بسم الله الرحمن الرحيم اللهم الصلي والسلم وباركة لسيدنا محمد وعلى آله والصحبه أجمعين اللهم صلي آله سيدنا محمد وعلى آله سيدنا محمد كما صليت آله سيدنا إبراهيم إن شاء الله سوف نقوم بشكل أولى ونقوم بسيطة في هذا الأمر ونذهب إلى العربية ونقوم بعمل قدبة هذه هي المشاركة التي جيدة في المسكولة الأبو حنيفة ربي الله عنه لذا سوف نقوم بشكل أولى لذا نجد نفسنا اليوم 10 داية ربي أثاني ونقوم بشكل أولى أعلم that I gave a similar Qadba on a similar topic about a similar person same person actually in January of this year in MCC but it's always a good reminder Mr Barqa having our lunar years coincide well and you can have the same month and the same solar year which is actually quite interesting but59 is a blessed month and there's some amazing things that happened in this month أحد المطال التأكيد أن نكون سناسات أتوبة أحد only day of Arabitean This was the birthday of Imam Hashanal Asfari 10th day was the passing of Bibi Fatima Bid Moussa Qadim who was the son of Imam Andiridha Come to the line of Imam Hussein and according to Ahlu-Sunnah al-Jama'a they are all Sunnis they are all from Ahlu-Sunnah على الهالة 11 يوم يتعرف أرس or حول أو يمكنك أن تقول النقاط ما تريد أن تستطيع أن تستطيع أن تستطيع لكنه هو قوة من النقاط من العقل العردائي العقل العمام my maternal grandfather شيخ أبنو قادر بجينان وقالت فيه 561 هجدي 940 سنة وقالت 15 يوم this month كانت نقاط من أخي my own teacher حبيبا وبقر الحدد واحد من مجردات مجردات الإيمام الخنجاية انه مجرد جنة معانا 27 يوم في هذا المنزل كانت مجردات مجردات واحد من مجردات المجردات في مجرداتنا الشيخ أحمد سبحانه وتعالى كانت أخبارنا أخبارنا أخبارنا أخبارنا فردون مجردين ومجرداتنا جنة مجردية أحد مجردات مجردات أخر كانت مجردة فردون مجردات أحدهم يأتي أحد أخبارنا أحد them كانت so many مجردات ولم يأتي لأن الكثير من المجردات كانت كبيرة كانت كبيرة ومجردات مجردات ومجردات لأنه كانوا شخصا لأنه حيث يجب أن يكون هناك أشياء أخرى ونحن لا يجب علينا أن نفعلها كل ما يجب علينا أن نفهم بحيث أنه كان جميل من الإسلام يجب علينا أن نفهم بأنه أفضل وكل هذه الأشياء كانوا أفضل على من نحن وماذا نحن نحن لذا نحن سنفهم اليوم على الشيخة القادر جداني في عمليه أنه كان مصر أنه كان مصر في إيران في that time he was a master of the Quran Karim he was a master of Usul of Tasawwuf of the Persian language and of the Arabic language and his miracles were Mutawater Mutawater meaning that they were so well witnessed in his presence and in the community that it's impossible to deny that these things happen we're not living in the time where we're not talking about a time where something is caught on camera or something is literally discussed and it's just dismissing this is fake news this is not what we're talking about here this is witnessed by thousands upon thousands upon thousands upon thousands of people in one gathering it's impossible to deny his influence was so great that he was the Imam and the teacher of many scholars the first people will mention they followed his inner path and listened to what he had to say they tried to purify their souls based upon his principles the first one will mention is Ibn Taymiyyah and all of his students Ibn Qaym Ibn Rajab Ibn Kathir they all were Qadri in Tariqa it's not negotiable this is history you can't deny these things but this book was the single favorite book on Tasawwaf Abim Ahmad Haddad was one of his direct students and we actually have people in our community with the last name that are descendants of him سلطان محمد الفاتق the one who the Prophet ﷺ said about Al-Khanda that he would be the person that would conquer Constantinople نعمة الأمير ونعمة الجوش when he was a child he was taken by his father and put into the lap of Sheikha Bulkadar Jinen who held his neck and held his body and made dua for him when he was a small boy when he was ready to pass from this world one of his students came to him and said are you not sad that you didn't die in the battlefield his response was when I was a child my father took me and put me in the lap of Sheikha Bulkadar Jinen I will never die by the sword of a non-Muslim on the battlefield سلمان the Magnificent whose portrait hangs inside the congress building in Washington DC سلمان the law giver who instituted in his time as the Sultan of the Ottoman Empire over a thousand laws تيبو سلطان and his father Haider Ali who spread Islam to the Maldives one of the last kings of India غوف أبو مدين إبن مشيش who also as a child was held and made dua for by Sheikha Bulkadar Jinen his students become people like Sheikha Bulkadar Bulkadar Jinen شمس التبريس the teacher and the master of our Imam مونان رومي أزيس محمد حداي who was the Imam and the teacher of the Ottoman Sultan his shoes to this day are kept inside of Topkapi Palace as part of the sacred relics العولية the people of Istanbul used to visit him before they used to set out on their journeys in hopes that they would derive blessings and they would return safely خواج عبدالله who in 1674 passed away in China they called him Sheikh al-Halal al-Din he established one of the greatest cities in China and a lot of learning for Islam and Sheikh al-Aqbar موهدين البنان who his father went to Sheikh al-Ablokadar Jinen and asked him for a dua so that he could have a son Sheikh al-Ablokadar Jinen is mentioned in Imam al-Dahabi's texts so that he could have a son he is mentioned by as one of the people who protected and preserved our Deen so generally speaking in our community we talk a lot about miracles which is wonderful and it's important and many of us as children grew up learning about the miracles of Sheikh al-Ablokadar Jinen I did how I was taught a lot of love was really just about miraculous things but as I got older I realized that there is actually a way to achieve these miraculous things and sometimes Allah gives it and sometimes He doesn't for some sort of external reward we don't follow our Deen because it's if you want Sheikh we follow our Deen and we do what Allah SWT commanded us to do because this is His help these are the words of Murat al-Haaj so in reference and in reflection of Surah An-Nabaa Allah says إنّا دِل مُتَّقينَ مَخْلَزًا indeed the people of Taqwa is attainment what does this mean who are the people of Taqwa and what does attainment really mean so on the fourth discourse I actually remember telling my wife and my children on the way here I remember exactly when I was taught this discourse I was 13 years old I remember exactly what I was thinking and I'll share this with you as I go through this but He says الله تعالى أن that when you make yourself dead to your creation there's different ways of doing it a person can pass away from this world some of us went to the Janaza earlier this week of our dear beloved auntie Amina we prayed over her some members of our community her sons who are on a spiritual path put her into the ground and we made du'af for her many of us have relatives that have passed away many of us have friends who have passed away our fathers our mothers our brothers our sisters sometimes even our own children but what He's reminding us here He says when you pass away people say people say may the mercy of Allah SWT be upon them if we're lucky enough to be amongst the elite you might even have the chance of saying الله وعن سلطة أمية تسعن and so in جز أمه right we hear وردي الله وعن ورد وعن this is a description of the people who are content with Allah and Allah is content with them so He says you have to try to attain this station of being dead to the rest of creation while you're here make yourselves He says what does this mean when you walk around like trying to pretend that you're dead right don't make yourself smell bad don't dress in ragged clothing He says rather kill your desires of your flesh He says and by doing so Allah SWT will give you a new life He says lower your limbs so that your soul may be elevated put things in their proper place if you do this and He tells us exactly what the outcome is going to be He says your soul will be given life that has no death you insha'Allah will be entering into jenith for those insha'Allah may we all be entering into jenith of those with our prophet SAW you'll experience a wealth after which there is no poverty because once you attain knowledge and after you attain something that other people can't have there's no poverty poverty is not necessarily defined as having a lot of money in your bank account some of the wealthiest people the most gracious people I've ever met are people that have the least in this world you will receive gifts after which there are no obstructions you will receive happiness after which you won't experience sorrow you'll experience blessings after which there will be no adversity knowledge after which there's no ignorance security after which there's no fear prosperity after which there's no ill-fortune meaning no bad luck you'll experience honor after which there is no dishonor because the honor comes from Allah you'll experience nearness so that you're never kept away you'll be exalted in the eyes of Allah to the point where you won't be lowered in the eyes of humanity there's no consequence to you you'll never be abused because it's all coming from Allah you'll be purified so that you're never polluted and when you hear flattering remarks from people it's only what Allah wants you to do one day Abu Hanifa was walking by and he heard some people talking about him and a young person said there goes Abu Hanifa he stands up all night in prayer Abu Hanifa at that point it's reported but he used to do it sometimes but not all the time from that day forward until the day that he passed away he never slept in the night he prayed Fajr with the Wudu of Isha for 40 years after hearing a compliment from someone a flattery from someone it was advice that he understood and he says more than anything here you, if you go through this path will be recognized by the knowers of God the Arifin will start to recognize who you are he says and this is how you become the heir to the prophets and this is how you become the heir to the Siddiqun he says and when you attain this position through your prayers all of your difficulties will be solved you have difficulties difficulties in your family difficulties in your job difficulties in anything in the world your strategic response is to turn to Allah is to pray to Raka'a is to raise your hands in supplication and make dua he says and when you do this the clouds will come bearing rain may Allah make it rain may Allah make it rain he says and your fields will turn green may Allah make our mountains green he says and through these du'as the calamities of people will be averted some have the station he says of the calamities being averted for your people in your immediate locality maybe just Daumlin or San Ramon maybe just a specific district within Baghdad he says or some may have the maqam of their du'as protecting the Muslims in their entire country or some may have the maqam and your du'as being protective against calamities from Muslims even to the furthest frontiers of the world he said and your prayers will become a protective force so much so that people will travel from great distances in order to come and see you and visit you and obtain your du'a and serve you and just see your prayers but he says but this only happens to those who give themselves to Allah so I remember when I went through this my mom taught me all of these things she went through these specific principles and I remember at age 13 I thought to myself I hope to meet one of these people one day I just simply hope to be able to meet one of these people one day and Allah SWT in his infinite wisdom has placed these specific people in different parts of the world and sometimes you don't even have to go that far but you will meet some of these great people in the great awliya and when you see them identify them recognize them and give them the appropriate respect that you're supposed to go and seek their prayers he says and the biggest way of attaining these things of reaching these maqams is by following 10 principles 10 principles same for the right number one don't swear by Allah SWT even when you're speaking the truth we have a tendency in our community of saying wallahi all the time he says refrain from doing that even when speaking the truth why? he said because you'll start treating it lightly your word is your bond a man with no word has no honor when you give your word to someone you follow it through it's a reputation it's who you are he says don't swear by Allah number one and especially don't do it when you're lying number two he says avoid lying in this entirety whether intentionally or ingest number three be careful with your promises have a fear deep in your heart a feeling to keep your promises when I read this I actually took time to write down all the promises I've made to people and I keep a kind of a tab it's just something that one of my teachers told me to do it's like when you keep a record of your debts this system actually has a difference because you can get the debt collector and they'll send you something in the mail or something along with lines with promises you don't have that promises what you make to your wife or your children or your companions make sure you understand that when a promise is made fulfill he says and don't curse anything in creation I was 20 years old she comes and told me he said when being the worst thing a person can say is the word down and proceeded with the word God or Allah it's one of the worst things a person can ever say you're asking Allah to curse someone don't do it he says number five and don't invoke evil or want ill for anyone especially even the ones who have wronged you even the ones who wronged our messengers when angels came and were willing to crush an entire city no he's number six he said and you're not a certain evidence or unbelief of unbelief or hypocrisy when you see something of a mistake of someone else correct them quietly don't try to expose them our master I would rather assume a thousand and when it says a thousand it's a great number a thousand non-muslims were Muslim rather than assuming one Muslim was a non-muslim it is safer for you to assume that someone who's not in the boundaries of our Dean someone who's not amongst the Muslims is actually within our boundaries number seven do not allow your mind to contemplate sin when the thoughts come into your mind remove them immediately say say recite recite put yourself in the presence of the Ka'ba put yourself in the presence of the Messenger of Allah remove the thought of sin from your mind and keep your limbs distant from those thoughts number eight he says do not burden we are a little creature we are placed in the world he says to relieve burdens not to increase burdens upon others we're told walk gently upon the earth number nine don't covet others who have possession of the world put your trust in Allah and you will be given vast domination number ten he says be humble he said this is the hardest out of all of them she comes and reminds us she says that if a person claims something that's higher than than they are a higher station than what they've been given Allah سبحانه وتعالى will afflict them with scandal if a person claims something that is actually theirs a station that is their own Allah سبحانه وتعالى will abase them but if a person claims something which is lower than he or she is Allah سبحانه وتعالى will elevate them he said this is the hardest thing to do is to be humble so the tree does not grow except that the seed is placed into the ground beneath it so he says in order to be humble you have to think to yourself when you meet someone else perhaps this person is better than I am in the sight of Allah سبحانه وتعالى maybe he's higher in degree but he's given some amazing action that only Allah knows about don't ever think yourself to be higher than anyone else there was a rewired in our tradition about Sayed Na'isa one of the companions of Sayed Na'isa was walking with Sayed Na'isa along a path and there was a robber he told us this when we were studying a robber walking the other way maybe not a robber but a robber and this person thought to himself how dare this person of a robber is walking on the same road as a messenger of God and one of his companions and as they got closer this person started to feel more and more anger in his heart until the point where they met and the person of a robber Allah سبحانه وتعالى was so displeased with this person's arrogance Allah put all the goodness that was with the companion this person of ill repute and the person of ill repute became the companion of Sayed Na'isa don't have this excessive thing in your heart he says if you meet someone younger than yourself think to yourself this person has not offended Allah he's too young his duas are still accepted he's like Masoum if a person is older than you and you meet them think to yourself this person has served Allah سبحانه وتعالى this person has received from something from Allah سبحانه وتعالى that I have not they have experienced something that I have not they have acquired something that I have not and he knows that which I am ignorant of and he puts his knowledge into practice if you meet someone who's ignorant tell yourself this person has offended the boundaries of Allah only because he's ignorant while I do sins knowingly the person who knows on the one who doesn't know they're not the same they're not the same in the eyes of Allah سبحانه وتعالى that goes for sin as well but the person who knows that they crossing the boundaries of God knowingly this is something this is advice for myself he says and I don't know what Allah سبحانه وتعالى how to store for me or for him maybe Allah will elevate him towards that next life and if you meet someone who's not a believer say to yourself maybe he's going to witness maybe he'll take a shahada maybe he'll embrace Islam and maybe he's going to have a host of Hatim and maybe I won't that's in the hearts of Allah that's in the knowledge of Allah he says if you have this mindset you will be close to the chosen ones of Allah سبحانه وتعالى when you protect it from the whispering of shaitan you will find yourselves of the gains of mercy and your bone marrow will be healthy in your worship your bone marrow in your dua will be healthy when your bone marrow is sick your whole body becomes sick he says and this will become your mark in the unseen for the people of devotion and knowledge and peace be upon you and peace be upon you


Γεια σας, είναι Vicky εδώ και σήμερα θα παίρνω με ένα νέο πρόοδο για εμένα που είναι οι Viva Watercolors όχι δεν είμαι εξαιρετικός στην Watercoloring Είμαι αγαπημένη να παίρνω με νέες μηδιούμες και εξαιρετικά μόνος, όπως αυτή Είχαμε πολλές εξαιρετικές να παίρνω με αυτά τα εξαιρετικά παίρνω Είναι 16 εξαιρετικά παίρνωσης και νομίζω ότι είναι η καλύτερη, στουκιακή σταφή για όλα αυτά τα άνθρωποι σε η ζωή που αγαπηθούνται εξαιρετικές και εξαιρετικές Βλέπω πως είναι η καλύτερη, είναι πολύ μικρό, γιατί μπορείς να το παίρνεις σε your pocket και την εξαιρετική στον πρόοδο Από την εξαιρετική βλέπεις παίρνεις με 2 εξαιρετικά παίρνεις και αυτά είναι πολύ πιγματικά και υπάρχει ένα εξαιρετικό πρόοδο μέχρι τα παίρνεις για να παίρνεις ότι ένα εξαιρετικό πρόοδο δεν θα καταγωνήσει και εξαιρετικό πρόοδο όταν πάνω από τα παίρνεις Είχαμε ένα λίγο να παίρνεις πριν, όπως είχα πάνω με τους αλλά θα παίρνω να τα παίρνω για εσένα σε αυτό το βίντεο και να τα χρησιμοποιώ για να φτιάξω ένα λίγο πρόοδο Έχω έναν για εμένα και ένα άλλο για μου παιδί μου και θα δεις σήμερα πώς θα το παίρνω και να το παίρνω στο λίγο πρόοδο Έτσι, στο τέλος θα βρήσετε αυτό το λαμπί που είναι ένα μάλληλο Οι εξαιρετικόλοι είναι αφιβάρητοι και μπορείς να ευκολογοποιήσεις σύνδεξους με μπράσεις Στο βιβλό της εξαιρετικής θα βρεις ότι είναι λόγο τάξο Έτσι, μπορείς να έχεις εύκολο επίπεδο στο τα εξαιρετικό που θέλεις και τώρα, να κάνουμε ένα λίγο κόλλο σώμα για να μπορείς να δείτε τα φτιάχνου Θα χρησιμοποιώ να χρησιμοποιώ ένα σωμαδό λίγο πρόοδο An there are 16 colors There so I'm going to just stamp 4 of these rose For that I'm using Archival ink which is waterproof so I know that it's not going to smudge or smear later on and of course I'm stamping on watercolor paper watercolor paper is quite textured so you may find that you need to stamp a couple of times to get a good impression This is why I'm using my Misti for that since I already had my Misti out and the stamp I did stamp a couple of those swatches So I have one for me and I do have an extra Viviva booklet which is going to be a gift for my daughter and you will see in this video how I'm going to put this gift together. It's a really fun idea for a Christmas stocking filler and I know that people who love arts and crafts are going to have lots of fun exploring this little booklet just because it is unique and it's just $20. You can see how easy it is to activate the color just by having a wet brush. I'm not applying too much water. My brush is just a bit damp and of course before I move on to the next color I clean my brush just to make sure that I don't contaminate the palette. You can properly tell how vibrant these colors are even when I'm working with the yellows and it's so easy to pick up the color just because this palette is so pigmented. The two shades of red look alike at the moment just because I have that lighting on my studio however you will see later on I'm going to apply a second layer at the top so you can see probably the difference and it is the same thing with the oranges and the yellows. They are very close shades of color however depending on how much color you pick up with your brush and how much you dilute it with water you can get different shades of the same color. Of course don't forget you can mix up colors on a palette before you apply it on your project to make completely different colors. For example if you need a brown one and you can see there aren't any browns here. Now if you asked me I would love to have more shades of blue like a couple of them more but of course this has to do with the colors that you are more drawn to and it is completely a personal thing. Now you can see I'm adding a second layer on some of the colors and hopefully you will be able to see the difference in between the two. So this is the complete color swatch I'm going to put some of these colors into use so you can see them in action. I'm going to start by stamping a flower image and I'm going for a Christmas card so I picked this lovely flower composition with a 3.1 satias this comes from the holiday flower stamp set by Altenew. I'm going to stamp that with VersaMarking on watercolor paper and of course I did prepare the watercolor paper with my anti-static pouch because I am planning to do some embossing so I'm going to stamp that and then apply on top gold embossing powder and when it comes to watercolor ink embossing makes it super easy just because those lines are all raised and embossed it means that I'm not going to have colors bleed to one another when they are next to each other. So now I like to use a clip to keep the booklet open and I'm going to go with a second red color this is deep pink actually. I'm going to pick up a little color and start coloring my poinsettia leaves I go very concentrated at the base of the leaf and as I go to the top I'm just going to clean my brush make sure that it's just a little bit damp and then I'm going to drag the color all the way to the tip of the leaf this makes sure that I end up having a color gradation from darker to lighter areas and it really gives some dimension on the leaves so I don't end up having a completely flat look. I'm going to repeat the exact same process for the rest of the poinsettias and you can see how easy it is to work with this booklet on the go especially if you combine it with one of those water brushes where you get water inside the barrel of the brush then you have the perfect gift. So here I'm repeating the exact same process for the leaves for this one I'm using sap green just because it has a hint of brown in them and I absolutely love that look. It was super easy to color my flower composition with viviva and hopefully you could see how easy it was to drag the color and blend it out.  I did match the white panel with gold cardstock so you can see a little border all around and now I'm using the joy sentiment by Simon's stamp and I did a combined white cardstock with gold cardstock again then I'm going to place my flower composition on top on the top by a chopped corner of the panel and also pop the sentiment. Now I'm going to turn this into a card that it is a little bit bigger than the standard size and it has a pocket inside so it is going to work as a gift box and a card two in one. For that you are going to need heavy cardstock and you need a panel that is six by ten. This will end up being a slightly bigger card than the standard card so let's start scoring. You need to score at four and three quarters then turn your card and score again at four and three quarters. This way you are going to create a card base after you fold and reinforce the scoring lines but the middle section is going to be quite big. Now for the pocket you start with a panel that is six and a quarter by two and three quarters. I do have the scoring lines in this panel but I'm going to demonstrate it for you so you need to score it one quarter and three quarters on all three of those sides. Again you need to reinforce all those scoring lines then just grab your scissors and you need to create a few tabs at the bottom. I have a diagram here so you probably want to pose that and see what exactly you need to remove from the bottom of that panel and here is how it's going to look.   I am removing the backing from the pocket and then I'm going to put everything together really simple to put together and you end up having a little pocket that has dimension that is going to fit perfectly inside the card. There are of course easier ways to create pockets for the inside of your card but this one adds dimension and I will be able to make it look as if it is a little box so you will see that I'm going to add lots and lots of things inside. So I'm going to align it at the bottom of my card, use my bone folder to reinforce the bone there, make sure that everything is nicely stuck and I'm working on red cardstock which is six by four and three quarters. At the middle I did add a line of double-sided tape so that I can peel it off and stick my ribbon on top. I'm going to pop on top my panel and I do have dimension at the back with foam tape and now I'm going to stick the whole thing on my card base. This is going to fit perfectly on top and for that I'm using my Novo Deluxe glue. I made an effort to create that little card box that fits perfectly the Viviva booklet as well as some extra bits and pieces but of course you can get this idea and change the measurements based on your own needs. Now I am doing the same thing for the back of my card again adding a line of double-sided tape so that I can peel it off and stick my ribbon. If you want to cover it up you can add the panel, a red panel at the back but I'm not bothered I'm going to leave it as it is and I can see all the dimension in the pocket so I can place inside my packaged Viviva that little swatch that I did in the beginning. I'm also going to pop in a brush it's one of those water brushes where you get water inside the barrel and finally check how much space I still have in my pocket and that's because I can now add lots and lots of watercolor papers.  I think this is a great idea for arts and crafts lovers and I know my daughter is going to love it when she finds it in her stocking. All I have to do now is to tie a bow so that I keep everything together and with this idea you end up having a card with a little gift box and lots of fun is hiding inside. So that was the project for today I hope that you had fun that you got inspired just like always you will find links to everything I used down below in the description area. Thank you all so much for joining me today and I'll see you all next time.


He fell ill, but they couldn't figure out what is wrong with him. Then he saw a man with a very long face and great misery and angst. One point in mind is something that nobody can stop. If you want to evolve above the intellect, it needs a conscious effort. Five hundred years ago, there was a city of my forefathers who were kings in that area. This city was the richest city on the planet five hundred years ago. Please look it up, it's called Hampi. And suddenly one day Krishna Devaraya fell ill. That was the king's name. He fell ill. And physicians came and examined him in many ways, but they couldn't figure out what is wrong with him. But he was sinking away. Nearly at the doors of death, then he called for his friend and advisor whose name was Tenali Ramakrishna. Tenali came and he's no physician, he didn't know what to do. So the king sought his help, but he doesn't know what to do, he's not a physician. So confused, he walked away into the town and he was walking around in the marketplace. Then he saw a man with a very long face and great misery and angst. Tenali went up to him, hey, what's wrong, why are you looking like this? He said, I'm in the sandalwood business. Because a large stock was available somewhere, I took a huge debt and bought this entire sandalwood. Now if I don't sell quickly, I will be finished. People who have lent me money are not going to leave me alive. The only way I can sell this sandalwood is the king must die. When kings died, always the cremation was done with sandalwood, nobody else can afford it. So he said, unless the king dies, I'm finished. Tenali looked at him, the intensity of his misery and angst. He said, wait a minute, he went home, got the money and he bought all the sandalwood. The man was very happy and the king recovered. There's not a joke. You must understand in moments of anger, in moments of hatred, in moments of fear and angst, your mind becomes one-pointed. A one-pointed mind is something that nobody can stop. Right now, everybody is in this mode, can't point at anything because of that is one big confusion. If you have a one-pointed mind, there is nothing which can stop that. This was one of the important aspects of Gautama's expression that he brought this into people's lives. You can take charge of your life if you take charge of your mind. I'm asking you also, if you take charge of your psychological process, you being blissful, is it a challenge? You're trying to take charge of somebody else's mind. One day Shankaran Pillai and his wife went to the marriage consular. So Shankaran Pillai introduced and said, we really have a wonderful marriage because we have such a fantastic partnership and I'm the silent one. So this whole process of rising above the mind, which means a Buddha, becoming a Buddha, you must understand that's not his name. His name is Gautama Siddhartha. Buddha is a state.  If you're in the intellect, you're a non-stop suffering human being. If you're below the intellect, we can call you a Buddha. So as evolution, as creatures, we were below the intellect. Slowly we evolved into the intellect. Now if you want to evolve above the intellect, it needs a conscious effort. Don't wait for mother earth to do it for you. It may happen after million years, but you won't be there. You should download an app that we have. It's a free app. Anybody can download. It's called Sadguru app. Here there is a practice called Isha Kriya. This is a simple way of bringing awareness to what is your body and what is you. What is your mind and what is you?


Authorities have now released the identity of a victim who died in an apparent drowning in Gilbert Lake just north of Brainerd. According to the Crow Wing County Sheriff's Office, 66-year-old Douglas Allen Larson of Brainerd drowned in an apparent attempt to enter the water to retrieve his boat. The drowning has prompted a warning from authorities about cold water in area lakes. Law enforcement found Larson's vehicle and boat trailer at the lake access where his boat was found beached a short distance from the access where Larson's body was found in the water. The Sheriff's Office wants to remind everyone to practice recreational water and boat safety and despite the warmer weather, water temperatures in area lakes are still somewhat cold. If you enjoyed this segment of Lakeland News, please consider making a tax-deductible contribution to Lakeland PBS.


Guitar and Excel. C Major, A Minor, Scale, Fret 5, Fingering. Get ready because although it's not fun to either fret or be bored, it is fun when you put them both together, resulting in the fretboard. Because the fretboard gives you something to play with, which eliminates the boredom and distracts you from the stuff that you were fretting about. So let's do it. Here we are in Excel. If you don't have access to this workbook, that's okay because we basically built this from a blank worksheet, but did so in prior presentations. So if you want to build this from a blank worksheet, you may want to begin back there. However, you don't necessarily need access to this workbook if looking at this from a music theory standpoint, because we'll simply use it as a tool to map out the fretboard, give us the notes, the scale, the chords that we're focused in on. If you do have access to this workbook though, there's currently 10 tabs down below. We've got a bunch of these example tabs. We've got an OG Orange tab and then our Practice tab on the right of the OG Orange tab. The OG Orange tab representing the original worksheet we put together in a prior section. It now acting as the starting point, going forward, mapping out the entire fretboard, giving us our entire musical alphabet and letters in number format and combining them together, letter and number format, providing a key that can be adjusted with this green cell, adjusting the key that we are in that will adjust the worksheet on the right hand side, providing us the key that we've selected as well as the notes in that key and the chord constructions from the notes in that key and some interval information. We then wanted to look at the key of C and each of the chord constructions in open position from it, starting with the one chord, the C major chord, which we did over here, open position, fret one through three on the fretboard. We mapped out the one three five of the one chord, the C major chord, discussed it in detail. We then went to the four chord, which is the F chord. We dropped to the F chord because it's going to be a major chord construction in the key of C. We went to the five chord, which is the G chord once again because it's a major chord construction, discussed it in detail. We went back to the minor chords then the two chord, which is going to be the D minor chord, discussed it in open position, then the three chord, E minor chord, discussed it in open position, then to the sixth chord, the A minor chord, discussed it, and then we went to the seven, the diminished chord. So the chord built off of the seventh note of the C major scale. We then want to move from our chord analysis to a scale analysis and to do that we're going to jump from the open position to the middle of the guitar fret five, and that's basically where we are at this point in time. So here's the open position we were working in with the chords, and if we put all those chords together we basically come up with this pattern that all the colored notes here will create this pattern in open position. Now we want to start working out a different place in the guitar and we're going to start working right in the middle. I'm going to delete some of these things here and that's going to be the fret number five. So we're going to start in fret number five, well that's what I usually would think of it, although there's going to be one little note over here in fret number four in this particular pattern, and we'll map out it in terms of a scale this time so that we can then learn the top of the fret board in kind of a scale format where we already have the open positions in more of a chord type of format and then we can start to combine these together. That's the idea. Now in the prior presentations we looked at the pentatonic scale, so we looked at fret five. Here's our classic pentatonic shape noting that this E string up top is the heavy string, the one closest to the ceiling on the guitar the way we have this mapped out. So this guitar is going just straight from top to bottom. If we're on fret number five it's just going boom boom boom boom boom boom boom.  That's our classic type of pentatonic position that everybody loves. We can move it around like the chords. It's a movable shape but if we play it here in fret five then it'll match up to the C major chord or a major chord constructions that we've been working in on and we can just basically tie it in beautifully to the open chords that we've been learning. So if I scroll down we're now going to look at the same thing. We're just going to expand it to now pick up the two notes that we're missing before and those are going to be the the that'll give us the whole scale. So let's first hide everything on the left the open chord position and then we'll unhide that later. So I'm going to go from A to D right click and hide all of that. I'm going to minimize or shorten the screen or make it smaller a little bit so I can see the the related minor over here. So notice when we look at this major chord construction we've added the two notes so we have the five notes in the pentatonic and now we're adding the two notes for the major. Remember when we looked at the pentatonic we mainly think about it as being a pentatonic which we can tie to the major pentatonic or to its related minor. The related minor we can then put over here which is basically the Aeolian mode and just all the same notes all the same scales but now it's in the minor mode. So the six over here would be the one over here. So the pentatonic can be thought of as the C major or the related minor in this case the A minor. When we play other chords using the pentatonic we can do that we can if we're playing in the key of C and then we go to playing a D minor chord we can do that but this note right here if we're playing the pentatonic will not be in the pentatonic shape and that's fine. We could then target that note we could say well I'm still thinking of myself in the pentatonic shape if I want to if I want to then target and then target that note that I know is outside of it but I want to pick it up when I'm kind of noodling around or you can try to shift you know the whole scale positions in your mind which we'll talk more about basically in future presentations. So when we go to the major scale however now we have all seven notes so that means that everything that we've constructed all these all these chords are going to fit in the major scale construction now we're just building the major scale construction rather than an open position we're looking at the pattern that results I usually think of it at fret five is that middle position although again we have that fret four that B that's kind of hanging out on the right hand side so one so the first thing that most people would want to do is think okay now I'm just going to extend my pentatonic pattern which we've learned last time so everybody the pentatonic pattern is great because it's only got two notes per string and we saw that the rule on the pentatonic pattern is there's never two notes right next to each other with the pentatonic and there's only two notes per string so and you always have this long short you can think of it as long short here's the shorts here's the short here's the short here's the long here's the long I missed the I missed that first long but you see what I'm meant to do so so now we're just going to add add the other notes which the other notes will result in situations where we could have three notes per string we still have some situations that sometimes might have two notes per string so usually when you add the next note most of them are going to now have three notes per string most patterns will have three notes per string and then have one particular area where there's only two notes per string the pattern the other pattern that's useful to note is that although you will have notes that are next to each other you're not going to have a a note where you're expanding we have to reach more than one two three four you know a nice comfortable fingering position so I'm going here one two three four frets four frets this is only three frets across and then although I have to back up going over here it's still only four frets once I back that finger up to pick up that B and then we have the four frets here and the four frets here now you could try to finger this a you know a couple different ways but I think most people will you will take their normal finger in here that they did their pentatonic width so and then just add add the other notes to it so we had the pentatonic going on the first one boom boom so I'm just gonna do the same thing but now add the B so now it's going to be going the first string and then the second string this was the the normal pentatonic and now we're adding the F so these first two shapes you'll see the similarity again just like we saw with the pentatonic where these shapes start to kind of group themselves together you so you start to see this pattern and then we'll go to the next one notice this one is the weird one in this shape when you look at the major because there's only two notes on that string so we go from a G to an A only two notes on that string and then when we had the normal pentatonic we went down here to the C and we had two notes but this is the funny one where we have to shift our fingering back so when I go down to that string I'm going to shift my fingering back boom and then pick up the three notes per string so if you remember that there's three notes per string basically all the time except for usually one one string shape on each of the pentatonic patterns then that'll help you to to remember it's like okay well where's that two string one it's here so that means this one can't be just this it's got to have three notes and it's like well and the three notes cannot extend beyond four frets so it's either if it's three notes I can go it's either this or it's this right and then you can start to kind of see how that fits together and then down here we have the pentatonic which were the long shapes but now we have this added note here so boom boom boom and then down here we have the long shape which was simply that and now we have this added B again so we have the added B here so boom so those are going to be the added notes so it's useful to be able to see the pentatonic and be able to play it separately and then add the notes that are the blue notes this when I made them blue they're not the blues notes for like added blues notes these are the major notes not like that's the added blue note they're just blue because they're the major scale that's just the other color that I chose uh so usually you want to see the pentatonic within it because that's your safest zone so if you're moving from from chord to chord or something like that the pentatonic like if you're in the key of C and then it moves to the to a D chord but you're playing a song in the key of C the pentatonic's probably the safest place to be uh and and play around there right and then you can add in the the other notes when they're applicable uh as well if you're on the key of C then they'll typically you would think all the notes would sound good in the in the key of C if you're in some of these other notes if you go to a D then you might start to target again that F so remember when we saw the pentatonic we basically said you could still think of it as a pentatonic but now you're like targeting that you're targeting the F because you're on the D minor chord and you know that F will sound good because that's the three note of that chord or you can just say I'm just gonna be playing in the C major scale over the top of all the chords that I'm basically playing you still want to target basically the F and the D and the and the A the notes that are in the the D chord when you get to the D chord but all of the notes that are in each of these chords will be in the major scale you kind of want to separate in your mind you might say well if that's the case why don't I just learn the major scale because that concludes everything and you could kind of do that but again it's kind of nice to know the pentatonic within side it because there are particular uses where the pentatonic itself just playing the five out of the seven notes is useful now as far as picking this this and playing it then you're going to learn it from top to bottom everybody does it that's not the most musical way to do it but that's kind of where you know you start to do it so you're just going to be and then when I get to this one I'm going to shift back this one noticed that I have the two fingers together on this side it shifts up here but I still have the half step on these first two fingers which is kind of useful to note and this bottom string remember that if you can get this top string which most people do because we start playing these scales top to bottom so the first thing you're going to learn is that string if you have that string you know the bottom string is the same okay and then if you know the bottom string is the same you might some ways you might kind of think about it this particular shape is one in which the bottom string has like the opposite pattern then the one above it with regards to the half step so right the half step here there can only be four notes on on these pentatonics they're going to span four notes so they're nice and comfortable with the finger this one had the half step from the ring to the pinky and the one above it has the half step from the pointer uh the pointer to the middle so that's kind of useful it could help you to remember and then the G here when I move up again I still have this pattern because notice these patterns clump together so these pattern this pattern and this pattern is basically the same except it's it's kind of kinked because of the because of the difference in the uh the uh the interval between these two notes so it has to go back one so we're going back one but the pattern still the same in that it's the half step after the pointer right so you got the pointer uh the middle and then uh the ring on that one so a couple things that could help to remember so the top two patterns are basically the same so you can say this one is pretty comfortable pattern so you got boom boom boom so that's going to be the pointer to the ring to the to the pinky pointer ring pinky and then you've got that unusual one where you only have two notes on the string so you can target that and say okay that's the only time that happens and then you've got that funny shift that has to go back I'm going to go back to this one and these two patterns are now going to be basically the same right so now I have this pattern but it kinks up so the patterns the same down below but it kinks up so I'm going to go down here and that those two half steps are the same and this bottom string those are the only five unique strings because the bottom string is just the same as the top right so bottom string is the same as the top and then you go back into this into this pattern it's going to kind of another kind of looping kind of concept so it's going to go back into these this pattern uh up top so that's the general idea then of course you're going to want to practice this piece by piece and just see what you can do musically with it this gives you more information to it so if you're just trying to get your fingers used to this then you have a whole lot to do just in like two strings because like just one string now I can so I'm just doing one string right now and if you add the open string it's a little low but you can kind of get away with it and if you walk it back you know that g is okay as well because remember we played a g and that fits in our structure so that so if you remember that g is there you can play just one string get some pretty interesting rhythm stuff now notice when I whenever I'm playing I'm usually targeting that a right now because that's that's the starting point so so it's kind of resolving back to a so when if you're just playing chaotically and you don't know where you're ending it might not set it might be harder to just noodle around with it if I'm targeting one particular you can target any of the notes right because you can you can then pretend that you're playing uh that making you know the the c the root or or the b the root that'll be harder in in but any of these would be a root that you can basically target so but probably to start off it's targeting the a is being easy and then if you add the string below it then of course you have you have almost infinite options here so again this is a power chord from this a to this e so that's like a good place to start and then it's just natural to put your pinky up there that kind of completes the a so right a e and then you've got the the the the c which is the a e c which is basically the minor or so so I'm just holding this finger down so that I can get those two to ring out and I can play them individually I can put this finger down and play that one I can pick up this finger and I can pick up that c the ones that are going to sound good if I'm targeting this a is going to be this one this one and this one are kind of like my home positions or closer to home positions because those are the notes that are in the chord when I'm kind of thinking like I'm in an a chord I'm just shuffling around that I can add that g you could do double stops two strings at a time two strings at a time two strings at a time you could do slides so there's actually a whole lot of stuff you could do just in one place and just kind of learn that one place and then you could you know move it up move it up and learn the next one down so if you're learning this one here you you might actually target the a which is down here now that that might be the easiest thing to do if you're still kind of working in the a right or you can try to target any any notes you want like I could make it a D and then I'd be kind of like playing D Dorian because remember all these notes will work in any mode so I can basically try to make it a Dorian we'll talk about how to do that more but so if I say well I'm going to make that my center position notice I can make that a power chord again power chord is always this this D to that A so I can target any note I want in here it's just that the A minor is probably the natural one for people to start targeting this is a this is this is a a box that is really useful and now we could just expand it so this is probably a place that we play a lot because right in the middle of the guitar so it's a perfect position now all we're doing is adding that that B so if you're thinking of yourself in the key of A I'm targeting this A right there and then I'm just going to noodle around and I'm going to add that note and it might be good to slide up the B to the C you can adjust your finger in if you want all right and then I'm gonna and you could target any any note you might target that G right here and say notice I can hit an open string as well because these all these open strings are in my key so and then you can target down here so you can kind of say okay now i'm going to target these ones and so this is that one where you have that funny so it's kind of the opposite of each other so you could you still have a power chord right here so so you can kind of noodle around with with each of those positions then you might start to see how can I combine the notes together right so like double stops or if I play anything like if I played these you know these three notes or something and they're in they're they're all within the key I could start playing well what if I did like I played like these three notes together and then I played like these three notes or something I was just like I'm just going crazy I don't know what I'm doing and I'm playing them one at a time or whatever and then and then maybe I'm like oh well maybe I'll like try to finger these two because that looks kind of like an A like maybe that looks kind of like an A shape like right here what if I did that and then like I don't know what if I move that up to here so that I played like that C but then like these two notes like that C and in these two notes and then I was like I don't so I'm not trying to analyze what I'm playing right now you can you can analyze the chords we'll do that later but you can play any combination and you will be playing something that is in a key right I could well what if I did that you know up here and I was like hold down this G and then like well I played like these two and then I was like well what if I moved that position over here and I was like I hold down like then I can hold down that A and then I was like and then I can hold down these like go back and forth between them and then I'll try to close it on my A right I'm just trying to so you could play so I'm not trying to analyze what I'm doing I'm just saying all of that stuff should work because I'm trying to see it as a scale but then think about how I can play stuff within it in terms of different orderings of the chords I'm going to play and then different combinations double stop and then combinations of three strings and then later on we'll get into say well what are the actual chords that you can construct from this shape which you'll probably naturally kind of do you'll kind of if you're just messing around with it by ear so we can learn it both ways right so over here we learned everything by chord shape and then we'll put the scale on top of it over here we're learning everything by the scale and then we'll put the chords on top of it right and so we'll do that so we'll do that in future presentations now if you unhide if I go from E and I unhide this stuff so now you've got your shapes on the right hand side and then again you can try to tie them in to your shape over here and when you do that you want to target something now on the minor pentatonic scale we said it was good to like target an A for example because the minor pentatonic scale is in the key or the key of A or C generally right a lot of people will say this whole shape is still a minor shape because you're going to start an A minor but as we'll see when we map out the fingering or the intervals you can still see it as a C shape or you can see it clearly as any of the other modes because this shape is going to include all of the notes for any of the other modes that you create so you can just like we did before where we basically looked at all these chords and we said I'm going to try to make that chord the center then then you can do that same thing over here so if I'm playing in the key of of A I might try to say okay I'm going to start with an A in open position and then I'm looking for the A's over here which is there's an A here and there's an A here and there's an A here so then I'm going to target I'm probably going to target this one and see if I can get there and then I'm going to maybe zoom up to here but now I've got this added note so now I'm zoomed up to here and I but I can be like instead of just playing the pentatonic I can add this F right so I can be like home to the A right and I can just so same thing I was doing before but now I'm just adding a few more notes when I'm noodling around and then if you're targeting if you're target you could target any other note if I'm targeting like a like if I want a D minor right so now I'm saying okay well there's my D and then there's a D and that open string is a D which is nice so I can be like okay so my D shape looks like this so again I could follow my lead finger because that's the that's my easy pivot finger to pivot with so I can say okay where's my shape up here right there there's my ending note and notice that open D right there is useful when you're playing in the key of D D minor in this case right or D or whatever but because then that open note you can always follow that right so so I can follow this open note here and ring that out as I'm following following up if I wanted to play the D here I could just jump up here and then go down to my D right there that's just the power chord you can always end on a good old power chord here to here here not there there here to the A there's another D and then I can always ring this D out while I'm playing these bottom strings I'll follow the D back D this is D string I kind of cheated I went on that note I shouldn't go on there it should be I'm playing the door anyway so you can you can play with any any of these notes the C would be the other the major note right so if I had a C here then you've got a C here and you've got a C here and you've got a C here so you could target the C's so you've got the C's so if I was playing a C ready I don't know we'll get into we'll get into each each of the notes and more detailing and target each of the notes in more detail in future presentations but if you're just kind of noodling around that's what that's what you can kind of do and you can you can if you're playing in the key of C for example any any note in between what you're playing so if I'm playing from like a C to an F to a G back to a C anything in between just like we said any of these notes is open meaning I could take my fingers off those are all fair game because we're playing in the key of C so are all of these notes up top so it's fair game up there too so if you were and you just jumped up here so you could kind of jump up and back and try to pick these notes up in between what you're playing but it will sound more musical if you can kind of lead into it instead of just jumping up there and it's also going to sound more musical if you're picking the notes in here that tie into the basically the chord that you're playing even though all the notes should kind of work so it doesn't sound as scale ish and that's what you kind of do when you practice one one at a time like here's my I'm going to target ending on the A right here's my C maybe a target ending on a C right and here's I have target ending on an F basically and you can kind of work back and forth that way now just one other thing I wanted to mention on the naming convention I would still call this position one so now we said this is a pentatonic up top we said this was a pentatonic now I'm going to say this is a major scale position but it's in the middle of the guitar these are the same notes as we played an open position so what am I going to call this well I would call it you know the major scale construction and the key of A minor or C or any of the any other of the of the modal shapes that you want to call it but most people will see it in the A minor and I would think of it as starting on fret five even though again we have this one hanging out basically in fret four so if you were to name this I would probably name it like this is the position one A minor or C major scale starting on fret five right that's basically or you can use the the the caged system because that G shape still fits in here right so you have the G shape here here so notice that this G shape and we say it's a G shape it's a G if it was an open position right so we have that G shape if it was an open position it's now a G shape that creates a C chord but you could still call it a G shaped position however I just realized that it's not this the fact that this position this G shape fits here in the major scale is not unique it will fit in like three other positions as well because because even though the shapes around it will be different so it will be unique if you're talking about just the caged system just the notes itself or the pentatonic I believe will have a unique shape that's why you can still name the pentatonic shape by saying well I'm going to I'm just going to build the added two notes from the three note chord and call it a pentatonic shape built off of the G shape so I'm going to I'm going to use that as my key to show me where I am on the fretboard it's the key of C G shape G shape pentatonic you can also say it's the key of C G shape major scale and people will still know you know that you can use that to target but don't get confused to think well that means that if I find this G shape fitting in any major scale construction that means that it's the same shape it's not because because when we add all seven notes there's going to be I believe three shapes where this G chord will fit in it so if you're going to use this as a targeting mechanism you have to make sure that you see it as this particular shape you're using that to target you the one chord which was which would be unique if you tied it to the pentatonic shape and then you build the added two notes around it right so so again there's no perfect some people find that very it is very confusing all right but there's no perfect way to name to name them that if you name that just shape one not everybody does that if you use the caged system people a lot of people don't like that because it sounds because you're using a G thing to name a C chord and they find that to be confusing so what you really what I find would be best to do with those kind of things is try to learn all the different conventions because then you're connecting more things together in your mind which is which will help you to kind of understand it better you'll be able to communicate it better and and so and that'll be like and that'll be like a win-win right a win-win spend a long time since we've had a win-win and it makes me make me want to sing a song of win-o-win will we have another win-win win-o-win will we have another win-win win-o-win will we have another win-win any case well next time we'll continue on with this


The researchers have developed a novel approach to discovering single-phase high entropy alloys, HEAs. They used a binitio-molecular dynamic simulations to identify potential crystal structures, combine this information with phase diagram calculations using the CALFID method and then inspected existing phase diagrams to find new single-phase HEAs. Using this methodology, they were able to predict new single-phase HEAs such as COFA-MNNI, CUNIPD point and CUNIPD point RH and COOS RERU. This article was authored by David E. Alman and Michael C. Gao.


Hey, hi, how are you everybody? How are you? Well, I didn't know we're live already. So give me just a moment to mix up some Resin for y'alls Today, we're gonna use a whole bunch of chameleons and some resin and a piece of old Mmm, party girl What's your mark? Oh I was like Oh Okay, I'm just gonna go a first today because it's my first time apparently Do you ever have those days where your brain's like mmm? I'm only half participating That's one of those days for me today move this Pick up this Thank you for the help little alley you This guy over here Alright, let me go get my Reading apparatus Just a moment not getting resin on it. I'm not getting resin on it Anything I'm ever around I have to remind myself to not get resin on it Can't be the only one right or am I maybe I am who's to say? So Hello, everyone. Are you guys having an amazing Halloween all-hollows Eve if you Participate in such things. I hope you are At the very least having a great Monday. Sometimes Mondays aren't great. I Am mixing way too much resin for this amount of board, but that's okay. I Will just make coasters. Hello, everyone. Are you guys having a super awesome rad day? Hey, Julie. I sent you an email. I'm trying to send you your Paintings in your paint whenever you get a second to check Has anyone had trigger treaters yet, I don't think people can find our place to even ask for tricks or treats Hey, Donna, how's life in the future? I hope it's amazing. I know it is Everyone have chocolate hangover over there Hey, Jenny. I'm about to go chocolate hangover crazy next door Oh my goodness his trick-or-treat bucket is not it's not there really. I don't know if he's like Taking it in to refill it or if he's like my neighbors He doesn't have a camera though Well, he can't tell like he takes it But we say trick-or-treat every time we get we do and I tell him thanks All of that is true That's Joe What's up, Shelley? How are things? Okay? I feel like that's been three minutes Without having Claire here to tell me it's been three minutes. I never have enough They end with to count Okay, okay, okay 123456 Okay, so I'm gonna put the color in first. Um I'm gonna write on the thing things what the colors are or else I Will forget let me just record go rump a bad Apple See which Mother knows best or MKB because that's a lot of late words Dalmatian obsession and mad hatter so I Got a few emails about our lovely Chameleons And I thought I would just do a piece that showed you some of these Chameleons While I did a chain pull because I haven't done one of those in a while. So Today I'm going to do let me show you the this. This is my first time attempting a chain pull Oh, ah, and I had a lot of really good responses to it And so I thought I would show you so Because our light source is directly above it's hard to get it to color flip No, I would love to paint our ceiling black Just have it just a flat black. No bars. No lights up there We were getting so much trouble so happy Halloween Okay ghouls guys Oh, yeah, I'm gonna do that Don't bring up old stuff. Okay. So the first thing we're gonna break into is grumpy grumpy is a purple and blue color flip And we're not gonna need a lot. So I'm not gonna use a lot of pigment squeaky It got me Then we're gonna use Some bad apple a bad apple is blue purple green Color flip I happen to love it. I guess I could just leave those in there and Some of these don't look like much in the jar But once you get them in resin or onto a black surface, it's quite impressive The next one I'm doing is see which This is a red purple flip with a little bit of blue interference These are all two-faced Chameleons and they are all available on our website are distilled at the outcome. Okay, let's do some Mad Hatter Mad Hatter is like a quad flip. It's got red cyan purple Green and I think an orange Or it could be gold You can't remember Hey, hey everyone Um mother-nose best is a red gold flip I get asked a lot if you can mix the chameleons I've mixed a red queen and mother-nose best before Yeah, yeah You can mix the colored like the base color ones but I wouldn't Mix like the white base one like this With let's say mother-nose best that yellow looking one is it'll just convolute it a little bit so Dalmatian obsession mother-nose best and Mad Hatter No, Dalmatian obsession grumpy and Mad Hatter are my three most popular chameleons I'm not sure why but they're beautiful Probably because they have like blue hues to them and everybody loves the blues Okay, are you doing something? Yeah Okay, so we're not gonna need much of each but I made a little bit extra Not sure why but I did No shame So this one is grumpy and you can't see it right now Maybe you can see a little bit of the red That one's gonna be blue and purple The next one is a bad apple With a little bit of something extra Bonus bad apples are gonna be a green blue Flip I want to say it has some kind of a pinky hue to it at some angle, but I Can't remember That's gonna be a little bit much The next one is see which You can see through to my stir stick on all of these and that's because you don't need a whole lot in Order to get a great color payoff on these You actually want to be able to see a little bit of your base through it because if you Just load up these powders Then it's gonna show It's not gonna show like you want it to it's gonna be a little cloudy because it's a lot of pigments So just take my word on it a Little dabble do you with chameleons? Okay, this one has mad hatter See it looks like there's not a whole lot in this I Used the same amount I did last time now. I'm like second-guessing myself. So I'm like if I just Yep Looks good. Sometimes you have to just do a little test Hello, hello everybody. Hello Chloe miss. Oh, and I say that right oh, and So Julia these are the two-faced chameleons They are available on our website artist till death comm This is Dalmatian obsession It is gonna be a blue green shift and Then the last one is mother-nose best Trying to make sure I scrape off all of the pigment that's settled at the bottom without scraping off the wax that's in these cups because that's a thing if You are using a wax line cup. This is a gold red color flop Okay, so what we gonna do is we're gonna base out in clear. We're gonna do a clear Grease the pan When I'm gonna do this one a little bit on the thicker side Because I Want to have a little bit of depth This technique works best if your resin is not super fluid because you want to be able to see those striations in your I guess chain pull the different little That's technical What's up Carrie so many Aussies in here today Tudor Okay, what are we gonna start with let's start with was this Dalmatian obsession one of my faves So I'm gonna Dip my chain Into here make sure we're covered and then when I pull the chain out I'm gonna kind of catch some of the resin because I don't want it to blob Okay. Yeah, we're just gonna go through that part then You ready already see it. Okay, so I'm getting the rest of it off by Running my hand over it and also I have alcohol in a spritz bottle And I'm just wiping it off ready to go again. Okay All right, so that was Dalmatian obsession You guys see that nope because my lights on Anyway, so it goes from green to blue Let's do the next one. So we don't want to do the same color. So let's do Was this mad hatter You mad hatter next So I'm gonna get all up in there and then try to get some of it off As I'm pulling the chain out of the cup You don't want to just let it be all on this chain because It's just not gonna look right It'll blob I thought this would have more of a red hue to it I think I should turn my camera off. I mean the light off and use your light to show What it looks like with the light on different angles Okay, can you turn your light on again? It has to be at such a drastic angle. Yeah But well, we'll control the lights on it in a minute Okay So I know that Mother knows best is yellow. So we'll be able to break up those colors with this one I'm trying it super hard not to mix the different Chameleons So that we get a true Look at what the color is That is pretty color. You really see the yellow of The mother knows best versus the red that it presents out on the main side versus Oh, I could just get out of the way yellow and red All right, I will have enough room for all of these Let's do a see which because I know that one has a purple blue hue to it Put this one back here because we already did that one This doesn't really work as good with an actual chain The links are just too small to make a difference so the big beads that are in Mardi Gras beads really lend itself well to What we're trying to do. I didn't think you'd be able to see so much of that first one through it Maybe it's because of the angle that I'm at but I usually see more red in that one than the purple that bright red color And then it shifts to a bluish purple those two colors look so good together So we did grumpy Dalmatian I don't think we did bad Apple yet. I'm gonna leave a little bit more on this one and hope that it doesn't Show so much of the previous Yep, I like that one looking through Jeff's phone. You can see the blues It will work with the lady of the bottle Totally will Thank you so much you guys I have not used the black diamond chameleons. I will say though. You have to be careful some people sell chameleons And they're not they're just an interference So be advised if it doesn't fully change from one color to the next and then it's in an interference And it's not what you're looking for one two three four five six Okay, so we got them all but I want to put another one of these over here One two three four five. Oh, who am I missing? I think So that's mad hatter Dalmatian mother-nose best Apple so I need See which I don't know it'd be fine if we do more than one because I'm gonna have to duplicate a couple of them Anyways, you use grumpy, right? That apple know what that is Dalmatian obsession This is mad happer mad hatter This was Dalmatian. Oh, maybe I didn't use grumpy yet. Oh No, maybe you just said grumpy I said grumpy a lot All right, it's okay if it repeats. I'm gonna put this one over here I just love this scalloped look of this kind of design They're definitely chameleons. Oh awesome awesome No, this time I haven't had any of the paint come off yet, but I'm not soaking them in alcohol either I'm just kind of spritzing them off Okay, so I think grumpy is who we're missing Do grumpy like You want me to do a full bottom line of grumpy put a whole bunch of resin on this one Grumpy always has a great color payoff So on this one I want to do I think I'm gonna have one of these right here I need to have another this Or I just put one right here one right here This one is really light I know but I there's nothing I do about it. It's in the back if I try to adjust this one Everything's gonna be not So I think I'm gonna draw a little too tiny fishies in this one One day Not draw paint or maybe I'll just get Jeff to cut me Some little fish decals That are just Swimming in the coral just keeps swing Can Jeff hold the phone To your camera. I think we get a truer color that way that is very likely and very possible I think also I'm gonna turn the lights out and Yeah, there's so much light in here so we can see the true colors Sorry Bowie, don't you do it? Uh-uh. He's about to make a run for it It's okay. I'm gonna get down Turning off the lights in here is like a whole process I would do some from overhead And then side So you guys I know I'm all about A coral reef Have an awesome day Donna Thank you so much All right, so I know today it was a short live, but I hope you guys enjoyed it. Hope you guys give Chameleons a shot Excuse me. Excuse me. Excuse them I'm Going to take this to the dust-free zone. It is currently flaw-free um, you don't want to do a lot of heat on it because Yeah, any kind of heat you do will make your resin more fluid and it'll take away all these little scallops So if you see this one, it does not have the best complexion I just wiped it off with alcohol, but Really it there's some flaws and the only thing you can do is flood it After you I have some bubbles right here. So flood it after it cures Anyways, hope you guys give this a shot. Have an awesome Halloween Uh and be kind to one another Because you never know what someone's going through Oh, me? Yep, you And remember We do the tests So you don't have I went too far in it like they're Tilt back, uh, absolutely chris if you could send me an email to remind me you want this one It is smaller than the last one But it's still rad. So if you want, uh, this piece then just shoot me an email and yeah We will see you guys tomorrow for a two o'clock Tuesday live feed I should do a reef underpainting with these. I've been thinking about it. I just haven't um I guess thought about it while I was setting up to do a live, but Now that our art show is behind us It's still running, but Anyways Uh, yeah, you guys have an awesome day. We'll see you guys tomorrow Uh Yeah, what do you say bye? Didn't say bye What are you doing? What are you doing? What are you doing? My cute little skunk I know what you mean JJ. All right, you guys have an awesome day. We'll see you guys tomorrow. Bye


It is really important to realize that accessibility makes better products. Accessibility is accessibility for everyone. A good accessible product is a product that's good. I mean, there's very few products. I've never heard of one that's accessible that nobody likes to use. There's very many products that people do like or don't like to use that are inaccessible. And the correlation is very, very tightly interwoven. You know, if you hear people complaining about an application on your campus, oh, I can't use this database because it's really hard for me to figure out where to enter the data. That database is likely to be very inaccessible. And if you make it accessible, those people who are having a hard time using it and doing the work will also be able to get their job done. The cost savings of doing the accessibility at the beginning is also really critical. So if you build things to be accessible, you're not going to have to clean up after the fact.


So I've been thinking about this all night. What could this new DRC5 game mode of arms race actually be? From the comments made by Timmins and pitchford on this mode it's had me thinking and today I bring you a few ideas of what I believe this mode might be. How's it going guys my name is DPJ and if you enjoyed the video leave a like really helps out and if you like what you see and want to see more be sure to subscribe. Also before we go any further for your gaming needs no matter the platform you play on, amazing prices and incredible weekly deals check out G2A linked within that video description. Okay so with the LC5 we get a new game mode called arms race. Now we have a couple of clues of what this could be and it's these clues which have had me thinking. So from the recent gamespot interview where Timmins and pitchford stated a few things I believe I know what's actually coming and this might surprise some people. So they said within their interview with gamespot a couple of things like this. Our aim with arms race is to make the gun game in our game of millions of guns really matter. Pitchford said it's a totally new game this changes everything he also says so I think some of the folks that maybe are only interested in narrative experiences we might lose them. But people who love the RPG loot and love that gear fighting experience and maybe folks who play completely different games. I have a feeling Call of Duty folks are going to turn their head and go wait a minute what's this even some battle royale people are going to go that sounds interesting I want to check it out. Now without doubt these are clues and while a new game mode which they might lose people over they're moving away from the narrative of this game. A mode of a gear fighting experience a mode which will turn the heads of cod players and battle royale players something that feels like a new game to borderlands what this sounds like to me people is without question some kind of PvP mode player versus player it's something that well would never see before in this game franchise besides those silly little jewels which ain't really anything but all that said actually makes sense to be some kind of PvP mode something that will turn the heads of cod and VR players they are basically PvP games a mode where the gun game really matters I mean I never thought I'd say this but I actually think this might be coming to borderlands. I mean don't people remember the mobile game of BattleBot released in 2016 created by Gearbox published by 2k this was a first-person game with strong PvP elements to it and it was said that this game was built to test the engine of bl3 so it's quite possible that this is well the kind of thing we might see here people I mean BattleBomb was an okay game the problem with it was well overwatch but borderlands 3 adding some kind of game of let's say a 4v4 PvP mode characters are pre-built for you to choose from gears are limited builds are limited and weapons are limited to stop that muddy loot entry in this mode I can certainly see something like this being a thing people I mean what else is going to turn the heads of cod and VR players I mean something that feels like a new game mode to the franchise people I ain't going crazy here am I I mean it just makes sense with what's being said no doubt I will get a ton of hate for this video that's completely fine just remember to come back and apologize if this does happen but what do you think about this situation what else could this be what else would feel like a new game mode to bl3 I mean I thought maybe a horde mode but that isn't new that wouldn't feel like a new game the only thing I can think of is something that's tied to PvP something that is tied to player versus player but let me know your thoughts on this down below in that comment section let me know if you think I'm going mad that's completely fine but also let me know what you think this could indeed be people but on that note we have come to the end of the video if you guys enjoyed it leaving a like really helps out if you're new around here want to see more be our free be sure to subscribe and if you never want to miss a video or upload can turn notifications on by hitting that bell button but guys thanks as always for stopping by hopefully you enjoyed video and hopefully I will see you on that next one


Hello oscillators in here and welcome to a series where we're going to be talking about synthesizing drum sounds. In this series we're going to be making use of the Korg Volcker drum in our examples but the techniques and ideas that we'll be talking about will be transferable to any other synthesizer whether or not it's really meant to be a drum machine because remember anything's a drum machine if you're brave enough. So let's kick this series off appropriately enough by talking about kick drums. As a kick drum is a physical thing that exists in the real world let's start off by actually taking a listen to an acoustic real-life kick drum from a drum kit. So I kind of think of a kick drum as having two distinct parts. We've got the attack that's that thwack as the beta hits the skin of the drum and then we have the tone that's sustaining part that gives the body of the sound. And those are the two ideas that we're going to think about when we are synthesizing our drum sound. So in these examples I'm going to be making use of my free online patch editor for the Volcker drum. It's free for you to use there's a link in the description of the video but there's nothing here that I'm doing that you can't do on the unit itself it just means I don't have to scroll and click about so much. So let's make our way down to part one which is traditionally where you put your kick drums and let's start thinking about how a kick drum sounds. So the traditional way to make a kick drum sound you can do all on one oscillator if you like. So I've turned layer two down all the way and I've just got a sine wave just bonging along here as my kick drum sound at the moment. Obviously it's not particularly kicky although it's in some instances it could still be pretty workable actually. So let's just start by taking a look at our sound source. So I've got a sine wave. Sine wave it's certainly kind of the traditional place to start with kick drum. My mod type at the moment is set to the attack decay and my ampigee at the moment is set to my linear attack decay although we'll have a play with the exponential as well as we go along. So I'm just going to start by just shortening this a little bit and I mean that itself is kind of a kick drum sound we'd probably maybe pitch it down a little bit lower. That's workable. The reason that that's workable on the Volker drum in particular is because when you've got the attack of the envelope generator down so low it's really really attacking you kind of get a click at the start of your sound anyway and that gives you a sense of attack but let's talk about the traditional way of making a kick drum sound and that is by putting a short and fairly big pitch envelope at the start of the sound. So our mod type is attack decay which is what we want and as we come over to our mod amount here when we start to turn it up you'll start to hear that you'll get a pitch up at the start of the sound if you're quite a big pitch up and we get sort of biblibobbly tom sounds. Now you can hear at the moment that pitch is dragging off quite slowly if we open up the envelope generator you can hear that that is a slow descent down but if we make that much much faster take a listen to what happens as we start to turn it up we get that zappy sound so here we are kind of a zappy kick drum sound and as we make it go faster that very fast pitch there almost doesn't sound like a pitch slide anymore it sounds like a a thunk and with this real basic way of thinking about kick drum sounds everything about the character of the sound comes from balancing your mod amount and your mod rate essentially so how much pitch bend you're doing and how fast that pitch bend is happening so at the moment we've got a quite a big amount of pitch bend here and a pretty fast decay there if we were to lower the amount you don't get as an attacky sound but we can maybe make it slower to make it more about the body and less about the attack obviously that sounds a bit weird now because it's so uh such a big pitch bend there that's a bit if we make the mod rate much faster you get a real obvious click there really really obvious click there and sort of deciding how you want to deal with this sort of front end of your notes here is kind of the the crux to this whole thing a bit more natural but still quite a lot of punch there if we lower this down to zero you can hear how much even that what seems like quite a moderate amount of pitch bend at the start of the note is is is creating i mean with this we could go slower and make it start to hear a boom at the start of the note more of a soft drum sound you can even take some of the attack for the front there you've still got that pitch bend but we're not getting that clicky envelope sound so much anymore which is pretty cool and we might want to make it much shorter don't need big 808 long drawn out sounds every time maybe here we'd want to actually make it more clicky and it really is all about balancing your pitch bend here if you're just using the one oscillator that is but of course on the vulgar drum at least we actually have our two different layers and what that means is that if we want we can dedicate one of our layers to dealing with the tone part of the sound and the other layer to tailor the attack and it means that we don't have to use that sort of pitch bend approach to get our attack we can but we can maybe tailor it in a slightly different way so let's take a look at working that way instead so let's start by adjusting layer one to be much more about the body of the sound and less about that attack so we can still have a bit of a mod drop off we kind of want a bit of a pitch bend anyway because you kind of get that from a kick drum anyway just soften the attack here so we're going to work with the attack on the other one maybe a bit longer okay so here we've got something that's very sort of soft sounding so we've kind of lost our attack at this stage so let's bring back some of that attack with layer two and we can do that in a couple of different ways so let's start by thinking about sort of working a similar way that we were before but being able to kind of tailor it a bit more because we're not having to worry about the rest of the sound so let's bring up this other one here and it's pinging away like that that's not what we want to do so the first thing we could do is we could work in exactly the same way to get our attack by having that sort of pitch bendy kind of thing happening but because we are only worried about the attack we could use a sawtooth wave perhaps instead which has a bit more harmonics so let's make this much shorter for the moment and we'll go over the short on that probably but just for the moment and we can do a similar sort of thing here with our mod rate we can set it quite high and start to get that attack with but of course we probably want to make this really really short with our aeg and now because we have this kind of attack on a separate layer we can fine tune how much of it we want to bring in so we can choose the tonality separate to its level so we can be a bit more subtle there get a much more high-pitched sound in there if we want to just bring a tiny bit of it in perhaps we want something that's less hanging in a bit more sort of almost like a squelchy sound there which is kind of cool we bring more that in interesting sound cool so the other way that I like to add an attack to my kick drum sound is actually we're making use of noise which is a slightly different approach let's just um get the amount and write down zero for a moment so we just have another oscillator going on top there just make it more obvious I'm going to switch over to the band past noise because I think that's often the one that I go towards so now we have a almost snarey sound I guess but when we make that much shorter I think this works well if the body's a bit shorter as well see that's a bit loud maybe and remember with the noise source it's the pitch which will adjust basically the filter cut off so band passing here they're nice there even shorter and of course we could combine the two ideas so we could have a layer one doing the pitch bendy type of attack and also having a layer two adding that additional noises so if we just so we're now getting that sort of classic kick drum sine wave approach but with that noise over the top to give it that little bit more sort of punch actually something about that makes it feel more real to me or acoustic I don't know why that is in particular perhaps that's an effect of the fact that if you tend to listen to a kick drum in a room there's usually a snare drum in the room as well and that's going to be rattling along with it and you've got the room tone as well I think that's pretty cool so without the noise back to our sort of tubby kick drum sound we can bring that attack in there which is quite neat of course the other thing that is cool if we're making use of a second layer to give our attack and I'll just move back to using a sawtooth for this for a second yes something like that it means that we don't have to be thinking about our tonal bit in a plain sine wave approach so for example what we could do here is we could switch over to our mod type being the frequency modulation LFO and if we go real fast here and get into FM we can start to define our body of our drum in different ways it doesn't have to be about that classic and we can introduce FM to get a different feel and of course another thing that we would often do on a kick drum of course is give a bit of a drive give it some meanness that way you try the wave folder but it's going to introduce quite a lot of higher harmonics but it's kind of working here yeah weirdly almost almost brought in like a reverb sound to it hasn't it it's pretty interesting if we wanted to be eight bit then we could reduce the bits that's another way that we can use to bring in the approximation of noise as well so we're now quite a long way away from that traditional single oscillator sine wave kick drum sound but it's still pretty cool anyway i hope that was interesting and useful if it was please do take the time to click on that thumbs up button thank you so much and also make sure you subscribe to the channel because we've got some more synth stuff coming up as always as we make our way into the new year hopefully get another one of these videos out before the end of the year hopefully and then i guess we're into january i don't know how i'm going to manage that with a one-on-a-bit year old in the house but we'll see how many jams i get out in january if there's any of my equipment that you particularly want to see in january then do let me know in the comments i've got a feeling it's going to be pretty centered around the opz maybe it's some of the electron stuff just because it's so self-contained and i can do it in any room in the house but we'll see enough of my rambling as always thank you so much for joining me today take care of yourselves and i will see you again bye