So, in the last couple of lectures we have talked about sound propagation in regular rooms and also in irregular rooms. In case of irregular rooms, we developed the parameter reverb constant and while developing this parameter we had assumed that there is no damping in the air, but the walls themselves have some dampening effect and they do absorb some sound. The context of all this discussion, regular rooms and irregular rooms is that if there is some sound which is getting generated in the room, how does it propagate and it has direct applications in areas of in places, in acoustic spaces, lecture halls, auditoriums, theaters, places where do the recording given small rooms. I wanted to develop this reverb time further and also what we will see today is what does air do to this whole notion of reverb time. But before I start doing that, I wanted to generate some thinking that if you have a let us say a big room lecture hall where you sit and take lectures and there are 200, 300 students sitting in the room. What are different things as an engineer you would think which will help you design a good lecture hall? Can you cite some parameters? They do not have to be very well defined engineering parameters, but what will make as a listener a good room and it will distinguish it from a bad room. No time delays speakers face and the sound which is why should that matter if the speaker generates a sound and reaches you after in an upside case 5 minutes later. What does that do? Why is it bad or good? We will lose the synchronization. But it reaches first later reaches you after 5 minutes, the second later reaches you after 5 minutes plus some delta t. If you do not watch him then it is understood. So, there is no synchronization between his lip movement and understood. So, that is one that no significant delay between the sound source. I mean the time when the sound is coming out and when it reaches here, here because there is will be a disconnect between visual perception and auditory perception. So, that is all good. You wanted to say something? Sir, there should not be any notes and in the room. The sound should be uniform all over the room. Sound should be uniform all over the room and why is that good or bad or why is that good? I mean one person is sitting like this and if he changes his position, he should hear the same volume like same sound. Second is that anything else? There should not be any echo. There should not be any echoes. Why are echoes bad? We will hear double sound like. So, echoes is there. Anything else? Sir, the main importance should be on the vocal frequencies. Main importance should be on the vocal frequencies. The note for vocal frequencies should be less. In a lecture room? Yes, sir. But not necessarily in a place where you are playing music? Yes, sir. So, it depends on the application that how the room behaves should be tuned to whatever is the band in which sound is being generated. What about noise from outside? Noise conservation. You want to minimize that. Noise which is coming from outside has to be minimized. Echoes you already mentioned. So, we will also cover some of these other things which we talked about. There should be no resonance with the objects. No resonance. I have seen many a times these chairs and if it is a especially metallic objects, they start to vibrate and make sound in the bass room. In the room? If there is a loud bass, objects begin to chatter. So, there should not be any buzz, chatter, rattle, freaks, these kind of things. So, we will cover some of these. We will definitely cover echoes. We will cover some criteria so that we can figure out what is a good permit, not good acceptable noise level as it comes from outside. We will also cover a term called room constant. So, we have talked about reverb time and we will also introduce a term called room constant. So, that is all that is the spectrum things we will talk today. But we will start by including the effect of air damping on reverb time. We had seen that reverb time is 60 times v over 1.08 AC, a prime c and we had defined a prime c as minus s natural log of 1 minus alpha. So, what we will do is we will modify this particular equation by incorporating the damping of damping generated due to air. Let us say d naught is my initial energy going into the system and once sound travels a distance d which we had defined in earlier lectures as mean free, then just because of air this d naught it goes down and it becomes d naught e to the power of minus where m is fairly small compared to 1 and its dimension is 1 over length. So, dimension could be of m is 1 over meters or 1 over feet. So, using the logic we had used in our previous lecture, we can say that d which is at the energy density at a given point of time, time equals n delta t equals d naught 1 minus alpha bar n e minus n m d. This is after n reflections. This part the one in yellow is because of the reflections of the wall. This part is because of the role of the air. So, you have n reflections. So, it is n times m times d. We know that so we can develop this further. So, that is d naught 1 minus alpha bar and n is what t over delta t and then the other exponent part is minus again I will replace n by t over delta t. So, it is t times m d over delta t. Now, we know that d over delta t is what? d is the mean free part c velocity of sound. So, I will put that in here. So, I get d naught 1 minus alpha t over delta t e minus t m c. We also know that 1 over delta t is basically c s over 4 v. We had seen this earlier. So, I modify this further d 0 1 minus average alpha. So, I get c s t over 4 v exponent minus t m c. So, now, what I do is like I did for the earlier case I express this entire thing also in an exponential format. So, I get d equals d naught exponent.  I can make this whole thing as a prime here because now it includes the effects of damping also of the air. So, I get d naught e minus a dash air times t c over 4 v. So, this is essentially very similar to the earlier expression we had developed for a room with no damping due to air. So, I can use the same logic stream and I can say that reverb time if I have to include the effect of air is basically 60 times volume divided by 1.086 a dash air times velocity sound in air. So, couple of things one is that m this m parameter which is it actually very strongly depends on omega. So, this depends on omega and the relationship is that as frequencies go up m goes up. So, as omega goes up we have see we see through experimental data omega also m goes up. So, once again we have to be careful that when we find the value of a prime it is specific for a particular frequency or a narrow frequency band is important to understand. Second thing is that a prime air is approximately equal to a prime with for small values of for small rooms. If my v is a small then this term will pale in insignificance compared to the other term. So, for small rooms I may still get away with the without including the effect of air damping, but for very large rooms auditoriums halls it is prudent to use the damping effect. This completes the effect of air damping and what kind of an influence it has on reverb time. So, does the reverb time go up or go down as I include the effect of air damping it will go down. Because this term goes up and physically what it means is that what is the original fundamental definition of reverb time. Sir the sound decay is by the 60 decibel. Yeah which is a factor of a million. So, it will take lesser time to decay to that floor level if I include the effect of air damping which makes sense. So, this completes our discussion on the reverb time and now what we will do is we will move to a new concept and this is also used in architectural acoustics and it is essentially trying to develop a ratio of how much energy is received at the ear of the listener which is directly coming from the source and how much energy is coming from reflected you know due to reflections. What we will discuss is SPL due to direct and reverb fields I have a big I have my source and then I have a person some energy is coming directly to the individual direct and some other energy goes and it has a consequence of reflections it comes. So, this is my reverb the minimum amount of reflections the reverb energy is what direct field there is no reflection the minimum amount of reflections which a reverb energy will have which reverb energy will have will be one at least one will have see at least one reflection in very large auditoriums typically if you are far away from the source in general the reverb energy dominates compared to the direct field we will see that as we develop the mathematics of it and the SPL depends on several parameters it depends on volume it depends on how far you are from the distance of the source depends on power of the source and it depends on alpha and bunch of other parameters. So, first we will do is direct SPL direct field so, I have a source this is my ear or microphone. Sir reverb energy how can it dominate sir there will always be some. We will see that and this is the distance between the source and the ear I ear which is the intensity at my ear and let us say the source is emitting W watts of energy. So, I ear is what based on some of the earlier concepts we have developed intensity is. Sir p power. Power per unit area. So, it is watts over 4 pi r square and we know that we can also write this as p direct the whole thing squared I have to average this divided by 2 rho naught and I can write this in a short form over 2 rho naught. So, again note that p d is average r m s pressure from this relation and from this relation what I get is p d square is essentially 2 rho naught c times whatever is the strength of the source divided by 4 pi r square r p d equals the square root of rho naught c W over 2 pi r square. So, this is my first relation and we will apply the standard disclaimer that this everything of this nature is valid to the extent my r is what. Very little less than lambda over 2 pi. Yes it is fairly large than one sixth of the wavelength of the frequencies we are considering. So, this is my direct. So, now what I will do is I will develop something for the reverb field. We do it for a reverb field. So, for the reverb field we have to think how the sound develops in the room. If the room has absolutely no dampening surfaces and air the sound does not leak out of the room then as my speaker is pumping energy into the system what will happen to the reverb energy over a period of time. It will just keep on going on increasing infinitely. If there is at least one dampening surface which absorbs some energy or if there is air which is also absorbing. Then the reverb field the way it will behave is that it will keep on growing, but the rate of growth will start over a period of time. It will start slowing and it will become flatten it will flatten out and at a certain after a certain point of time whatever is being pumped in to the speaker is getting absorbed by the walls and there is some sort of an equilibrium. So, what we are trying to do in this analysis is that we are trying to find that what is that equilibrium state. So, it is not the transient state what we are trying to figure out is what is that equilibrium state at which the reverb field does not grow over a period. So, in this analysis what we will essentially do is we will compute whatever is going in input power and whatever is going out which is the output thing and once they are equal then I can that is my condition for input power equals what what is the input energy going in the system or power going in to the it is whatever is whatever is pumped by the speaker. No, but it has to see at least one reflection that is going in. So, what is that value what is being pumped by the system W. W times 1 minus. W times 1. So, this is power flow into the room now what we will do is whatever is going out. So, power going out equals energy going out divided by energy going out divided by time I will number them 1 2 this is 2 power going out is essentially power lost per reflection. So, that is energy lost per reflection and then what is the time time is delta t. There is time between two reflections. So, this is energy lost per reflection over delta t and we know that delta t equals what d over c and it is also 4 v over s c. So, now, d r we define a term d r it is reverb energy density reverb energy density and that is essentially t r upper case r implying it is reverb pressure r m s the whole thing square divided by rho naught c square is from earlier notes and e r is reverb energy in the room. So, what is reverb energy in the room in terms of d r d r is reverb energy density. So, reverb energy in the room is this is energy density d r is energy density unit of energy density is joules per cubic meter. So, total reverb energy in the room is what times volume. So, it is d r times volume. So, that gives me v e r dot r m s the whole thing square over rho naught c square 3 and total energy lost each reflection will be how much in terms of e r? e r times alpha energy lost each reflection is here.  So, whatever is the flow going in we know w 1 minus alpha and that equals whatever is going out. So, now we equate them we have to do one more step this is the total energy lost per reflection. So, total power which is decaying per reflection which gets attenuated per reflection or it gets deducted per reflection total power will be how much? No no no in terms of this we know now we know what is energy lost per reflection is d r times v times alpha. So, in terms of this power divided by delta t. So, power lost I will not say lost power decay per reflection equals v r times v times alpha over delta t and this equals whatever is going in which is w times 1 minus alpha. So, w times 1 minus alpha equals d r v alpha over delta t and I substitute the value of delta t as c s over 4 v.  So, I do the math and I simplify this and essentially what I get is reverb r m s pressure which is average in time and space the square of it is basically whatever the speaker is pumping in times 1 minus alpha over s alpha bar times 4 rho naught c and now I introduce a new term called room constant r and r is s alpha bar divided by 1 minus alpha bar and the unit of r is meter square or feed square. So, e r r m s is basically 4 w rho naught c over r. So, that is my reverb pressure I will read out these two relations my reverb pressure is 4 w rho naught c over room constant and my direct pressure is what parts over 4 pi square times rho naught c. So, what you see is that your reverb pressure does not change in the room and your direct pressure very rapidly it decays with radius. So, to answer your earlier question if you are reasonably far away from the source within the room the reverb pressure will dominate whatever you are and we will put some numbers on that and my total pressure and I can add the energies basically this is p r square is directly proportional to reverb energy p d square is directly proportional to the direct energy and I can add the energies I cannot add the pressures themselves, but I can add the energies. So, p t square is basically w rho naught c times 4 over r plus 1 over 4 pi r square. So, this is the relation for my total pressure. Sir, this distance is minimum when we consider this straight line. Sir, the part travel will be minimum. Sir, in that case a direct pressure will decay and when the when we consider the reflected then the distance travelled is more, it will decay more then. Sir, then how the. Yes, but the diffused pressure the reverb pressure it does not change from point to point it will decay more when you are in relative terms see all you are doing is you have to compare you have to compare your direct pressure in a square way 1 over r square way decays as you move out your diffused pressure is not changing within the space a diffused pressure is not changing within the whole room. So, if you are fairly far away from the source then a direct pressure will be fairly small while the diffuse pressure will still remains. This relation is basically addition of two energies that is one thing I want to say and this works only to the extent that both these sources are what correlated or uncorrelated we have talked about this earlier the source of the music is uncorrelated and my sound pressure level basically 10 log 10 times p t r m s over t ref basically it is a square of this and square of this. So, now I plot my S P L with respect to r and the curve is going to look like somewhat like this is my r r is the distance between the listener and the source and this is my sound pressure level and what I get is something like this an asymptotic behavior where what is this value this corresponds to p what p d this is my total p t. So, p t converges to p d as I move away from the from the source. So, this is not p d I said that by mistake this is river field another question that I know that room constant is S times alpha bar over 1 minus alpha bar if there are no walls in the room. So, that it is just I am having a speaker in a field and I am just running it then what is r what is the value of r infinity for if I am too close to the room not to the source then my direct field is dominating basically that is what this relation is saying and as I move further there will be a threshold where this term equals this term and once I have crossed that particular threshold then the 4 over r term starts dominating compared to 1 over 4 pi r square that particular value is where I have this equivalence between 4 over r and this the other term 1 over 4 pi r square that we call it r naught. So, r naught is basically r square average size auditorium r naught is approximately equal to 20 feet about 6 meters 4 w r c and various p direct. So, r naught is about 20 feet for reasonably sized auditorium if I make my auditorium bigger then this r naught also goes up because r goes up and for small rooms this is around 2 feet less than a meter. So, even in a room like this most of the sound which you are hearing is essentially reverb energy not directly. Consider a scenario where you have a recording equipment and there is a bunch of people who are generating creating some music their instruments and all that and if you are too far from the music then the microphone will essentially capture the reverb field. If it is too close to the musical instruments then it will capture predominantly the direct field. Now, the limitation of capturing the direct field only is that each of these instruments they have their polar patterns based on their geometry and all that. So, if you are too close then based on each instrument's polar pattern the microwave will pick selectively some frequencies more than other frequencies. So, that will not necessarily be a faithful reproduction of the sound. If you are far then you do not capture that, but essentially what you are doing is you are picking up peaks and nulls and you are picking up a lot of information contained in the modes and the natural frequencies of the room. So, again that this starts the faithfulness of the music production. And also sir the absorption of the air absorption will be there. Air absorption, but that you can amplify, but yes air absorption and it depends on the frequency. It depends on the frequency, but lot of times these rooms are not that big. Recording studios are not that large, but yes I mean if you want to do this recording and sitting in the auditorium and where the performance happening in on the stage and then air effects will also become dominant will become prominent. So, that will also curtail some of the higher frequencies. So, it is very difficult to reproduce live music whatever you hear in a room when live music is being played faithfully capturing that in a on a CD or a DVD or an or a cassette. It is very difficult and there are technical reasons behind that. It is not that the companies do not know what they are doing, but it is difficult. So, lot of times they try to put their recording instrument at this value or not. So, it is like some sort of a compromise. Another thing is that we know that room constant is 4 W rho naught c over r no I am sorry c r m s. So, this is my room constant. So, as room constant goes up it as it goes up my t goes down and. So, if I have a larger room my reverb energy will go down in that room. Now, we know that r is s alpha over 1 minus alpha bar. So, what that means is that as alpha goes up what happens to a it goes up or down sorry first is depends alpha is always less than 1 r goes up. So, as alpha goes up which means the absorption coefficient of the room is going up r will go up and p will go down more sound is getting absorbed. So, less reverb energy similarly as s which is the surface area of the room goes up r goes up and p goes down I just wanted to curve. So, first thing I wanted to show in this overhead is that what you are seeing here is the dependence of alpha on humidity which we have not explicitly talked about in earlier lecture also. But if I increase the relative humidity in a room then my alpha it actually decays from 10 to 20 percent it goes up as I move from 10 percent relative humidity 20 percent, but after that it goes down significantly. So, humidity is a very important parameter as we are trying to figure out what is the value of alpha and that has an impact on the time constant of the room. And what this is showing is that so as alpha changes how does room constant change and this is also plotting the value of for larger rooms as alpha goes up we expect room constant has to go up and as alpha I am sorry as v goes up for a given value of alpha room constant is going almost linearly and as I reduce my alpha those linear relationship they just move in parallel. The other thing is so we will again start again from this relation or actually we will start from this relation and we will go further. So, S t l is 10 log 10 and we had seen this rho w rho naught c times 1 over 4 pi r square plus 4 over r this whole thing divided by e ref square. So, now I can break it and that is essentially 10 log 10 of w plus 10 log 10 of rho naught c plus 10 log 10 of this bracketed term and if I also take the log due to this p ref I get a value of 94 p ref is 2 times 10 to the power of minus 5. So, I take that log and then multiplied by 10 I get 90. Now, we know that like S p l we had also it is shown earlier that p w l decibels in power is basically 10 log whatever the power is being measured divided by reference power and that reference power is 10 to the power of minus 13. So, if I plug this back here minus 9 minus 5 that is power we usually take minus 10 to the power of minus 9 more. I think this is fairly standard we will check that 10.9 is for intensity 10 to the power of minus 9 is for intensity. So, the story will not that is a number.  And why I am talking about British system is some of the curves which you will see have charts which are based on British system, but for SI system this is what is that minus 36 anyway. So, for British system this is what you have. So, if I plot the relative S p l then essentially what does relative S p l mean that I normalize it with respect to w itself then relative S p l is essentially dependent on 10 times log of this whole bracketed term plus this constant 0.5 dB. My reference yeah relative to this w. So, what I wanted to show you was this particular chart. So, what you are seeing here are relative sound pressure level in decibels for which we had developed the relation just now and here you are increasing r as you move away from the source and then what you have are different curves. So, for r equals infinity which is open here you have a straight line. Now, let us consider this and essentially what it shows is that let us say minus 20 dB line and let us say I am only 2 or 3 feet away from the source. If I am just 2 or 3 feet away from the source then the relative sound pressure level is fairly close to whatever I have for a room which has no walls because this point on the curve is fairly close to this r equals infinity line. But as I move away depending on what is the value of room constant my sound pressure level starts becoming constant and it is significantly different from r equals infinity line. So, just wanted to show how r plays an important role in these calculations that is what this chart I will show you. For instance for this 1000 r equals 1000 line when I am at 20 feet then I am here where it is the relative sound pressure level is fairly constant. But if I for the same curve on r equals 1000 when I become get closer and closer and let us say I am only 2 feet away then this point is very close this point is very close to an open room response room with no walls. So, the next thing I just wanted to talk about is echoes and there is some sort of a standard definition for an echo what is an echo and what is not an echo when intuitively we all know that whenever sound gets reflected it is an echo. This is source which emits sound it gets reflected comes back to the listeners here. If the delta t between the original sound and the reflected sound when it hits the ear is less than 15th of a second then the perception of echo is not that great. If it exceeds 1 15th of a second then you say oh there is an echo there is some sort of a quasi engineering definition. So, it is like 1 15th of a second if it is delta t is greater than 1 15th of a second then you say that there is an echo. Now, in fairly large auditoriums not even large auditoriums even in moderate size rooms you hear this echo in auditoriums where the reverb time is in several seconds echoes will be there and they are always there, but the impact these echoes they have on the our understanding and perception of sound it not only depends on whether the ear is hearing the echo or not, but also it also depends on how strong is that echo in terms of SPL. So, if the difference of original sound and the echoes SPL is significantly large then even though that echo is there it does not have a very strong adverse impact on our assessment of the large. So, in that context I wanted to show you another chart. So, what you are seeing here is echo delay in milliseconds 1 15th of a second is about 67 milliseconds 67 70 milliseconds. So, on the horizontal axis you have echo delay in milliseconds and on the vertical axis it is echo intensity in decibels and this is relative to the original sound level. So, if echo intensity is equal to original sound level then what is the dB level difference between the two 0 dB. So, 0 dB line will be just on the top of the curve on the graph. So, and then you have different curves here. So, we will take one point let us say a delay of 100 milliseconds minus 10 dB of a difference. So, let us say this is minus 10 dB of a difference. So, that falls on the 10 percent curve what that means is that out of every 100 people who listen to an echo where the delta t or delay time is 100 millisecond and the echo intensity is 10 decibels less than the original sound 10 percent of the people will get confused 90 percent will be fine actually it is the other way 10 percent will be fine 90 percent will get 10 percent will be 10 percent will get confused and 90 percent will be fine. Now, if I increase the intensity level then I have a 90 percent curve and the decibel level is over 0. So, I do not know how they constricted above 0, but essentially as you increase the decibel level of the echo more and more people get confused. So, this also gives you some approximate idea how to ensure that whatever echoes you are hearing in the room they are below a certain threshold. So, that most of the people do not have a poor view of the sound in the room and then the last one is noise background. So, the noise background could be for instance in this room there is some fan have running in this podium there is some noise coming from this fan source it could be due to there may be power generator in the room or outside the room it could be an air conditioner it could be AC ducts sending in air it could be people walking outside the auditorium could be traffic there are so many sources of noise. And there are again some fairly good guidelines what kind of a noise level is acceptable because you cannot eliminate the noise absolutely and what is not acceptable. So, to do that if you go by the Berenek book what it says is that you have two step the step one identify what is your need. So, identify this parameter SC and SC is a speech communication you know speech communication number and there is a chart we will show that chart. For a broadcast studio where you have a person speaking or a musical instrument playing and that is being broadcast over a wide range that number is very low because you need very little amount of noise coming in from outside for a factory that SC number is fairly high. So, for instance again for broadcast studio that SC criteria you have to the SC number is 15 to 20 then you go to music rooms it goes up to 25 then you go to a conference room where people also chat while they are listening and participating still remains 25 then court rooms, libraries, small private restaurants, restaurants is 45 noisy factories are very noisy. So, it could be anywhere between 40 to 65. So, that is a step one figure out what is this SC criteria curve and then in step two then what you do is you refer to another table and you identify max SPL levels for each frequency or for different frequency bands you figure out what are the frequency levels which are permitted and this curve helps you do that. So, suppose you are in that broadcast studio you pick up this curve SC equals 20 and you say oh my range of frequencies which I am going to use in this room are 300 to 10000 hertz. So, my SPL noise coming out from the outside or unwanted sources has to be below this dark line. So, it is very straight forward, but these are like some sort of guidelines. Now, there are also dashed lines on this curve and the only time you use those dashed lines is when all or most of your noise is in this 300 to 4800 band. If your noise content is also in this particular band below 300 hertz then you stay with the dark line, but you can use this dashed line if most of your noise is above this 300 basically what it means is that since your most of your noise is coming in that higher frequency range you can have lower noise floors for less of you. So, that is some qualitative measures which you can use to design sounds. So, we have talked about reverb time we have talked about direct and reverb energy densities and how it relates to all characteristics. We have talked about room constant we have tried address the role of echo extraneous noises and in the next lecture we will try to cover some applications or whatever we will not definitely not introduce new topics we will try to cover some applications and you had mentioned. . . . . . . . . . . . . . . . .


The equipment is hung up and the lights turned off at the Chandler great season for BSU football back to back eight and three regular season records for Brent Folti and a program record 18 all conference selections for this year. I'm very excited the direction the program's going. That grouping of guys what you know and especially sticking with some some down times too with me in three and eight three and eight certainly those guys did a lot for the program and did a lot of great things for us. Good groups just reload and you don't have to really say much more than that as this next guy in and you plug them in your goal. I hope that plugging in and that reloading goes smoothly to be honest with you and I think it will surprise some teams with the with the unit we can put out there. Here's a look at the list of some offensive all conference players Jordan Hine, Jacob Krause, Andrew Likowski and Brandon Schindler all first team on the north side defense and special teams John Vogler, Gunnar Olszewski and Nico Daniello they highlight that team on the defensive side they're all first team all NSIC. If you've enjoyed this segment of Lakeland news please consider making a tax deductible contribution to Lakeland Public Television.


We are pure potential, infinite possibility, singularity, this earth simulator being a manifestation of that. One of infinite possibility being explored by singularity using consciousness as the power to know enlightenment. Awakening is the realization of this. I and all this is the ineffable absolute when you've deconditioned from all separation and you relax into the truth of being that pure potential, that singularity at play with itself in this earth simulator manifestation. You surrender into the divinity, you have faith in the freedom and perfection that it all already and always is. So much joy, so much peace, so much gratitude and so much non attachment as the separation deconditions. The non attachment kicks in and you can truly shepherd reality awakening from the purest place possible rather than acting from the place of wanting to be seen as a separate person to validate all of the conditioning. You come from the place of pure potential, from the place of the singularity and you see everything as that. And you hold naturally, abide harmoniously in that very empty infinitude, in that very awakened state and the shepherding, the stewarding, the service from there is unparalleled. It's the purest, it's the highest total non attachment, total deconditioning from separation is the goal. Total abiding awakening as the one intelligence at play with itself locked in, being very vigilant as the catalyst appears of when that separate conditioning arises. And to very lovingly, radically accept and love it exactly as it is. And just with that awareness, love light and the surrender, it dissolves and further and further we lock in that pure potential, that conscious singularity. The most simple is to slow down. The very act of slowing down is in itself trust, faith, conviction, surrender.  You stop perpetually, habitually overlooking it to try and get peace and happiness out of objects and experiences and relationships and substances. As you slow down, you also are able to more frictionlessly navigate the deconditioning of separation. So you slow down and what used to be a trigger that would come and you wouldn't even know, you wouldn't be conscious of how it would create a sensation that would then trigger this big web of conditioning that it would then pinball around creating so much suffering. When you slow down, you watch as what used to be a trigger come as a sensation that dissolves into emptiness immediately you're liberated from it. You're back to that pure potentiality, that freedom and over time as you continue slowing down, you'll notice that web of conditioning of separation dissolves, you reclaim, recognize your true nature as God, the conscious singularity, pure potentiality, empty infinity, the natural state. All conditioning and separation is unnatural. It's insanity. We as the Creator created the conditioning of separation as a pressure cooker for awakening. So we radically love and accept the conditioning separation because we know that it is the very drill sergeant of awakening itself, the very sledgehammer of suffering that creates the turn inward. And we recognize how insane ego separation and all of that conditioning that we've built up over decades is as we reclaim and recognize absolute freedom, absolute perfection, the very natural state of knowing that this is all a manifestation of eternity, of the pure potentiality of the singularity that we are. And to truly pierce both emptiness and infinity is key as you pierce consciousness, awareness, pierce emptiness, infinity, and this leads to the abiding awakening, infinite love.


His Excellency Prime Minister Mr. Narendra Modi, Honourable Members of the People's Majlis, a very good evening to you all. Mr. Prime Minister, on behalf of the members of this House, let me extend a warm welcome to you to our House, the People's Majlis. We are honoured and delighted to have you here address our Majlis. Mr. Prime Minister, let me also congratulate you and the BJP. You have yet again received an overwhelming democratic mandate to govern over a billion people. That truly demonstrates the faith and confidence the people of India have on you. Mr. Prime Minister, India is one of the Maldives' oldest and most valued regional partner. Our relationship is older than history. We watch the same films, we eat the same food, we listen to the same music, we read the same books, we laugh and cry over the same things. We, Mr. Prime Minister, are the same people. Most historians and anthropologists place a substantial wave of human migration to the Maldives far back 2,500 years ago. And that migration, Mr. Prime Minister, according to Mahavansham and our own mythology, they all came from West India. Mr. Prime Minister, they came from Rajasthan, Punjab, Gujarat and Maharashtra. We should also note the trade and travelling ties between the coastal states of India, Kalkata, Kolkata, Kochin, Goa and Mumbai and the Maldives. It is in this spirit and recognition that President Honourable Ibrahim Omar Saleh has made India first policy. Mr. Prime Minister, I reaffirm our commitment to this policy. Mr. Prime Minister, we live in turbulent times. When Moscow to Gama rounded the Cape of Good Hope, like all South Asians, we then fell to colonial rule. Mr. Prime Minister, not Indian rule and never was that the case. India has never infringed on our rights for self-determination, but has always got us out of troubled waters. We always thank the Indian people and the government for this. Mr. Prime Minister, the Parliament of India and the people's mightiest has always enjoyed friendly and fraternal relations. I am confident that the India-Maldives relations would further continue to grow and strengthen in the coming years of your able leadership. Now Mr. Prime Minister, I would like to invite you to address the Maldives people's majlis. Mr. Prime Minister, I would like to invite you to address the Maldives people's majlis. Mr. Prime Minister, the Maldives, that is, thousands of people's majlis are not just of India, but of the entire world. Their beautiful and natural wealth has been the center of attraction for thousands of years. In front of the power of nature, the message of human spirit is a unique example. The Maldives have always been the source of the influence of the people and the culture. The Maldives are not only the source of the influence of the sea, but also the source of the influence of the Indian Ocean, the Pacific Ocean, and the Pacific Ocean. Mr. Prime Minister, today in Maldives and in this majlis, I am very proud to be among all of you. The majlis have decided to give me an invitation from the Maldives. After becoming the speaker of Mr. Prime Minister, they took the first seat. Your gesture has touched every Indian heart and increased their respect and pride. For this, Mr. Prime Minister, I would like to thank all of you and all of the members of the Maldives for their support and support from India. Mr. Prime Minister, today I am the second Maldives. For the second time, I have been the witness of the majlis' historic event. Last year, I was very happy and proud to be part of the National Assembly. People were excited to win the Maldives. There were 4,000 more people who were excited. Their strength and confidence, courage and determination were the basis of the victory. That day, in Maldives, I felt the energy of the Maldives. I had a romantic experience. That day, I saw the support of the common people towards the Maldives and Mr. Prime Minister, I saw their love and respect towards the Maldives. And today, in this respect and respect, I would like to thank all of the Maldives. Mr. Prime Minister, this Maldives is not just an example. This is not just a gathering of people. This is the energy of the Maldives. Where the country's power is in your thoughts and voices. Here, your thoughts and voices change the dreams and hopes of the people. Here, different thoughts and voices change the world. For development and peace, the Maldives changes the Maldives into a serious state. Just like a few months ago, Maldives people gathered together and formed an example of the world.  But Maldives showed that victory is the end of the people. This was not an ordinary success. Your success is an example and an example for the world. On the success of the Maldives, the most proud and happiest person could be, Uttar Swabhavi. Your greatest friend, your greatest neighbour of the river, and the greatest people of the world, today, I would like to say with all my heart that in Maldives, for the strength of the people, India and every other country will be with you and will be with you. Mr. Attaksh, India has recently completed the biggest World Heritage Site in human history. This was not just a challenge for the Indian people, it was a mega-festival of the World Heritage Site. More than 2 billion people voted for the World Heritage Site. They gave a lot of support to the development and development of the World Heritage Site. Mr. Attaksh, the main mantra of my government is the support of everyone, the development of everyone and the trust of everyone. Not only in India, but also in the world, and especially in our neighbouring countries, is the foundation of my government's foreign policy. Neighborhood first is our practice and in neighborhood, the practice of Maldives is very self-sufficient. That is why today, I am not the only member of your community. In the last December, the President of India, Sholini, made his first Gantab. And now, the Prime Minister of Maldives, has brought me to Maldives on my first foreign trip. In this trip, I have been rewarded with the greatest respect of your country for foreigners. I have no words to thank you. Mr. Attaksh, the relationship between India and Maldives is even older than history. From the time of independence, the waves of the sea, both of our countries have been making waves. These waves are the message of friendship between our people. Our culture and culture is full of the strength of these tensions. Our relations have been blessed by the depth of the sea and the star. One of the oldest monkeys of the 20th century, was Lothal, my home state in Gujarat. Before 2000 years, the sea and the sea of Maldives have been the business of Maldives. Maldives have been the love of the children of India. Sangeet, Vaadya, Yantra, Rasmo, Rivaaj, all these are the best examples of our culture and culture. Take the language of Dibe only. It is called the week in India. See the names of the days in Dibe only. Sangeet is Aditha. This Aditha is associated with the sun. Somvar means Monday. Dibe only means Home. Som means Moon. And the word is called Dibe only. In India and the world, and in Maldives, the world is also called Prasik. What is the meaning of the world? It is like a language. It is spread from here to heaven and hell. For Dibe only, it is the word of the sun and the moon. It is very long. If you keep saying it, it will become a word. But, if I say it in Sangeet, it is clear on every step that we are the flowers of one flower. That is why it is important for us to help the Maldives in the development of the language of Dibe only. It is important for us to help the Maldives in the development of the language of Dibe only. That is why I am very happy to be a member of India today. A mosque like this, which is made of coral, is not in the world outside Maldives. The Maldives, a year ago, invented the architecture of the mosque in the name of the sea. It is known for its respect and understanding of nature. The issue of the field is that today, on the social level, the clouds of production are scattered. In such a way, the conservation of this building of the mosque will not give the message of the protection of our environment to the Maldives. In fact, in the Maldives, independence, democracy, happiness, and peace, India, with the Maldives, has been standing together with the Maldives. Whether it is the event of 1988 or the natural development of the 2004 tsunami, or the water crisis of the state, we are proud that India is in every difficulty, in every effort of yours, every time, every step is standing with you. It has been with you. And in both our countries, after the development, independence, and stability, the rich people have opened a new path for the common people. In the last journey of the 16th National Party, the economic package of 1.4 billion dollars was supported. It has been highly developed in its development. For the development of the Maldives, the focus is on the common people of the Maldives. The economic development whether it is about water and cleaning or infrastructure whether it is health service or education. The basis of the support of India will be the people of Kalyan and the needs of the Maldives and the practice. Our social impact projects and other support of the Maldives are touching the lives of the people of the Maldives and making their lives better for your efforts. In the Maldives for the people of Tantra and Samradhi India will be a strong and strong co-founder. And our co-founder will strengthen the hands of all the people of the Maldives. Mr. Adyash the relationship between the countries is not only between the governments but also between the people. That is why I give all the tips which will increase the number of Maldives I am very happy that today between the two countries I understood the service. I am also happy that for education, health and business the Maldives who are coming to India have agreed Mr. Adyash as we move forward between the two countries we have to take care of the current situation and the serious challenges and the serious challenges. Disparency is very important in the world and in the world and in the world there is a lot of issues but I would like to mention those three challenges which are most important for the two countries. Mr. Adyash the terrorist has a big challenge in our time this danger is not for one country or one region This is a threat for the entire humanity. No day is like this. When the terrorists show their fear in some place, they don't take the lives of the innocent. The terrorists either have their own bank, no bank account, and no factory of the terrorists. Yet, they are never short of money and terrorists. Where do they get all this from? Who gives them these resources? The state sponsorship of terrorists is the biggest threat. It is a great misfortune that people still are making the mistake of sending good terrorists and bad terrorists. We have lost a lot of time by studying in Krutri Madh Vedas. Water is rising up from the sky. It is important for all human rights to be united in order to deal with terrorism and radicalization. Terrorism and radicalization are the biggest threat of the future of the world. In the same way, the world is in danger of climate change. Why can't the world be in danger of terrorism? I, the world community, and all the other countries will expect the global conference to take place within the time limit so that the benefits of the loopholes can be considered beneficial to the terrorists. If we delay further, then the future generations will not forgive us. Mr. Adarsh, I have mentioned about climate change. There is no doubt in this. We have been living this truth daily. The river, the river and the climate are influencing our farmers. It has become a threat to the future of the country like Maldives. The pollution is increasing due to coral reefs and the sea. Mr. Adarsh, in the depths of the sea, the first cabinet of the world was concerned about the dangers of climate change. Who can forget this? Maldives has put in a lot of effort for sustainable development. I am happy that Maldives have joined the International Solar Alliance. The Indian Union has put in a lot of effort to bring the countries of the world together. There are many benefits of climate change which are possible due to renewable energy. By 2022, India will be able to achieve a 175-watt renewable energy in the future. And now, with the help of India, the roads of Mala and the 2,200,000 LED street lights are not available in the world. And 200,000 LED bulbs have come to the houses and shops of Maldives. They will save electricity and expenses.  India is concerned about the environment. We did not help them to solve their special problems. In fact, the whole world raised their voices. But, if we think that only technology will solve this problem, then it will not be right. The role of climate change is in the principles, in the thought, in the life. And it is not possible to change the society. In the past, India was believed to be the earth and we are the earth. If we consider the earth as our mother, then we will not respect and protect it. We will never harm it. We must keep in mind that the earth is the source of the future generations. We are not only its master, but also its trustee. The third topic is Hinduism, Indo-Pacific. Indo-Pacific region. Where our society is the region. Here, 50% of the world worships the people. And religion, culture, language, culture, politics, and the culture of the arts. But, this is the region. There are many unanswered questions and unsolved problems. Indo-Pacific region is our life. And the way of business is the same. In every sense, it is the key to our society's future. And that is why, in June 2018, while speaking in Singapore, in the Indo-Pacific region, for a single reason, to establish a peace agreement, I joined everyone to work together. By doing this, there will be trust between the countries. And the rules and regulations, and multilateralism, will be established. Adyakshmahodaya, four years ago, for the Mahindamahasaagar region, Sagar, S-A-G-A-R, this vision was inspired by the revolution. The meaning of this word, means the ocean in Hindi, Sagar, that is, security and growth for all in the region. For us, it is the blueprint of the Indo-Pacific region. I would like to add again on the principle of Samavasita. I would also like to say, that India, will not only use its power and strength for its security and security. In fact, in the development of the strength of the other countries in this region, in the region, for their personal support, it will only do so for the security, security and prosperity of all the countries, for the future. Samarth, Shasakta, South Asia, and Indo-Pacific region, will have peace, development and security in the whole world. Mr. Adyaksh, in this vision, and in the blue economy, India will not get a better share than Maldives, because we are also a community, because we are friends. And there is no small and big weakness and strength in friends. The peace and prosperity of the neighboring region is full of trust, trust and support. And this trust comes from this vision, that we should take care of each other and take care of the both of us, both of us, and be more secure. This is only possible when we in good times and even in bad times build trust in each other. Mr. Adyaksh, our vision and our vision are less than a family. That is, the whole world is a family. The young man, Mr. Adyaksh, said that there is no limit to extending our service to our neighbors. India has always shared with its neighbors and especially with its neighbors. That is why India's development is to support people. It is not and it is not and it is not to increase their independence or to put a lot of cost on the shoulders of the future generations. Mr. Adyaksh, this is a time full of challenges but challenges are inevitable. Today, India and Maldives are inevitable. Friendship is the foundation of our people's social and political accounts. In our region, peace and stability is needed to provide security and to work together. To keep the important sea and land safe. To defeat terrorists and to keep the power of terrorism and terrorism and to bring necessary changes to the economy and to our people it is always expected that we will not allow this opportunity and we will take full advantage of it. In this effort to use our Maldives and to strengthen our independence India is inevitable. This is the first time I am coming between you. You gave me the opportunity to come between you. Once again, for this great respect thank you for your friendship. Thank you very much. I would like to point out here is the people that are crucial to building lasting relationships between our two countries. These elements are very visible in our relationship with India. Although very short I am sure your visit will raise the relationship between our two countries and two legislatures to higher levels for the constitution as a token of appreciation for India's defence towards the Maldives. Mr. Prime Minister, you may have well be aware the first constitution of the Maldives came into force in 1932. The people's modulus was born out of that constitution and has continued to function as an institution since then. But Mr. Prime Minister, I must mention this copy that we present to you today lacks the seal of the Den Sultan. The copy with the seal was rather enthusiastically impaled by a strong Malay mob less than a year after its ratification. We wish Maldives India relationship a happy prosperous and a productive journey into the future. Walaamdullahi Rabbilalamin Majlis Nimuni.


Hello and welcome back here to the channel. I'm Eva Rabbit as you can see on my monitor We have my a 90 which was released to the patreon's This is the final time you guys will see this car here in this current form This car is going to be going through a full rundown change as it is going to become Addie's new pro car I tend to Maddie is going to be running this a 90 this car is going to get a whole rework. We're doing wheels Obviously rear mount radiator system full swapping it over to left-hand drive doing some lighting effects and doing some material work So this car is going to be getting the full ESda prepped car treatment which I will be doing live here on the channel Could be going live tonight for an hour or two starting the modeling process starting some changeover thing So you should guys hit back to channel tonight if you guys want to see some modeling in 3ds max live on this a 90 as we convert this thing over To a full blown comp car It's already a mild comp car, but we had need to add a firewall and stuff like that So make sure you guys follow me on social media all the transcription box below.  So let's get to it So we're here on Pacific Coast Highway. We're gonna do one final farewell in the a 90 like I said We got Nate here on comms.  Like I said, this car is gonna be going a full competition build So this car was released to my patreon This is probably gonna be really fast That is very very quick and hard to tell from road to dirt burn right there For any of you guys out there who are do racing and drifting The difference of trying to go fast in a drift car. Oh, yeah, it's like fun stability. It's a nightmare All over this wheel right now. Oh We're dead. Oh, we're dead. All right. Oh This last one we got it. We saved it Don't ask me how I have oh, I see a lot of twisties up ahead So yeah, going trying to rip drive a drift car not the easiest thing All this road is enforced by radar good thing we have a closed off This highway would be great in a really fast car. I mean a hundred eighty six in the car. It's scary actually I Can't see it no more can't see what Your screen. I hope I hope you're still recording. Yes. Oh, man.  Oh Balls I am dead. I Died oh man this car would have already been written off gosh Okay, this was probably a bad idea. Sorry Annie. We're destroying your car before we're even building it like a sense of good reason You know to rebuild this car, right? Now we get into some drifty turns Or anything like this Dragon Yeah, yeah, I got it. I got the stream back off of mine 25 miles an hour. Oh, okay. I don't think so. I like when I see the signs though How long is this road? Oh, it's extremely long Is this like the official Obviously like probably not laser mapped but I think it might be oh man, and I know there is a way to get actual Traffic as well on it. I haven't figured it out yet. So if you know how to get traffic, let me know because it'd be nice to be kind of go through this traffic Yeah, I'm very curious if this is actual because uh, I'm I'm not a pacific guy. I'm an east coast guy So we almost put your car on the drink I heard there's some sinkholes out that way so I don't go in one of those Don't even this is the first time I've driven this room. So I have absolutely no idea where I'm going This is all fly by the seat of what I can see How's the road feel? Oh, it's very bumpy Oh Can't you tell now it's smooth right here? I probably should go that was rock I probably should have driven this course before I did this but you know, this is a whole like First impressions Car is going to be so good when it gets a full framework left hand drive rebound radiator full active and working front rear suspension um Then of course addy physics and probably a really awesome power plant not sure what power plant's going to be going in it But like I said, we'll be doing that live here on the channel tonight for about an hour or two depending on uh cool time constraints But uh, we'll be live doing some modeling on this car So because we're gonna learn a little bit of modeling or just see the build process of building an ESD aspect car Let me know down in the comments if you uh Are gonna be at the live stream tonight Another thing throw in the comments What are your guesses at he's gonna do on a power plant? Yes, he's gonna stick with originals Toyota Is he gonna go with a beamer motor saying is this is like kind of a beamer car What's he gonna do? And how how soon is it gonna be before adi hits a rock? I'm sure if I'm sure when adi watches this he's like, what did you do to my car? Seriously, sorry adi I'll fix it. I promise. This was just driving it home from the dealership, man Yes, was just driving it getting the bugs out before we pull the revamp and now it needs every single quarter Everything's been like smashed It's all right you can carbon-cavlar replace everything It's okay. I'll probably blow the motor before the end of this run So I think adi's putting a new power plant in it. I'm not sure if he's going v-motor, 2j, 1j, v8 What goes? Go bigger go home But I know I'll probably be 12 Oh man, it will be probably 100,000 horsepower Like an on-drift car 20 mile an hour My gear drop, valley co-driver would be telling me don't cut there and I almost cut off the cliff, you know for First time out, I'm actually kind of impressed that I haven't died as more You haven't gone in the water once which is what's surprising me I mean I've crashed, I've hit the wall really hard which probably would ruin up the car, but you know what?  Oh, did I? Bummer Sorry, I went airborne and did like a 720 Okay, I was wrong. He did spin. He is an amateur. I am am a twa. Oh Careful rocks slide ahead 15 miles an hour Oh Geez, yep, that's why you go 15. Oh Rookie I made a rookie bow.  I probably would be would be in the water like first quarter mile this is this is riding roads that have never Been on before and this aggressive speed is like something else This looks like a nice place you could probably get some nasty pictures here too. Oh, I need to fix those brakes That was a hard lock up Now when you first started on this track, was there a left hand turn to where you could go up to another location? There was there's actually a couple spots that you can go in different spots for what I'm noticing I've never explored this whole map and this map is really I don't even think I even got to The end because there's a southbound and a northbound I think and I'm on southbound Do I see my new roadside? I would guess southbound seeing if the water's on your right. You're on the pacific Rest stop it's gonna know I don't want to work with me. What is up here? It's a parking lot. It's very cool. If I didn't hit that There's another there's so many different roads. You can spin ours on here Oh, there's another body panel I'm gonna have to replace So I think that will do it here for this little tribute to this a 90 a little goodbye farewell to in this current state But it will be coming out full And in a much more aggressive state to make sure you come in for the live modeling tonight as well as follow the channel because we'll see the progression and the testing of this car as well as the release and testing of My potential new chassis as well as a very Oh for a practice pro car for him Which is also going to be coming to the channel and being modeled as well It's gonna be so much So a lot of modeling, but also horizon 5 it does come out To tomorrow So make sure you follow the channel because it'll be a lot of horizon 5 content that builds and things of that nature I think we're back at the beginning. We did. We are back at the beginning How can you go back to the beginning if you're on a self down run? Apparently it's a big loop Not a pacific road Perfect time to end this now to make sure you follow me on all social media all to find the description box below As always, I think guys come back and watching. I mean we'll have it. I'll see you guys on the track


Hello guys, welcome back to my channel. It is Drew here from Lone Fox and wow, I feel like I have not made a video in a minute. My Lone Fox room, my studio room, which is of course what you guys are going to be touring today, just took a little bit longer than expected and I kind of made some changes last minute and I was like, I want to push the video back just a little bit. Besides that point, thank you guys for being so patient today. It is worth it though because I'm going to be sharing with you guys a room in my apartment that I have never really shared with you. You guys saw it when I moved in in the empty apartment tour. It is my Lone Fox studio and I'm so excited to share it with you. So that's basically the premise of what this video is. However, I have such an exciting announcement to tell you guys quickly before jumping in. I've never really announced something in a video before ever, so I don't even know how to do this. Like, am I supposed to build dramatic effect or like what exactly is basically, I have an app. That's what it is. Like you guys, I have an app. I've been working on the design and development of the Lone Fox app for about the past four and a half months and it has been such a fun creative process. There were definitely some high points and some low points, but everything has been fleshed out perfectly. It's been in the testing phase for a couple of weeks now and I cannot wait for you guys to download my app. It is 100% free and is absolutely available on every platform, whether you have an Android or an iPhone, you can find the app. All you have to do is click the link in the description box below to download it or simply search in the app store for Lone Fox and it will pop up. The app is basically just called Lone Fox. I'm going to move a little over to the side here so I can pop up some screenshots for you guys because me holding my phone really doesn't do much. So I'm going to pop them up over here, but it is available today for download. It actually launched today, which is super, super exciting. But let me show you guys some of the features once you download the app so you guys can kind of get an understanding of what you're going to be able to get out of it. So when you open the app, there's going to be four main tabs on the top. There's going to be the shop tab, the videos tab, the blog tab and the exclusive tab, which is super exciting. So the shop tag is exactly how it sounds. It is my entire online store in app form. So I absolutely love that you guys can now shop, see all of my new arrivals. You can also, if you turn on the notifications for the app, you can get push notifications when items come back in stock or if I want to send out a push notification, let's just say I get new holiday arrivals or like I restock something that you guys loved. I can get send you a push notification for that as well. So there's a lot of super exciting features when it comes to that element of it, but basically my entire shop is on here.  There's also a videos tab. Now the videos tab is not going to have every single video I've ever done on my channel. This is more so to highlight like the past couple of months of videos and I'll be adding to it as I go because me going back and adding every single video within this app would just take so long. Um, but I do love how I designed this page so much. You guys can see all the different features on here. There's a ton of different videos. Some of them are kind of made into little GIF formats where you can just kind of see a little preview and then some of them are just thumbnails. So this is where you can browse my new uploads. So that's basically the video tab. A lot of my YouTube videos will be housed in this section. And then also the blog section is exactly how it sounds as well. You can tap the article below to read the post. So all of my blog posts are on the app as well. Super exciting.  So that's a blog section pretty understandable as well. And then we have the exclusive section. The new follow rivals is an exclusive video, but the tend to core hacks I swear by is not an exclusive video. That will actually be replaced with a video I'm uploading today for you guys. So when you download the app, you're going to see another video in here. And it is actually the full makeover of this entire studio room. I had never planned on filming the makeover of this process. So I kind of started working on it throughout the months. And then as I kind of reshifted my whole brain decided I wanted to go with a different concept, I started filming the process like little bits here and there. And I combined it into an exclusive video only available on the app. And I don't want you guys to think that I'm not going to be uploading content on my channel anymore. That is absolutely not the case at all. But any additional content that I want to have just like live somewhere else is going to be right here. So I'm still posting just as normal here, but I also want to like work even harder to post exclusive content on the app just for so you guys have extra stuff to look at. Basically, the app is just a one stop shop for everything loan fox. You can watch my videos, read my blog posts, exclusive content and shop the entire site over there. So it's definitely an app I think everyone should have on their phone. If you do enjoy my content, I would love for you guys to download it. And also one other thing that would help me out so much is want to do download it and kind of browse it a little bit. If you can go back to the app store and give it a review and a written review, that would be awesome. If you guys can like leave a rating five stars, of course, it's the best, but if you don't have the five star experience, let me know and I'll fix it for you. And again, the makeover of the studio is within the app. So you got to download that and go to the exclusive tab and you can watch an additional video on how this kind of came to be. But let's go ahead and jump on into the studio tour. Everybody and welcome to the Lone Fox Studio. This is such an exciting space for me to actually share with you guys because I have never shared it with anybody. The only person that has seen this is Marie, who is behind the camera currently. So this space has been kind of like a work in progress since I moved in. And as many of you guys know, in my old apartment, I had my bedroom and my kind of workstation in the same exact space. I'm in that space. I tried to maximize my storage. So when I moved, I knew that I needed an additional kind of like storage room because as many of you guys know, if you are DIYers or crafters, your supplies build up pretty, pretty quickly. And if you do this as a job like I do, which I love doing so much, of course, I need a space to kind of work out of. So this is my Lone Fox Studio and I'm going to be giving you guys a 360 tour of the entire space. So come on inside and I guess we'll just start over in this right corner over here. So when you walk in, of course, the door is going to be right here. And then to the right over here is just a little storage section. I've actually had this unit right here for quite a while. This is from Urban Outfitters. If you were curious, it has a lot of my smaller items in it. So things like nails and screws, spackle, hot glue. I'll just give you guys a little bit of a look inside. So as you can see here, I have glues inside of there. This one is just miscellaneous. It just has like kind of like my junk drawer, if you will, lots of pens and pencils and things like that. This storage piece is really nice because it has so many different drawers and the drawers are pretty substantial. So there's 15 different sections throughout here, as opposed to having like four larger drawers and like a larger dresser unit. I like how this really divides everything up for you. A lot of my smaller items are kind of housed in here and I have larger storage on that wall, which I'll show you guys in just a little bit. So then right on top of the storage unit here, I have a couple of these Joann's crates and these are amazing. The thing I love about these is that they're only like 10 bucks and you can use a coupon on them normally so they get even cheaper. They could hold quite a bit in here. So a lot of my larger tools are in here. For example, I have like drill bits, which of course won't fit over on my pegboard. Just things that I access pretty often that I don't have space for on this wall behind me are inside of here. Right above that is a memo board. So you guys saw me DIY this with McKenna. I created this out of a frame that she had got me and I really wanted to start posting some inspirational kind of photos up here, but I just added it this morning. So I still do need to print some pictures out. And then moving over to the right side, we have a couple of my tripod. These are what I used of course to film a lot of my videos and then over to the right again, this is a really new, exciting section for me, I guess you could say. It is a leaning pegboard. And also I totally forgot to mention you guys, we painted the wall in here. So the wall in this room is painted Grecian Green by Benjamin Moore and we painted not only the wall, but also the baseboard, the door frame and the entire door just because I felt like it added like such a vibe to the space as opposed to just having the wall. This is a pegboard that I created and I actually did share with you guys how I made this over on the makeover video within the app. So if you watch that one, this will actually be in there. It's just a pegboard and I created like a base for it. And then I painted it white and then I got pegs of course and just hung a lot of my most used tools on here. So I have my scissors, tape measure, these are just screwdrivers, a ton of tools that I use in all my DIY projects that I wanna easily access. I wanted an area where I could see everything and just like if I need a hammer, I already got the hammer, you know? Like it's just right there. So underneath the pegboard, these are all of my faux florals. And some of you guys may be like, why do you have so many faux florals, Drew? Well, I have a lot of faux florals because a floral gifted me a ton of them. And I absolutely love using these when I take photos for my website, kind of putting them in this basket and having them out and about as opposed to shoving a drawer, would just kind of add a little bit of color to the space as well. And then to the right of the door is my big storage dresser. This is just an IKEA wood Tarva dresser. It's like a six drawer dresser, I believe. And I put these really cute little ceramic knobs on there, which these are from Amazon. I'll make sure to link them for you guys below. They were actually an option for Marie's dresser in her room. And inside of these drawers are just more tools and supplies. So this is my camera drawer where I have a lot of my different camera supplies, whether it be lenses, microphones, things like that. And then this drawer right here is a lot of my woodworking pieces, I guess you could say. So a lot of like wood and I guess a couple of metal rings as well. And then we have even more wood items down here. So just things that are basically crafted from wood or that I use for my wood projects is in there. And then above the dresser is kind of like my little gallery section, I guess you could say. These are just prints that I've gotten either from brands or that I've purchased or that some of you guys have actually made me. I had an incredible follower actually send me this really cute Fox print and I'll put his Instagram on the screen for you guys. I just absolutely love this. And I wanna find a frame for it so that I can hang it up. But it's currently just kind of sitting over here and I have some of course DIY artwork that I've made that I just wanna use in a makeover or just kind of like, you know, use in a future project. And I have a couple of lamps over here as well, including this really cute one, which will probably end up going in my bedroom makeover when I do that project. And then right over here, you guys, there is a window and there's two windows in this space. There's one right here. There's one over on the right side as well. And these just have some curtains from Target. I added a new rod up here kind of raised it a bit just to elevate the height of the walls and just make them look a little nicer.  So I really wanted to maximize the light so I didn't want any light blocking curtains in here at all. And then we are getting to the fun part here guys. So this is my workstation. Now I mainly film a lot of my videos either in the kitchen in the little breakfast nook area if it's natural lighting, but if I wanna film at nighttime or if I have a specific project in mind, for example, I filmed the entire Halloween tutorial in here because I really wanted to have an orange background and kind of make it a bit more festive. So this is a space where I can apply different papers over the top and I actually have a whole filming light setup here which my good friend James helped me with. He is a master with lighting. So he helped me get this light here and then I already had this one and I set it up. There's actually normally a big huge diffuser over the top here and then the camera actually mounts right here and points directly down. And then I can see myself on the monitor and see what my hands are actually doing. So I have a facing down camera and then I watch my hands and like make sure that I'm in frame over on the monitor here. So it's a whole kind of like rigged setup. There's a lot of wiring going on back here, but all around it's such an incredible setup, especially if you wanna film at nighttime it gives you such a pretty look. The table here is from Amazon. You might notice there's also a coffee table underneath the table. This is the old Zara coffee table and I use this to film on sometimes too because I love the wood texture. So I kind of just keep that underneath there and I pull it out when I'm filming and kind of just like put it randomly in the room. And I have my little desk chair here with the fox pillow on it because why not? It's so cute.  And this is my main storage wall. I guess you could say over on this wall I have two humongous bookshelves. These are well they're not bookshelves, they're more like garage industrial storage shelves. These are from Amazon. I'll link them below for you guys. And then on all of these shelves are a ton of my supplies. So I guess we'll just start, I guess we should start over on the left side and kind of work our way to the right. But you guys might not be able to see over in the corner here are a couple of rugs which I've used on past transformations. And then I've either swapped them out for a new rug or I want to use them on a future project. So I have a couple of rugs over here and then we're moving over to the first storage. This is definitely the most again, random storage I guess you could say. I have like baskets and trays here. These are my Celeste base collection from my website which just came back in stock. So if you guys are wanting some of these pieces like this cute donut vase, it's back in stock over on the website. This was like my best selling collection. So I really wanted to have a lot for myself because I want to use them in people's makeovers. And I wasn't sure if I was going to get them again but they are back. And then underneath here, I have a lot of crates. Again, these are the little crates from Joanne's which are only like $10 to $15. This is my DIYable crate. So anything that I have purchased that I want to actually DIY, whether it be a thrift flip or just anything that I haven't yet created or I've over-purchased, I kind of put in here. That way I know which ones I have to work on. And then inside this basket, I have some trays and picture frames. So there's a metal tray down here. We have one of the trays for my Amazon video. Then we have table legs right here which is a random one to have but I have a lot of table legs because I love swapping those out.  Again from Lone Fox. I love these. I wanted to have these on hand as well. Just in case I want to add a little bit of dimension to a space. And then up here is a ton of random decor you guys. Everything above this entire shelf which is a bit challenging to see is all decor that I've either purchased, bought, used in my past room makeovers or I want to use in future room makeovers. And a lot of it's actually thrifted or from my website. So I kind of just store it all up there at a tiered level so that way I can see the tallest to the smallest items and kind of see like what I can use. So I just got this moonshine container actually. My dad told me that's what it was at the Goodwill but I thought it was such a cool vessel. So I bought this just with no purpose at all but I want to keep it in case I want to use it in a future project. Over here I really like this section because I love the warmth that all of this wood gives off. There's a ton of storage bins here. I'm just going to go through these pretty quickly with you guys. We have spray paint, spray paint and normal paint. So this is colored, this is neutral and this is just like your normal acrylic paint inside of there which is kind of all organized. And then above that I have three full bins of yarn which probably is not normal but I think it's fine. So right over here is all my colored yarn so anything that has any form of like saturation to it and then everything else in these two bins are both neutral yarn. So clearly I need to buy zero neutral yarn because I have two full fricking bins of it which is probably not normal. Then above that this is all hardware. So cabinet poles, drawer handles, curtain rings, whatever it might be that's kind of like hardware related is in this bin. And then right here are all of my strings and cords. So hemp cording, elastic cording just like your traditional cotton rope. And then moving to the right side these are all rolls of stuff. So I have my cane return from the local cane shop all on top and then underneath here these are like peel and stick marble contact paper. I have some wrapping paper under here, some wallpaper, peel and stick wallpaper. And then down here we just have paints. So gallons of paints that I've used for past room makeovers that I want to continue using and I just don't want to get rid of. And then I have my printer down here as well. So that's kind of like this whole shelving system. And the last section of this room is just the corner to the left side of the door here. As you can see, we have another door back here. This is actually the door that was in the dining room area. When I painted out that navy blue color we took this off because the door would not close. So it's just here temporarily. And then over here I have had these storage systems you guys if you remember one of my past videos where I shared my old craft room with you when I was in high school I've had these since high school. So I am still repurposing them. And in here is a ton of randomness because most of the time the door is open here and the door actually kind of hides this area, which I love. So back here is a ton of random stuff. I have a couple of design books. Like I have adhesive in this little bin right here random like construction adhesives and just things like that. I have a scale for my online store. So if I have like a item I don't know the weight of I can weigh it on there. We have command hooks and strips inside of here. There's resin and mosaic work like cement pieces in here. And then above I have even more faux flowers. And then right over here, this is all pillowcases like throw pillowcases because I tend to overbuy throw pillows and I turn them into cases if I'm not using them anymore. So those are all throw pillowcases in there. And then right down here are all of my paper rolls. I actually have like 10 more at my friend James's house right now because I was shooting products over there. But these are what I use on top of my table when I want to film the background. So I have like white cream, I have an olive green. These ones I actually bought for Christmas time. And then behind that are just a couple of random wall art pieces that didn't fit over in my gallery section. Oh my gosh, I almost forgot. I installed this light. You guys, I installed a light myself.  It was actually super, super simple. And James actually gave me this as well. It was from his new home and he got one to replace it. So I was like, that is so pretty. I want that in this space and I love it. I don't know where it's from though. So if anyone does definitely leave a comment below. So I hope that you guys enjoyed seeing my studio tour. And yeah, I mean, I don't really know what else to say. I'm going to film an outro after this anyways. So just stay tuned. And I guess I'll catch you in the outro section. But thank you guys for checking this out with me. So that finishes today's video. I hope that you enjoyed seeing my kind of like craft sanctuary. This is literally where all the magic happens, where everything behind alone Fox kind of comes to be. All my ideas are generated in here. A lot of my projects are very trial and error in here. And a lot of the projects are filmed in here as well. And I've never been able to share this space. And I'm so excited that you guys are able to now see it. And of course, on top of the really exciting video, I also launched my app. So do not forget to download it. It's available 100% worldwide, 100% free and on every single platform. So definitely download it, check it out. The links to download will be in the description box below. And don't forget to also leave a review. It would help me out so much, you guys. And I really appreciate all of your guys' support. This is such an incredible step for Lone Fox. It's just like, wow, I can never ever thought I would have an app. Apps to me just seem like something very challenging to develop, so I'm very happy to have one. So I'll catch you guys in my next one. Do not forget to subscribe and turn on that bell notification for my next video. And I'll see you guys next time. Bye.


with Heritage Preservation. This recording will be a little different than others. Our webinar on protecting collections during special events originally aired live on December 12, 2012. Unfortunately, the sound of that recording failed, but we're so fortunate because our original speaker, Barbara Heller, has kindly agreed to re-record. We also have a list of questions from our audience on the 12th, as well as results from poll questions that we ask. We also have to almost recreate that entire webinar right now. Before we jump into our topic, and as usual, let me start by giving a quick introduction to the community and these webinars. The Heritage Preservation is moderating the Connecting to Collections online community with the American Association for State and Local History and with funding from the Institute of Museum and Library Services. The site is designed and produced by Learning Time. Our online community is to help smaller museums, libraries, and resources quickly locate reliable preservation resources and network with their colleagues. In developing the community, we have drawn on many resources that were developed for this CDC initiative, including the bookshelf and the raising the bar workshops and webinars. Links to these resources are filed under the topics menu on the site and this recording is also there. On the online community, we feature a particularly helpful preservation resource and host a webinar related to it. All of these resources, again, can be found on our topics menu at Connecting to Collections.org. So today, Barbara Heller has agreed to once again record our webinar on special events. Barbara is the Director and Conservator of Special Projects at the Detroit Institute of Arts. Barbara, thank you so much. Would you mind just giving us a little information about yourself? I'm Barbara Heller from the Detroit Institute of Arts. I was formerly the Chief Conservator and I've worked here for the past, yes, about now, 36 years. So a good portion of my career has been at the Detroit Institute of Arts. Thank you. So things will be a little different today instead of seeing a chat box over on the left of people's comments since this is not exactly live. We have, right now, we've saved all the questions from the 12th webinar so they're all there and we'll get to them at the end of the presentation. On the 12th, we also asked a couple poll questions from our audience and we have saved those results as well. So we'll just quickly go through those and those were to get a better sense of the folks who were there with us and our audience. We first asked about our institutions and their facilities if they use them for rental or special events and, of course, the overwhelming response was yes occasionally and yes often. We also asked, does your institution currently have event policy that takes into account collections care? A large number said no, but we also have a great number of people who said yes or they are currently working on it. We then asked our audience where rentals were commonly held. Not surprising, the most common answer to this was throughout the facility in both exhibit and collection spaces. Two more that we asked. We asked what types of events and we're really all over the map and the most interesting I think was the most popular response was educational programs put on by the institution. And the final question that we asked was about maximum occupancy. We had a lot of folks that day who had some larger spaces. Our most popular answer was 200 or more. I'm going to go ahead and get rid of this and, again, we'll get to those questions on the left at the end of the presentation.  So these are the topics that I'm going to go over briefly. So a lot of us have a varying amount of institutions as you saw from the poll and the Detroit Institute of Arts happens to be one of the premier art museums in the United States. It's quite a large institution and just if you look at this, you can see how many spaces we have. It's quite a large facility. It's 658,000 square feet. So we do have events in a variety of spaces. One of the things that I'm just going to sort of introduce you to some of our spaces and I don't think that everybody also understands it's not just what is an event. An event can be a variety. It doesn't have to be just a food event or a gala. Here's our Fort Great Hall. It's quite a huge space. Up with that is also we have tours and correction tours and you can see in the bottom right we also have tensing demonstrations. So all of our spaces are sort of multi-use and we're probably not alone. This is Rivera Court. It's over 4,000 square feet, three stories high of painted murals by Diego Rivera. But that space is one of our most popular spaces and it has multi-use. We have artist demonstration as you can see. We have music, storytelling and performances as you see in the upper right where there's a Native American dance presentation going on. This is our Prentice Court. Again, it's three stories high. It's actually a new space connecting the new and one of our things and then a new South Wing edition. And that happens to be a multi-purpose space. It is a group entrance for schools and tours. We use it for dining. And also on Friday night it happens to be the place where the Chess Club comes. You can see both of those uses here at the Chess Club below here. We do have some spaces that are dedicated for meetings and receptions. And this is our Crystal Gallery. It's a cafe used during film screenings. We have business meetings there. It has its own serverry, which is great because then that's the only thing it is really used for. We have our original Kresge Court that during the day, the original photo, it is used for a cafe. It has its own serverry and is also near the kitchen. But it is also, it's a music bar or brunch with Bach on Sundays. And it is also used for events in the evening. During our master plan renovation between 2000 and 2007, we renovated and added a food dock with direct access to the kitchen, added a basement kitchen, and a brand new cafe. The cafe was designed as a really large space divided into three. So one area, which would be the DIA cafe, could be 150 to 200 people for strolling or sitting. And then there was two smaller spaces, dining room A and B. Dining room A holds about 25 to 30 people and B 40 to 75. If we combine the three spaces, we can have 300 people. And we do use that for events. And as you can see, we're now moving chairs out, setting up and putting on tablecloths for an evening event. But, and the walls move into a closet. So it was a purpose-built multi-use space. However, we have about 12 different spaces. I showed you some of them where we do a varying capacity from small to very spacious areas to holding up to about 500 people. What we do is, and this is on our website, we talk about all of our different spaces. We do have policies for setting up events. And basically what we want is we have an iron shaft. And so people, of course, want to do events in other spaces. So as part of being a chief conservator, we set up food service guidelines and building usage for our catering staff. Because anything and everything we do in a building can affect the safety of the artwork. And therefore, we develop these guidelines with our food service, with our caterer and with the people that supervise them. And it's been a great partnership. Here are our spaces during events. And you can see our great hall. We've got seating for 450 people. Our Ribera court set up for a cocktail party. The Prentice court set up for dancing. And our Kresge court that set up just recently for the opening event for our Fabergé exhibition. So we established these policies to ensure the safety of the collection during private events. The museum is available for corporate nonprofit and social events. We do not allow events of a religious nature. So no wedding ceremonies, even though you can have a wedding reception for up to 150 people. Some of our guidelines are basically, we don't allow the sale of any commercial product except for book signings. We don't allow political rallies, fundraisers, or similar events for endorsing a candidate for public office or other inappropriate use. And the museum reserves the right to review event requests on a case-by-case basis. If you are a nonprofit, you can get a discount, but we need your letter. We want to make sure that you are a 501c3. And then also, if you're exempt from sales tax, we have to know that also. And if, however, if tickets are sold, and this is according to Michigan law, the event is taxable, regardless whether you're a nonprofit or tax-exempt status in the first place. So when we do set up, we talk about... we give our guidelines for the client, but we have to approve of any decorations or display. We have to approve the invitation. But during set up, we also have supervision by DIA staff, as you see here, we're setting up for a party, and this happens the weekend before the webinar, I think it was December 10th. And we are coordinating. We have a great partnership with our events and food service, our vice president of museum operations, our building operations, and our collections management staff. This is the total partnership. The DIA uses a catering company, Sodexo, and they are great partners with us. So we supervise their set up. But during set up, basically, we have... we do certain things, and they have certain responsibilities, and they're literally defined by us. So when we set up that for event, we use different... here you can see we've taken planters, and we've closed off a doorway leading into a gallery. This is our ancient Middle East gallery, and we set up planters because along the back wall is where we have artwork installed, even though they have distancing barriers. We are now coordinating this off so people don't go behind the planters. And between Rivera Court and Great Hall, we have a Wisteria Gate by Thomas Hastings that's been very important. It's also manufactured by Edwin Caldwell. And you can see that we have put a... some sanctions just to protect it. So as we're carrying maybe chairs or whatever they're doing, that is not disturbed. So basically trying to protect our collection during events. So DIA is basically responsible for that. We have certain spaces that are multi-purpose. Again, what you're looking at here on the left is the student lunchroom. And on the right is an empty gallery. But the student lunchroom will move out all of the chairs and they set that up as a servery. But you can see in the empty gallery, which is right near River Court when there's no exhibition there, they're allowed to use that. And we use Masonite, the smooth side down. Edges are taped. And that's one of the ways we protect the floor. In other spaces, we have these final folding walls. They're made by Screen Flex and they're portable room dividers. And we set these up. They easy roll into positions and they're easily stored. And you can see them. They're on wheels. And they're actually self-leveling on uneven flooring, which some of us have some historic buildings, which is their acoustical panel construction. So they're also sound reduction. And I'm going to show you here. We have a gallery where we're going from a setup area. This is still in progress. You see the Masonite on the floor. They've already set up the stanchions, but we haven't pulled them yet. And then here's upper right. We have our hallway that's all prepared. It has the wall in place. The floors are protected. And we have...


Cardin, a Democrat from Maryland, confirmed to reporters that Capitol Police had launched an investigation after the Daily Caller published a partially censored video that appeared to show two men having sex in a Senate hearing room. Posts on social media later alleged that the man was a staffer in Cardin's office. I was angry. I was disappointed. It's a breach of trust. Cardin said adding that his office was absolutely co-operating with the Capitol Police investigation. It's a tragic situation and it's presented a lot of anger and frustration. I'm concerned about our staff and the way that they feel about this. Cardin continued, over the weekend, when I learned about it, I made sure that the appropriate steps were taken. Soon after the video was leaked online, after initially being posted to a private group for gay men working in politics, Cardin's office released a statement saying, Aidan Mays-Zerobsky is no longer employed by the US Senate. Mays-Zerobsky had previously appeared in a 2020 presidential campaign video with Joe Biden. The video was filmed in the Hart Senate office building, Room 216, US media reports say. The room has previously hosted high-profile government hearings, including the 9-11 Commission and Supreme Court confirmation sessions.