anyone likes the sea they take me a walk though tired and stiff to climb the heights I madly agree and after a tumble or so from the cliff I suggest the sea I try the rocks and I think it cool that they laugh with such an excess of glee as I heavily slip into every pool that skirts the cold, cold sea end of poem this recording is in the public domain she was a phantom of delight by William Wordsworth read for LibriWogs.org by Paul Z February the 7th, 2007 Hong Kong she was a phantom of delight when first she gleamed upon my sight a lovely apparition sent to be a moment's ornament her eyes are stars of twilight fair like twilight's too her dusky hair but all things air was about her drawn from Maytime in a cheerful dawn a dancing shape an image gay to haunt to startle and waylay I saw her upon a nearer view a spirit yet a woman too her household motions liked and free and steps of virgin liberty a countenance in which did meet sweet records promises as sweet a creature not too bright or good for human nature's daily food for transient sorrows simple wiles praise, blame, love kisses, tears and smiles and now I see with eyes serene the very pose of the machine a being breathing thought for breath a traveler between life and death the reason firm, the temperate will endurance, foresight, strength and skill a perfect woman nobly planned to warm, to comfort and command and yet a spirit still and bright with something of angelic light End of poem This recording is in the public domain Of speckled eggs the birdie sings and nests among the trees the sailor sings of ropes and things and ships upon the seas the children sing in far Japan the children sing in Spain the organ with the organ man is singing in the rain End of poem This recording is in the public domain The stolen child where dips the rocky high land of sleuth wood in the lake there lies a leafy island where flapping herons wake the drowsy water rats there we've hid our fairy vats full of berries and of redder stolen cherries come away a human child to the waters and the wild with a fairy hand in hand for the world's more full of weeping than you can understand we've of moonlight glosses the dim gray sands with light far off by furthest rosses we foot it all the night weaving old dances mingling hands and mingling glances till the moon has taken flight to and fro we leap and chase the frothy bubbles where the world is full of troubles and anxious in its sleep come away a human child to the waters and the wild with a fairy hand in hand than you can understand where the wandering water gushes from the hills above Glencar in pools among the rushes that scare could bathe the star we seek for slumbering trout and whispering in their ears give them unquiet dreams leaning softly out from the firms that drop their tears over the young streams come away a human child to the waters and the wild with a fairy hand in hand for the world's more full of weeping than you can understand away with us he's going the solemn eyed he'll hear no more the lowing of the calves on the warm hillside or the kettle on the hob sing peace unto his breast or see the brown mice bob round and round the oatmeal chest for he comes the human child to the waters and the wild with a fairy hand in hand for the world's more full of weeping than you can understand and of poem this recording is in the public domain The Tiger by William Blake for LibriVox.org narrated by Sean McKinley Tiger Tiger burning bright in the forests of the night what immortal hand or eye could frame thy fearful symmetry in what distant deeps or skies burnt the fires of thine eyes dare he aspire what the hand dare seize the fire and what shoulder and what art could twist thy sinews of thy heart and when thy heart began to beat what dread hand and what dread feet what the hammer what the chain and what furnace was thy brain what the anvil what dread grasp dare its deadly terror's clasp when the stars threw down their spears and watered heaven with their tears did he smile his work to see did he who made the lamb make thee Tiger Tiger burning bright in the forests of the night what immortal hand or eye dare frame thy fearful symmetry End of poem this recording is in the public domain A Validiction Forbidding Morning by John Dunn Read for LibriVox.org as virtuous men pass mildly away and whisper to their souls to go whilst some of their sad friends do say the breath goes now and some say no so let us melt and make no noise no tear floods nor sigh tempests move to a profanation of our joys to tell the laity our love moving of the earth brings harms and fears men reckon what it did and meant but trepidation of the spheres though greater far is innocent dull sublunary lovers' love whose solely sense cannot admit absence because it doth remove those things which elemented it but we by a love so much refined that ourselves know not what it is interassured of the mind careless eyes lips, hands to miss our two souls therefore which are one though I must go endure not yet a breach but an expansion like gold to airy thinness beat if they be two they are two so as stiff twin compasses are two thy soul the fixed foot makes no show to move but doth if the other do and though it in the center though it in the center sits yet when the other far doth roam it leans and harkens after it and grows erect as that comes home such wilt thou be to me who must like the other foot obliquely run thy firmness makes my circle just and makes me end where I begun end of poem this recording is in the public domain when the shy star goes forth in heaven by James Joyce for LibriVox.org narrated by Sean McKinley when the shy star goes forth in heaven all maidenly disconsolate hear you amid the drowsy even one who is singing by your gate his song is softer than the dew and he has come to visit you O bend no more in reverie when he at even tide is calling nor muse who may this singer be whose song about my heart is falling know you by this the lover's chant to his eye that em your visitant end of poem this recording is in the public domain and speak when he is spoken to and behave manually at take


For me, that impact's always gone double. You see, I spent a 34-year career working for the Department of Transportation right here in Pennsylvania building and maintaining highways. But using these rural roads that carry less than 50 vehicles a day including horse and buggies or these interstate highways that carry 70,000 vehicles a day including 25% trucks has become more and more of a challenge. I believe today our highway system is facing what we might call a perfect storm. The needs to renew the system are tremendous and all we have to do is look at the condition of our bridges to see that. And that renewal today has to take place under tremendous traffic, traffic that has to be maintained during the construction. At the same time, the costs of doing highway construction have increased dramatically over the last few years as much as 70%. And those revenues that are dedicated to highway construction have been flat or even decreasing. Five years ago, the evidence of these issues on the system were so great that we knew something just had to be done. Not upgrading the system and keeping it usable simply was not an option. And when we consider all the traffic on the roads today, rebuilding that system using the same old approaches just wasn't going to work. There was a time when we could afford to do things the same old way, but not anymore. There was a time when we could afford to take a decade to implement new technology, but not anymore. Our industry has got to quickly implement and put into practice new technologies and innovations, innovations that are proven and innovations that will build highways better, faster with less intrusion on traffic, safer, and oh by the way, cheaper. Congress saw this too and in the 2005 Surface Transportation Act put a program into place, a pilot program for the Federal Highway Administration called Highways for Life. The program includes several parts. Perhaps the most visible one is the funding of State Department of Transportation projects which use one or more innovations they hadn't previously employed. Innovations that will make a noticeable difference to the motorists. So far, 16 states have received highways for life funds for their projects and they've included a wide range of innovations. Over two dozen technologies were employed on these projects. In Minnesota, the Department of Transportation tried something they'd never before attempted on a major arterial rather than closing off one or two lanes and having traffic trickle through the remaining lane. They totally closed off the roadway including a major interstate interchange. Of course, this required a lot of coordination with the driving public, area businesses, and neighbors. They set up alternative routes and had a massive information campaign to prepare everyone. But the result was that the work was done in only one construction season rather than two or three. Here in Salt Lake City, the Utah Department of Transportation used prefabricated bridge elements and systems and built a new structure alongside the existing bridge even as traffic continued by unobstructed. Then the old structure was removed and the new one moved into place using machines called self-propelled modular transporters and the entire thing was accomplished in one weekend. Other states including Oregon, Virginia, South Carolina, Georgia, and Maryland are using the prefabricated bridge element systems from the foundations all the way up to the deck that are put together in the field like Legos. And just as prefabricated bridges meant better quality, safety, and less intrusion into traffic, prefabricated pavements did too. These precast concrete pavement systems can be installed at night in as short as a five-hour window. And where traditional pavement construction techniques have a shorter construction season because pavement cannot be done in colder temperatures, precast pavements are made under environmentally controlled conditions and can be installed in all but the very worst weather. State transportation agencies have been great about trying out these innovations on their highways but the FHWA could see that working one state at a time might take a while. So they looked at how technologies are traditionally deployed and found that often it takes years or even decades to get them implemented broadly. What was needed was for the innovations or technologies proven in a few places to quickly be used everywhere they are applicable. They created a new, more aggressive approach using marketing techniques and they tested the approach out with several innovations. The approach required setting up a team of specialists or subject matter experts in the particular discipline, pavements, bridges, safety, whatever, and having them develop a marketing plan. A set of strategies and actions designed to get the particular innovation adopted nationally. These actions included technology transfer tools like peer-to-peer exchanges where the technical specialists go out to the owner agencies and work directly with them, video conferences and webinars and regional, state and local workshops for which travel funds were provided for state participants. Highways for Life is also working hand-in-hand with the AASHTO Technology Implementation Group since their missions are very similar. Still another facet of the program called Industry Partnerships provides funding to the private industry to move promising technologies to the point of marketability. So far, five new approaches are being developed under the partnership program and more are coming. Of course, all this would not give dividends if nobody knew about it. So, the program level mission and message are communicated through media like websites, brochures, presents at trade shows and articles in trade and consumer publications. The impact of these new approaches has been dramatic and as a result, several states have implemented technologies as standard practices. Well, you might be asking, so what? What's all this mean to me? Well, this, these Highways for Life technologies and the Highways for Life approach are proven. They're working. It's not just about a technology. It's not just about a product. It's about changing a paradigm. Changing a paradigm to always look for the best solution. You know, when I started in the highway building business 35 years ago we built highways, new highways on new alignment. But today the challenges we have are just as daunting. It's rebuilding, renewing that system under tremendous traffic loads. It's looking for better ways, higher quality, longer lasting materials. It's looking for ways to construct faster with less intrusion on the motorist. It's looking for ways to improve safety. It's looking for ways to do things more efficiently and less expansively. We have a challenge before us, a daunting challenge. So I might ask, what role are you going to play in this vital endeavor? Participate in a performance contracting workshop. Talk to the local FHWA office about hosting a discussion with your staff about innovations. Attend a session of the Transportation Research Board that deals with innovation. Consider using accelerated bridge construction techniques on your agency's bridge program. Take advantage of the road safety audits peer-to-peer exchange. Participate in a project demonstration showcase. Implement performance goals for your construction projects to address safety, quality, congestion and customer satisfaction. Learn more about the highways for life program and how it can assist you. Browse the highways for life website for successful projects using innovations. Take advantage of the making work zones work better peer-to-peer exchange.


Hi there, welcome back to my YouTube channel. This is Daniel Rosel here. So I want to do another video demonstrating how to do something on OBS or today's OBS learning. Now, the differences between how to do something on OBS on Windows and OBS on Linux aren't generally night and day, but there are naturally some differences between different operating systems. And this is something I thought was actually really important. Or I think monitoring audio is very important whether you're using OBS to record or to do live streaming. So I wanted to just show these steps. And as I mentioned on a lot of these videos, I do also record these for my own reference to if I forget how to do something. So that's another reason for this. So let me just go and show you how to set up audio monitoring on Ubuntu OBS. Now, what I'm going to be doing is actually trying to get a two microphone, to monitor two microphones, right? So microphone one is the USB microphone that I'm wearing here on my shirt. And the second microphone would be, let's say, we have another guest here in my home studio. Now, if you're going to be in monitoring, then you're going to want some monitor headphones or just regular headphones, sort of have to be specifically studio headphones, but some interface that you don't want to monitor over that say, for example, the monitors in front of me here have HDMI speakers built into them. So that's typically what I actually use day to day, but I wouldn't want to put my monitor feed there because that would play back. So instead, I've got these studio headphones rigged up to the speakers and that's what I'm going to use so that there's no, the monitor feed is coming into my ears and that's not going to be picked up by the microphone that would create a reverb channel. So here's what I'm going to do. Firstly, let's go over to our OBS. This is a demo OBS, of course. Not the one that is in front of me. And you can see here, I have mic channel. This is the Lavalier microphone, right? So let me now go ahead and attach that exciting second lav mic that I mentioned. That is in the USB port. Now what I always recommend doing for OBS or this is what I found helpful as I'm learning this is to basically always make sure that you check your levels, not just in OBS, but you actually have a look in post audio. This is where the Linux specific stuff is kind of coming in here. So I just like to make sure that the levels are working. Firstly, the right devices are being assigned and everything is looking good just on that basis. So let me now go into post audio here and take a look at what we've got running. And what we have running is this photo so I can see. Now let's just check firstly. Yeah, the second test microphone. Hang on, I need to move myself. This always happens. I need to plan my spot on the screen before I do this. So this one at the bottom, AK5371, that's the test lav. This one above it, the Maono is the lav you're listening to on my lapel. And the other best practice in inverted commas that I always recommend is to mute any channels you don't use because it just gets confusing. Now something else you can do in post audio is once you've got your OBS running, you can actually see the OBS recording channels and the hardware devices associated with the channel. Now the reason you see four times the same channel, and I'm just gonna actually make sure here that I'm actually recording, yeah, it's the recording of the Maono. So this is a bit perplexing because the OBS I'm recording into right now says I'm recording on Maono. Nope, and it's actually recording onto the test one. So this is how finicky, this is how finicky, so I'm actually gonna manually override this here. Yeah, and now you're listening to the actual Maono, so you might have heard some kind of latency. If you wanted just an easy way to test with a lav mic, I always just tap it. You probably already come to the same conclusion. So this is now working, it's a good thing I went into check because we had some difficulties. So I'm gonna say mic aux should be this and I'm gonna just put that down but not away. So this mic aux channel here, I want that to be the lav mic actually, so I'm just gonna check if we have the same issue. Now this is potentially because I added it mid during the recording session and that can have this effect of creating problems. So my lav mic is the only audio source here. That says it's that Maono analog stereo but yeah, you can see that's the test mic again. So I need to also fix this one. So this is kind of a good example of where OBS is not actually reading off the right info from the send card. So it's actually that is now this should be fixed. Now this should be, so now if I do my test, the levels are spiking in both my audio meter so they're actually getting from the USB. Now my next thing I want to do here is add the second mic and I'm doing all this before I even show how to, so I'm gonna go into this audio and for my mic auxiliary audio too, I want to associate this with the AK5371. This is the way that I now add secondary mics. I don't know if this is how you're always supposed to do it or it's acceptable to use the, to use the just direct add audio input source but I've had these troubles the other way and this ones work more reliably. So I'm just gonna do my tap test and you can see did you see the mic aux two level just like shooting all the way up. So that's working. So I have my two levels, my lav mic and my guest mic, let's call it here in OBS and now I need to just figure out a way to set up a monitoring feed for them. So now let me show you how to do that. I'm just gonna figure out somewhere to pop myself while that process is going on. I'm just gonna tuck myself away here in the far recesses of the top left of the screen. Okay, so now you wanna click on the audio properties channel and a little bit messy here but what you can see there's a background channel not using. There is lav mic that I'm also not using and mic aux and I want to add actually firstly a second, 70 millisecond latency on both those channels and this is my mic aux is my main lav mic and mic aux two is the test one, right? So I'm gonna put them both to monitor and output. Now you're getting feedback.  If you do monitor only, you're not actually going, you're gonna be hearing the monitor feed and not actually getting the microphone into OBS. So the one you're gonna want in virtually all instances is gonna be monitor and output and the same thing because I've configured my HDMI output as the fallback channel they start monitoring there and that was that weird sound. But what I can do now is, so now I've got them to the right source and just to show you exactly what happens here or what you just saw happening, when I set up monitoring, I now get this playback channel in and it's automatically created in plus audio is called OBS monitor and there's actually a separate channel for each monitor feed. So I can put them to the same channel and hear them together or I could actually output each monitor feed to a separate playback device. So now hopefully when I put on my monitor headphones because they're plugged into the computer and that's picking up on built-in audio analog stereo, hopefully now once I listen to this, I'll be able to hear the monitor feed from, hear myself speaking and to do that, I would firstly need to make sure that there we go. It's plugged in. Okay, so now it's great.  Let's try muting the test microphone. So now I'm only getting one monitor feed and that's gotten rid of that loop. So there's a bit of latency in the second microphone and as I'm speaking, I'm listening to the monitor feed and that's working perfectly. So I can just put that away now. So that's it basically to set up a monitor in Ubuntu. It's not really any different from how you do it in OBS on different platforms. One thing to be aware of though is that if you just for diagnostic purposes, make sure that the microphones that OBS thinks it's recording are really associated with the correct hardware device and once you've set up a monitor feed in pulse audio, you will get a monitor playback channel for each monitor feed you've got running and then you can just toggle the output device, you can mute them, you can do everything you want with them and change the levels here. And if you have multiple microphones set up running in your OBS, you can choose to monitor all of them on the same device, let's say a pair of headphones or you can put each microphone on its own monitor. If you had a few guests in your studio, you wanted to give each guest a different pair of headphones for monitoring. You can do that here as well. You just need to play around a bit with pulse audio and everything can be done. Hope that video was useful. Thank you for watching. If you'd like to get more videos from me regarding everything to do with OBS Studio and Linux and technology, then feel free to subscribe to this YouTube channel.


Welcome to the third episode of my ignored news blog. For some months, the specialist media have been tracking a major structural change in the world's economy brought on by the Ukraine war. Not the well-publicised crisis of food or energy prices, but if who controls the world's financial payment system and it's used to enforce Western sanctions. Yet for some reason, the rest of the mainstream news just didn't seem interested in the consequences of this for every citizen of the affluent West. As someone who has spent an and reads me long amount of time protesting outside American military and intelligence sites, it's always been clear to me that American power isn't primarily cultural or military, it's economic. More importantly, it's the power of the American state to make dollars unobtainable, to ration people's access to ready cash, which forces compliance to American hegemonic control. The power of the dollar has, for decades, granted the USA not just global power, but also a more stable domestic economy as it controls the global trade system for its own self-interest. Between a third and a half of global trade is sold in dollars. About half of global debt is valued in dollars. And for that reason, 84% of foreign exchange transactions involve dollars, as countries or companies buy or sell dollars so that they can trade with someone else. Now that system is faltering, in part driven by the conflict in Ukraine, and the popular news media are seemingly oblivious to the significance of this. The neocolonial stranglehold of the West is based in its control over the global banking system. Yes, each country may have its own central bank and national currency, but when banks or states settle payments between themselves, they do so using reserve currencies, mostly dollars, sterling or euros, traded mainly via banks who are regulated by US or European states and transferred electronically using digital networks controlled by Western states, such as the SWIFT network. This not only means that Western finance institutions mediate global trade, they can also levy a tax on global trade through the fees for reserve currency trading and payment transaction fees. There are no UN authorized sanctions against Russia because the UN cannot sanction any permanent member of the UN Security Council, which is what has permitted the US, Britain, France, Russia and China to abuse human rights and launch illegal wars for the past 70 years. For that reason, what sanctions do exist are led by the US and the EU using their powers to control the international finance system. This has historically allowed the West to exert its power over the rest of the world by economically strangling those states or companies who will not comply with Western foreign policy, irrespective of the position of and often condemned by the United Nations. The power of Russia as a global resource producer has enabled it to maintain trade with many states, reducing the direct effect of US and EU sanctions. Countries like India and China depend on those resources and have continued to trade with Russia despite the protestations of the West. Now the EU is threatening sanctions against the states who continue to trade with Russia. Nation is, are the actions of the US, UK and Europe beginning to undermine their historic economic power? As part of the Belt and Road Initiative, China has been opening up its currency to trade with nations it has partnered with. In March, China and Brazil concluded the trade deal, where both countries agreed to settle accounts in each other's currency. By May, Russia, Bangladesh, Argentina and Iran had also announced they will begin trading goods in Chinese Yuan. The BRICS nations, Brazil, Russia, India, China and South Africa, considered by Western economists to be the second tier of the world economic system, are now mulling over the idea of a common currency for trade. Our media has, thus far, singly failed to explain the significance of this to the Western public. As a former White House adviser stated, It will be like a new union of up-and-coming discontents, who, on the scale of GDP, now collectively outweigh not only the reigning Hegemon, the United States, but the entire G7 weight class put together. Personally, I see this as a positive. It's a measure which works to end the neoclonial influence of the world's three dozen or so affluent states. What it appears our popular media failed to realise, however, is just what power, in a resource-hungry world, the BRICS nations hold. Until the 20th century, global trade had been mediated in gold or silver. That system broke down in the 1930s to be replaced in 1944 with the Bretton Woods agreements. This linked global trade to the value of the dollar. By the 1970s, as the American economy ceased to operate at a surplus to spread those dollars around, it fell apart. But the centralisation of global trade around the dollar and some of reserve currencies continued. Over the middle of the 20th century, via their colonial territories, western states imported cheap resources, manufactured them into finished goods, and then sold them back to the rest of the world to close the economic cycle. Globalisation and deficit economics traded the economic power of western states as consumers of finished goods with the cheap manufacturing economies of Asia. With western companies still controlling a large portion of the world's resource exploitation and the financial system to create profits which flowed back into the western states. Today much of the west has similar problems to the US economy of the 1970s, operating as a deficit, issuing debt to fund their national economies in reserve currencies, and then trading the value of those debts on the global money market via their central banks to keep the cash flowing to the rest of the world to buy goods. For 60 years, western states have effectively drained $2 trillion a year from the rest of the world to fund their economies, paid for by the loss of value or income by the poor nations of the global south. These capital flows, supporting the affluent consumption of the west, are also innately linked to global ecological destruction. This is what might be about to end. The reality that, since colonialism arose in the 16th century, it has been the transfer of economic value from the global south, which has historically supported the civilised lifestyle that denoted the west's global supremacy. Led by the brick states, who between them control not only a large proportion of the world's manufacturing capacity, but also large amounts of the mineral resources required in digital and green technologies, a non-western trade currency would cut western economies out of that loop. Not simply the profits of primary resource production or financial trading, but more significantly the ability to secure cheap tradable debt from the world economy in order to fund national deficits. Western politicians should be wise to this. For Britain and the US especially, it has the potential to completely upend the operation of the national economy. Instead, that's stoking conflict with China. In effect, facing down the competing ambitions of other states by threatening first economic and ultimately military force in order to preserve their historic dominance over the world system. In 2016, the once-fated but-of-late-suppressed journalist John Pilger produced another one of his insightful documentaries entitled The Coming War with China. And one of the key reasons why that documentary is frowned upon, in the West at least, is that it shows how America, as the world's hegemon, has since Barack Obama's presidency, sought to paint China as a military threat. Politicians in the US are now openly talking about war with China. Some military figures believe it could be as soon as 2025. And with the Ukraine crisis being fueled by western states, still pursuing the wolf of its doctrine, that increases the chances of conflict with Russia. For many political insiders and lobbyists, this represents a business plan. The threat of China is the reason for western states to splash megabucks on new military technologies, which inevitably involves spending money on lobbyists and political donations. This might enrich the wealthy elite, but it doesn't address the real global changes which are happening right now. If anything, it makes those changes worse, if we stoke in conflict rather than pursuing diplomacy. To bring this full circle, America's global network of hundreds of military bases project US power, but ultimately it is economic power which drives the American military machine. America and Britain are now pushing the agenda of military force against China, just at the moment China is weaponizing economics the way the West have done for the last 70 years. It was the economic effects of the Vietnam War, which broke the Bretton Woods system in 1971. Today it's the failure of neoliberalism and globalization, which, reaching their effective peak, are breaking the global trade system. In all likelihood, this will break the historic hegemony of the West, creating a multipolar world which reorders the world trade and finance systems. For most people, all this talk of conflict with China creates concerns about the availability of cheap goods. In reality, it's the availability of cheap debt which funds their daily life, which is far less secure as the BRICS nations opt out of the Western economic system and which, ultimately, will redefine the lifestyle of Western citizens as their historic hegemonic control of world trade and finance collapses.


So I'm Sire Black from Attica 7, I'm checking out the new Black Star Fly and it is fly. You got a three watts of pure metal here, got some effects in there and EQ and all kinds of stuff and you can catch me on tour at Attica 7 2015 and you'll probably see this on the side of the stage with me because this thing is heavy metal and this is real metal.


Senakoto, gandio kailbun, gandio. Thank you, everyone, for being here.  I've come from Dunedin, in the south of New Zealand. It's my family in the top right. I'm into data, throwing balls, open web, and film. I'm a developer at Catalyst, where I get to work on a bunch of cool things. maenai Kriss. Maenai Zirizim on Slack. We're going to talk about recipes. So, in caveats, I think recipes are really cool. It's an opportunity to make Drupal reach a much broader group of people with the functionality. It's not finished. It's incomplete so things can change and it's open source so things can change. It's not a complete replacement for profiles yet. And I don't consider myself an expert but I'm excited about it and stoked to see a bunch of people here. I'm going to take a photo. Is that cool? Thank you. Yeah, it's a cool little camera. Okay. So move on. Sorry. Okay. Recipes is a way to apply composable configurations and eventually content to Drupal sites. Drupal's got 20 years of this really long history of success and learning in how we empower creators to reuse functionality across a bunch of different sites with things like distributions, profiles, features, modules. Lots of things. Recipes are a new take on that based on what we've learned so far. They promise less complexity. They promise more importantly less commitment or less significant investment both for sites and for site maintainers. So what came before recipes was lots and especially was profiles. Profiles have been a real cornerstone of distributions to date. They're a great tool and really valuable contribution. Not the only method but one of the big challenges with them has been that they tie the site to the profile and thus the site to the other sites that use that profile. And that creates load for the maintainers of the sites and load for the maintainers of the profiles. And recipes want to revisit that. Profiles can be effective, but yeah. Yes. Okay. Sorry. I'm a good talker. Recipes are a response to that experience of wanting to deliver configuration to sites, without the commitment. So what's a recipe? It's declarative. They say do these things, but they do that without the context of the site. They don't know what the site is like beforehand. So by design a recipe is not informed of that state. They can do several things. They can install modules or themes which means that they have to be able to require modules or themes into the site to kick off. They can apply a module's default configuration or selectively some of that configuration. Or they can apply your configuration. Or they can perform config actions. We'll look at that in a second. Which, yeah, we'll look at that. So you probably know a lot of those features from previous implementations, but what's interesting about recipes is what they don't do. They don't let you land code into sites, except through the modules or themes that you're landing. But it doesn't go in the profile, as it would have before. There's no provision for code in a recipe. It won't respond differently at runtime and it won't respond differently at install time. It's not dynamic there. You can limit the configuration applied. So you can opt into some or all of a module's default configuration state. And the killer feature is that after you're done with using that recipe, it's not part of the site. There's no trace of it, except that the configuration in those modules are in there now. The recipe can be forgotten. So the parts of a recipe are the recipe yaml, which looks like this. And I'll just quickly talk through what we see here. We've got a name at the top that's required. We've got a type. And for a big complex recipe that has lots of functionality, you might choose to use site for that, which means this is a start point for a whole website, like the standard or minimal profiles are. We've got a description. We've got an install key, which is going to install the auto logout module. We've got a config key, under which we can see that we are importing with that star there, import auto logout star, all of auto logout default configuration. And we've got an action at the end, which is one of those config actions I mentioned. So it's going to apply a small config change over the top of the default auto logout configuration. So instead of copying that whole configuration and then changing one line and having maybe a larger yaml file, you've just got the setting that you wanted to change on top of that module's default. So we're using the module defaults as start point, changing the value we want, tidier. We can also provide a directory of configuration, which you can put other configurations into. Oh, I missed a moment. There are other things that can happen with the import. So you can import some of the module's configuration, all of it as we see there, some of it by naming an array of this one, this one or this one, and none. You can also import the optional configuration and you can manually, but not by default, import things that are config entities. So you might be familiar with contact or web form providing a default contact form. Both of them offer a contact form. If you want that in the site, you can add it here, but if you just said to install web form, you wouldn't get those config entities and that's nice if you want a start point that you control more. This is providing a lot more control over what the module's going to do. In the final piece, so then we've got the directory of config that we can provide to override things and we've got a composer, Jason, which allows us to say we want this module that we're going to install. So this kind of is used first, but the recipe yamal is the more core part of what a recipe is. If you're in the web recipes custom folder, you may not even need the composer, Jason. If you don't have dependencies, that's an option, you can leave it out. So that's a single recipe, kept intentionally small. It's the right size for that autologate component and that might be something that you stack into a bigger component which is your preferred security configuration and then you might stack that preferred security configuration alongside a user experience configuration into a bigger recipe that you use. You can reuse these small components in the bigger parts or bigger compositions of it together to make the sort of site that you want to see Drupal start off with. So one of several ways we'll use this is to make the initial configuration of a Drupal site much quicker and easier. It puts the options, currently a choice between things like minimal, standard or a whole distribution, into the hands of the site owner. It's nice to save a few hours of site click, of clicking around the site after install, but having a consistent start point will be a bigger benefit for agencies using this than just saving on set up time, I think. Recipes can also be applied later in the piece, so you could come along by auto log out to a set of sites in operation. You do that in local dev and achieve or bring sites into alignment that are already in operation. There isn't however support for applying a recipe a second time to a site, so you're a little bit on your own there. It'll work in some cases, but you have to consider the configuration. I'm not. Recipes are still in development. You can try it out today. You should start with an installed site. This link here, which is probably tiny, but is available from the distributions and recipes project page as well, gives you your complete set of instructions. Starting with an installed site, you need a core patch, so this may not be appropriate for production sites, but it's possible to do this in local dev and then leave the core patch out of what you're committing to use recipes to apply to a site today. There's composer configuration if you're using the composer parts of it, so if you're requiring in recipes and then unpacking them, there's a second set of this instructions that does the composer site of it, and then you use the Drupal command line tool, which is in core script's Drupal recipe and the path to your recipe, which is probably web custom recipes, something. It will do the configuration for you, or it will fail with an exception and tell you what you need to do next. Well, it'll tell you what went wrong. You'll work out what to do next. Okay, I think recipes does less and allows Drupal to do more together with other new functionality. I think that project browser is going to be a big part of this once recipes are available there too. It'll allow ambitious site builders to discover and build whole lot more with community provided recipes. I think automated updates are also going to be a really big part of that. What excites me or one thing that excites me about this is the possibility for people who the ambitious site builders that we talk about to access using and operating Drupal sites and building with it without the need for composer operation or the low level stuff that's familiar to us as developers but not accessible to the wider pole. I think that persona of the ambitious site builder is something recipes fit so well with and I'm excited to see what this will make possible. Okay, I see it is liberating Drupal sites from how profiles work today when recipes are complete just distributions will still be possible and hopefully cause or we expect cause profiles to become recipes. Sites will have more agency over their configuration from the start point. The freedom and flexibility to try new things along the way and I hope that will make more possible with Drupal. I think it will expand Drupal to a broader pool of users and those folks can be empowered by that flexible composable system to try stuff out which has the potential for the sort of creative explosion that the web makes possible and I hope Drupal can be a foundation for a whole lot more creativity online. I love that vision of Drupal being available to a broader pool of people for creative work. I love the big projects we work on I also enjoy the small playful projects and want to see more of that happening. I hope that creative and personal aspect can lead us to a more human and more engaged web. Recipes are iteration which opens a challenging aspect of Drupal today to more people and more people. I think that's me. That's... Yes, notes and a demo repo where I've been exploring this. Any question? That's the vision is that you'll be able to kick off, you've got a blog it gets successful and you may apply a recipe shop to sell some merch alongside or you may decide that you need to meet a security profile and apply a recipe that does that for you or does some parts of that for you. That's the vision, yes. So my understanding from testing and learning so far is that recipes is probably going to say no, there's an existing configuration. If you try to overwrite an existing configuration, however that simple config update that we saw here if your recipe... I think if your recipe contained nothing but so no install and only config actions this I would expect that to work to apply. I've decided that everyone gets a three hour time out now so I'm going to apply this. That recipe application using the config actions API I haven't tested a recipe that installs nothing. Interesting to try but yeah, I think that should work and definitely have had experience in the past of we need to drop a config update out to a whole bunch of sites. This is potentially a tool for that. You wouldn't apply... oh well I wouldn't today apply recipes in production because of the core patch that's required. But we may see that that becomes a useful part of the toolkit to iterate over a list of remote sites and say do those things. Content is not provided for and you can't really do a distribution very well with it or maybe you could but so default content is not part of core and recipes is in core. It can't depend on a contrib module. I don't know that default content has agreed to be the solution for that but there will need to be some solution. We already have migration core as well and that's another pathway that I can imagine would work. But that's not complete yet. It's a way away. Wait for that. I think that the fact that recipes don't provide code and don't leave you couldn't tell if the site had been manually configured or configured via recipes after the fact. That's the point of difference for me. So when a module provides default configuration it's that module. I've never tried no I do know of so webform for example provides a view as part of its configuration as part of maybe its optional configuration. So you could also land a module that when installed or uses an update to deliver configuration. Recipes would be a different way of doing that and probably what would happen in production is you'd deploy the updated configuration to production and import it. So it's not actually doing that update hook in prod just loading config. Yes, just up the front. Yeah. There is an issue to replace the standard and minimal profiles currently and I believe it's mostly working to reproduce what the standard profile does as a recipe. And then you'll be able to select the recipe you want to use at install time and say I would like standard and it will use recipes to achieve the same thing. That's the goal. What does that mean for an existing profile that would still like to be on that install screen? I don't know this point.