What's the word y'all we are back and I'm here to talk NBA finals the two teams that have performed the best and Also had the best luck cuz y'all know luck luck played a big part in this year's run I cannot deny that are finally here the two teams two out of 30 It's crazy. We the season might be over in just four games at the max is gonna be over in seven What's this kind of sad? I'm gonna I'm gonna immediately start missing basketball Even though I do love the offseason either way it is said sons versus Milwaukee Bucks I'm excited for this one because I think no matter who wins I'm gonna walk out of here happy for that team There is one team that gets a little bit more love for me because of a legendary point guard on it But you get what I'm saying the Milwaukee Bucks got so many likable dudes on the team I wouldn't even be mad if they beat Chris Paul in the finals But it is done before we talk about the finest preview Let me talk about the Atlanta Hawks because they deserve so much respect They were playing with their superstar player obviously not completely there The fact even played this game was a surprise to me. He was questioning going into it He warmed up He's like, you know, I'm gonna give it a go because we can't afford to lose this game because we lose his game The season is over and me and the guys talked about this on our podcast through the wire podcast go subscribe to that channel We're like even if Trey young is 70% 60% It's cool to have him on the court because even at 60% You know he can knock down some shots and he can be more of a decoy and that's what he was today He did try to have some takeover moments, but it just wasn't falling He struggled to take Brooke Lopez off the dribble a few times So obviously he wasn't completely there, but I he showed all of the heart. I believe that I believe that Trey young this whole season Heads went from maybe I'm out of touch. I don't really know But it seems like he went from a guy There's one of the most hated players in the NBA because of the foul drawing thing To just being beloved and I know he was a villain He was a villain this entire playoff run But I do believe that even on top of that people saw what Trey young did in his first ever playoff run and can say I like that kid I like that kid You know, he wasn't an all-star this year Technically he wasn't an all-star But I literally think that he could put up the same stats to be in the same position Next year he'll be an all-star because of this all-star or this this playoff run put him in a different altitude amongst NBA fans amongst GMs front office people coaches NBA players Because they can see what Trey young could do like the narrative around small point guards are completely changing Which is cool as As long as that small point guard has like ridiculously ridiculously ridiculously I'm out of talent on off the side of the ball But like the main reason why Trey young fails far as he did is because they're like he's small He's not going to be able to defend anybody Little did they know Hey, if you got a good general manager that could put good defenders around here You can hide him and get some majority of teams No team is out there five deep with five crazy threats and you're able to hide Trey young Which is a w Um one of the things I would have liked for the marky bucks to do in this series I can't complain because they're in the finders right now was trying to hunt Trey young a little bit more even Especially in game number six, right? You can tell he's not a hundred percent. Let's go get at him Let's get these switches to go at them. They didn't really do that Maybe some teams wake up next playoff run. I don't really know But this team showed a crazy a crazy amount of heart and you love to see it Everybody in a mama know that cam reddish can hoop but it's like His big question mark was Somewhat of his motor his dedication to the game.   I need that boy to who because I got a Great none of a five out of ten autograph I need him to hoop for my personal investments and he did um, which is great The Atlanta Hawks are in such a good spot again a team that was 14 and 30 Before the hiring or I guess the firing of loy pierce out to loy pierce because he's getting another opportunity as an assistant I think he might be one of those dudes that might be assisted for another eight years And he might get another chance. That's great to hear. Um, they bring a name. McMillan established He gets them an identity and that was one thing they were maybe lacking in their first 40 or something games And of course gets into the playoffs and just dominate. They're one of the few teams that were here That didn't have to go through an injury riddled team A team that was missing a star player. You think about it The new york mix were completely healthy for the most part, you know, michael robson was there But for the most part, they had their star players is what I mean Then they go against philly philly's completely healthy for the most part and then they go against milwaukee and they take it to six And and majority of that was when milwaukee star player was out there, you know So they're in such such a good spot with so many young pieces and click a pellet I'm still kind of him as a young piece I really really need to tip my hat to travis slink because he built a team that can compete now But also is growing for the future. Um enough can be said about Young players getting that playoff experience early, right? Because I think this was chris verden that said this on the show Shout to chris verden. I don't agree with a lot of the stuff chris verden says But I think that's why I enjoyed listening to him talk a lot because I can listen to him That's not I really think that's true. But this is one thing. I do think it's true When a when a player is in a losing situation for so long He starts to pick up on those on since it's really really bad habits And the alana hawks have got to the point where like their young players aren't really doing those bad habits to the extent of Some team that has been rebuilding for five six seasons and that is great, right? Deondre hunter was great this playoff run into his injury cameras came back from an injury That held him out for so long and in the biggest stage of his life He hit six threes and and helped his team almost fight back to take this to force it to game seven trey young trey young all of the bad tendencies of trey young Bad it depends on how you define bad because I can see you saying that the foul draw. I think it's bad. Um are pretty much gone You know You gotta think about Like his entire thing for his first couple years of his career is like He's a great playmaker, but he turns the ball over way too much for somebody as talented with the ball He kind of shut all of that down this playoff run and that's just such a good thing John Collins came into this season or even his playoff run as a guy that we know can potentially get buckets But how good of a defender is he? He showcased that he could be a two-way player and one thing that I really enjoyed about John Collins this playoff run was that He was allowed to run the small ball center when they needed him to and it didn't look bad One of the reasons they traded for click appellas because they didn't believe that John Collins was going to be in a position to run center And be effective defensively And he can't now i'm not saying trey click appella away because he was such a big part of the defense What i'm saying is that when you need to go small john collis can do that now I'm super super interested to see what his market is this free agency period the ellenahawks Make every rebuilding team a team that's here in year three or year four of the rebuild make all of us jealous because they elevated or or Got their timeline Done when with the rebuild thing it's time, you know And i've seen stuff like this happen not to this extent where they're in the conference finals But sometimes it can be a curse because you have such young players and you were this close And maybe you make a trade this off season that that tries to accelerate the timeline even more and in backfires I don't know I think travis slink is a super smart guy And I think he's gonna figure it out But the ellenahawks deserve a lot of praise for being in this position shout out to trey young and the guys But now let's talk about the eva final seven minutes into the video my apologies. I got a lot to say um, I look back on this Because I vividly remember Um, the second time the phoenix sons and the milwaukee bucks played against each other That was the when pj tuck was on the part of the team now um And he got called for a phantom foul with one second to go on debon booker debon booker Hit to free throw the misses the second boom. They went by one but The first time they played against each other was another crazy game where the milwaukee bucks are up by like 15 16 17 points And then the phoenix sons fight all the way back and went that way and I went back to see drew holiday didn't play in that game So maybe it's a wash But the point I'm trying to make is that the two times these teams have played against each other It has been Decided by combine two total points one possession one chris middle to shot away From the milwaukee bucks beating them in both games Which is crazy. Um, and I hope that this series Is good enough to even keep the casual fan interesting, right? Me and you are going to watch the finals because we're diehard mba fans But for the success of the league, we need this to be one that that the casual fan will tune into right? We know that this series regardless if it ends in four or five. We're here We're going to watch but for the sake of the league We need it to be um successful because I know of some casual fans. Um, and that's that's not a knock I always say this being a casual at something is not necessarily a bad thing. I said all the time. I'm a casual baseball fan I'm trying to work my way up, but I'm a casual baseball fan and that's okay But I've had conversations with casual fans because anytime somebody finds out what I do for a living They always want to talk about basketball, which is cool. I'm not saying it's wrong Sometimes I'm not in the mood. I admit, but okay talking to some casual fans about um about the playoffs and and A few of them actually because we were in the group We're like, yeah, I haven't watched much of the playoffs because well LeBron's not there Or or kevin aran is gone or just like all of the star players that have hella fans Are gone, right? So the casual fan may not be tuned in but I hope that since it is the finals They'll give it a chance They'll give it a chance because yannis is one of the best players in the league But I I don't know if yannis has a crazy amount of fans his style of play is definitely Definitely something I can see people not enjoying I'm definitely not one of those people that said that he he's done.  Um, it's just so happening. He's also a bulldozer It's a little bit of both But I'm excited to see what this finals looks like because because yannis We don't know we don't really know about yannis's timeline, man Even today they win a chance. They win the conference finals and um people are gonna interview you got coach getting interview You got drew holiday getting interview because he had a great game today started all very hot cool down But still ended up with 27 9 9. I think I said and cast money chris took over in the whole third quarter It's going 20 plus points again So they're gonna interview and I'm just waiting for the moment for yannis to get an interview He was just like hey, I'm the 12th man on the roster me at the nazis The aunt and the kumpo brothers are just the end of the rotate. He didn't even get an interview I maybe this is because he didn't play but either way his his timeline is one of the The determinant factor of this series really Because obviously the milky bucks aren't a good team without yannis But they're I don't think they're a good enough team without yannis to win a series against a Pretty much fully healthy phoenix sons Only thing that the phoenix sons worry about is if cam johnson Can get over his cold or stomach virus or whatever anything but the coat this the c word The the virus that we can't say on this platform where you get to monetize So obviously any yannis to be there and at least be at 80 90 percent um I am happy for yannis though I I can say i'm super happy for yannis because This this is what a small market needed. Of course, like I said, there's a lot of luck in the milky bucks being here right now I'm not disputing that but still this is such a good look for The smaller markets and the team building and the smaller markets think about what how the milky bucks did this They drafted a guy I think yannis was outside of the lottery or like the last pick in the lottery either way they drafted a guy relatively late Saw the potential in him gave him the keys early on jason kia had this man running point guard At 6 9 6 10 he was still growing too had him on a point guard gave him the keys and allowed him to develop And once he started to show oh snap this dude has all start potential this dude has nvp potential Let's go do some things they already a trader for chris middleton Which one of the steals of of ever of ever think about that chris middleton has had two of his biggest games in the conference finals And now they're in the finals because of he put his team on his back I know he ain't the glamorous type. He ain't super fun to watch at times He ain't he ain't even making an all-star game this season But it's still one of the biggest steals and NBA history if you ask me because not only that they win that trade But they brought a guy that just made yannis happy Did you do you listen to the interviews of of yannis after cash money chris took over in game number three He was like i'm excited to play with this dude for another decade You know what i'm saying? So that's automatically an amazing trade because you brought you brought in a guy They can also be a co-star with your guy because they fit together so perfectly But also keep your guy happy enough that he will stay in a small market of Milwaukee I've been in Milwaukee a lot of times it's an hour drive from me It's it's a small ass city bro It really is a small city in comparison to what yannis could be going to when it comes to these big markets So they do that they draft yannis they trade for chris middleton allow those two players to develop together They draft relatively well. I know dottie diva chenzo is not here, but he was a good pickup Pack honiton is at his own in off moments, but today he was very good. That's a very good pickup The brook low pass thing does not get enough credit either Brought in brook low pass and people thought he's about to be back to the basket He started to shoot that thing. Well, I guess he started to shoot the year before he got to Milwaukee So I guess it's not true But even that pickup and then the jew holiday is the icing on the cake They gave up a lot But you have to remember they trade they didn't just trade for jew holiday They traded for jew holiday and a sign from yannis People smaller markets should look at this recipe and be like this is what we have to do somebody tweeted I mean, there's no coincidence that the two teams that are in the finals May trades to give veteran point guards this season and that's a fact Jew holiday held them down. I know he didn't have a crazy shooting series But he held them down You know chris middleton held them down Yannis brook low brook low pass Brook low pass. I know how to get to talk about this brook low pass last game But like he was the all-time leader screw on brooklyn.  Come on man So it's just just a nice little recipe. It's good to see a smaller market being in this situation What was the last time other than the LeBron team with the Cavaliers that we've seen like a smaller market team be in the finals And y'all know how to do no research here. So You could probably say like last year. It wasn't last season. I'll tell you that much. Miami in LA But it's been a minute It's definitely been a minute That's mostly because LeBron has been dominating the conference for a decade But other than that, you know, I'm saying it's been it's been a minute since we've seen a smaller market team be there And with the Phoenix Suns, I I've showed them so much praise in these past videos I don't really need to tell you why them being in this finals is amazing for them in the city I love to see uh j crowder Somewhat chugging a beer after they landed in Phoenix What time would it have to be like two o'clock in the morning in Phoenix when they landed? And they went to part heat which is good. Chris paul is sitting on top of the car Fans are trying to dab him up. He like, oh no, dog. I got I got my shot and I still got the thing I'm gonna stay away from y'all right now. Um, but overall, um, this is the big thing though for me I want to go to a finals game But I looked on those sites that have tickets. I'm not gonna say the name unless they're paying me which they should be And it's like $1,500 to be in the 300s for the finals Like I said, Milwaukee's like an hour and a half away from me I As as sad as it sounds I might not ever see my favorite team in the finals of my lifetime So is that a good investment just to be at an NBA finals? Even if it's not my team Should I spend that money? Or do I feel confident? In our tours cartney show us to eventually get the bulls to the finals in my lifetime I'm gonna have to spend that money I'm gonna have to spend that money Get the secret I gotta spend that money get to see chris paul in the finals game Oh, that's tough. Well game one starts on July 6th Um, I don't even know who are they both the two see where they both the two seed I don't even remember. Um, so who has the who has game one? Um It doesn't say here. Well, I can look it up after I'm done with this video I let me know what you think about this finals matchup, man I try young man Best scoring debuts debuts an NBA history Um playoff history a rick barry in 1967. He put up 131 points Then you got trey young 461 points and then third is devin booker at 432 points and devin booker's gonna pass trey young because devin booker still has at least four more games to play two star players That had negative connotations associated with their name and trey young and devin booker Both shut all of the critics up It's amazing to see It's amazing to see All right, that's all I really have to say. Um, I'll be back I I want to do more videos, um about this is where the bucks fans and the suns fans can leave if you want to Because we're not talking about finals anymore. This is just content creation on this channel I want to do more offseason type stuff because we're here for 28 of the 30 teams But I don't really know exactly what I want to do So let me know I had an idea I mentioned this on one of our live streams the card game streams. Luckily the card game live is ending I hated that thing and I'm not supposed to say that but here I am saying it again Um, I mentioned that I wanted to do a series. I think I wanted to make it like one big old podcast Where I talked to a fan associated with the 10 teams that didn't make the play in right 10 teams However many teams didn't make the plan and um Talk about their offseason with that fan So like I already got some green lights from some play some people I just got to schedule some times like a detroit piston fan that I know and blowing up on youtube Y'all know exactly what I'm talking about. He agreed to come on to the show. Um, okay See fan that y'all probably know who I'm talking about agreed. I got to find fans of the other eight organizations Maybe I'll get rusty for the bulls. I feel like me and rusty have different opinions about the bulls offseason I'm just spitballing. All right. I'll see y'all soon


Many Bostonians claim they would do anything for an updated public transportation system. Well then, how about hosting a summer Olympics? I think that would be really exciting. I know a lot of my friends have traveled to London for Olympics and I think it would be a great source of income and excitement for everyone from Boston for that. Bring different things into the city. It would be real good, especially after the bombing and everything last year. Support for the United States as well as a coming together of all the citizens of the United States as well. An 11-member commission was created to determine whether Boston could realistically host a 2024 Summer Olympics. The commission believes a Boston Olympics would provide a stronger economy and a more modern public infrastructure. We'd get a lot of tourists and I think it would be good for local businesses. While many people are welcoming the idea of a Boston Olympics, there are some people that say they shouldn't use it as an excuse to make a better version of Boston. Groups like no Boston Olympics are fighting to keep the games out of Boston. They believe there are better ways to invest public resources. However, these Bostonians seem to remain optimistic. Graphic and a lot of security, but that's it. I don't plan to have that many people in the city at one time, but you know, there just has to be bad and good to everything in life. I don't think there would be any huge downsides that we couldn't handle. Reporting for Newsday, I'm Iris Moore.


Hi folks, I'm Mike and I hope you are welcome to Episode 18 of Fix My Mix, the show where we can listen to some songs from the community and using our, I was going to say expertise, let's just go with experience though. Using our experience, we're hopefully going to be able to nudge you in the right direction with some mixes before you send them out to the world. I want to say a quick thank you to our sponsor DistroKid who I'm pointing to now. If you follow that link in the description, you're at 7% off. I'll get a little kick back. It'll be everything will be good and you'll get your music out to the world. I want to say quick hi to some of the people who are here in the live chat. Always good to see them. We do indeed have Rocky here. Nice to see you Rocky. We have Thomas Christ over here. I've just been watching, thinking about Thomas Christy. I was just been watching Pete John's show. Pete John's show. I don't know. It doesn't matter. That was good show over there. That's my sales watching. I was listening while I was brushing my teeth and having a pee. Things you do while you watch Pete John's show is good though. Good guest on there, a cakewalk user, which was nice to see. Robbie Maroon. All good stuff over there. Nice to see Jade in here. Thank you Jade for being here. I've been watching some of your shows recently as well. I don't always make myself known in the comments and things like, I'm there. I'm there being a fan. The Zombie Economist. Thank you for being here again and quickly. Let's just say hello to Kamikaze Shots as well. Now for those of you who don't know, on this show, we do listen to some mixers from the community. I want to thank the people who do send in their mixers. As I say every week, it's an incredibly brave thing to do to expose yourself to the world and you can get arrested for that. To expose yourself to the world with sort of unfinished work, because it is unfinished. It's not quite there yet and you may feel that people judge you. But look, we're in good company here. Everyone here, I feel who's here every week in the chat is really constructive with what they do. And it's really important that you do contribute in the chat. Love to hear what you're thinking of the mixers going along. If you want to send a mixing, follow the instructions in the description down below and basically you'll find out how you can email that to me and get my attention with it. And we try and include everything. Not quite everything gets in on a show, but eventually most things filter their way through to a show. We do through every week. So yeah, we'd love to hear your music and if you'd like to get some feedback. I normally have some people who are much more expert than me, I have to say. And talking about that, I have to kind of start off with a little bit of an apology, because one of the artists who sent their material in this week, in fact the first song that we're going to be playing today, had said to me, he loves the show, he watches the show, was again sending his song. He said, I do have a particular request though. He said, he said, could you please, when you review my song, have the excellent Dan, the lonely rocker, and Ricky T Brown on to review it? Because you know, I really value their opinions and their constructive input. And I have to apologize, Doug, because unfortunately I've got this bloke instead. That whole build up, that whole look at that. I love it. I was just really glad because I thought you were going to get the track. You can play my song as long as that Pete bloke isn't on there. So at least they didn't not request me, they just requested other people. So that's fine. I would rather listen to Dan and Ricky T Brown talk to myself, Canadian in the UK, come on. I thought you were going to say I'd rather they were here than me. I mean, if we're going to get right into the weeds, there's a root to the situation, Mike. I mean, it could be watched in the hockey right now, but no, it's a pleasure to be here, mate. It always is. Although your music, your 59 seconds of countdown at the start there did put me to sleep. So I did have to have some no-dos to wake myself back up because it was so zen and calming. It is, isn't it? There's a few things I need to update with this show. I don't get time because I'm making so many review videos. Yeah, you've been excited about so many, I was going to almost swear that, you've been so excited about all the boxes arriving with question marks at your house. I've been this excited. Can I do a... No, I look like I saw a ghost. I can't do it. I can't do the YouTuber faces. I'm sorry. Yeah, I got to point at things.  I shouldn't say that. Constructive criticism. One guy had to go at me on Facebook and he didn't do it so politely and I think was asked to leave by the Facebook group over there. A peculiar.  So then he headed over to YouTube and proceeded to tell me, it's not your facial expressions in your thumbnail that's the problem. You'll always have a small YouTube channel because your content is so unoriginal and boring. To be honest with you, that's what he'd said at the point I read to because he'd written three whole paragraphs at that point. I was like, okay, someone's having a bad day. I do agree. Somebody else, I won't say their name, privately messaged me yesterday and said, hey, look, I'm not going to say this in public because I know your fanboys will attack me. He said, I don't always enjoy your thumbnail facial expressions. Right. Now this is an interesting thing folks. I'm saying this for a reason because obviously the first person didn't really get much air time from me. The second guy was very constructive when he messaged me about how he thought I could perhaps adapt some of my thumbnails. And although he may or may not be right in that we had a really interesting and constructive conversation about it and it's about you, how you approach people sometimes, isn't it? It really is. And yeah, it's about scrolling past sometimes too. Sometimes it's not for you. I've been on this round lately that it might not be for you, but you don't need to tell everyone that it's not for you.  I'm doing what I want to do. Or you can say, tell me what you think and either way would be acceptable. But I just think that people think that everything is for everyone and it's not. My channel is different to yours, which is different from Dan's and Ricky's. Everyone's doing their own thing and no one's going to be as good at you as you, Mike. No one would want to be as, no one would want to be Mike. A lot of people have tried. But you know, it does, it's one of the things I'm really proud of the guests that I have on the show, yourself, people like Dan, people like Ricky, Ed Marlin, Chris Salem. I'm going to miss out some people. But what I'm saying is, is everyone I have on the show, Jade, sorry, as well, and Ron as well as another. Everyone that comes on the show is just so constructive and we don't just have positive comments about people's music, but everyone is able to deliver it. I've never, I don't think I've ever had a person who's sent in a song who's got upset by some of the negative comments that they've heard and I think it's because they delivered in a way which is constructive and that's very, very important. It all just comes down to constructive and you can very quickly see, there's a very easy to see behind the veil of someone that's just trying to be a troll.  Why is everyone so delicate? It's actually got nothing to do with that and it's just people that go out of their way to get a reaction and it sounds like you had two people. One was trying to get a reaction from you about what they were saying. They wanted their 15 minutes of fame. They wanted to be the front and center attention of your mind and the other person wanted to help you and that's the difference. That's why I think this show works so well. Now there is another thing about receiving criticism as well and I'm just going to play folks. This is an interesting conversation. I didn't plan to have this conversation in fact, but so we'll bore you with it for another couple of minutes. But the interesting thing was when this chap was saying to me, he was saying, you know, I think it was one of the latest thumbnails, you know, where I was really overreacting. I'll say to him, it's just bad acting on my part. I'm thinking for me in my mind, I'm going, but the thumbnail is going. A couple of weeks later, I'll look at it. I'll go, oh, Mike, dial it in a bit. Anyway, but I was saying to him, here's the struggle that they'll have. On that particular video, I had 20,000 views in a week. I had folks watching. There's a thing called click-through rate on YouTube and it's just about how many people click on it. It's got one of my highest click-through rates of any video. So although I respect the person's opinion, it may not change. Yeah, and it's a struggle.   And I think that's the same sort of thing that happens here. And I must admit, I've not done things more often than I'd care to admit because of what I thought a small portion of people might think, as opposed to doing the things that I know will work for me in the channel. So if anything, I am too conservative on my thumbnails because I don't want those one or two D words to come on to my chat and ruin my day into the comment section. But I really shouldn't care because 90% of people either don't care, don't have an opinion either way, or just accept it as, hey, that's what you do. It's like ads. I didn't run mid-roll ads in my YouTube videos for a long time. And I was chatting to folks like you and to Patrick over at the GarageBand Guide and you said, mate, people expect it. People are watching a 30 minute video. They expect to get one or two ads in there. Like don't cry in a minute every two minutes because people stop watching, but it's expected. And people don't care as much as you do. I must admit, I always manually adjust my ads. Do not let YouTube do it. If you leave it to YouTube, it's insane. Oh my God, that would just plaster it. Folks, as creators for those watching who may or may not be interested in this, we do get the option. Look, if we decide not to run ads or whatever, YouTube may run them anyway. We don't have complete control over it. But when we upload a video, YouTube will automate where the ads are and how many of them there are. But we can intervene, which people like myself and Pete, and I don't know whether Jay does or not, but we can intervene and then go there. So I like to, I have a bit of a rule of thumb. They're going to put them at the beginning end anyway. If it's over about, say, 12 minutes, I may allow one in the middle. If it's up to 30 minute video. And I think that gives people an opportunity to have a wee and stuff like that. Exactly. But the reason I bring this up is not to make it all about me. Of course it is all about me. It's my show. But it's about criticism, about receiving criticism, giving criticism. And I think that it's interesting because we are about to give our opinions about people's music. And I think we've got to be careful how we give opinions and we've got to be careful how we receive them. Once in a while, folks, you may watch a show like this and send a song in.  But you've got to follow your own heart at the end of the day. If you're not sure and you think, okay, I appreciate that advice, but if you really strongly feel no, I think Mike and Pete are wrong about this. They've got it wrong. I want that amount. Then go with it. You know, you've got it in the end. It's your, you have sovereign ownership. I don't know what the term is. Yeah, I know. But I always say it's not a democracy. It's a dictatorship. When it comes to your own music, your own show, your own channel, you is the one party life where a dictatorship is actually fine because you get to have 100% control over it. You can take on advice from other people, but yeah, don't have to take it. And the loudest voice doesn't have to be the one you listen to. Absolutely. Robbie Maroon was touching on this. Now he has, he had a view that he likes to work alone. He loves to work alone because he doesn't have to really put up.  He said it very nicely. But yeah, it was exactly that that he said that I asked, did you play in bands? And he said, I did, but let's just say I have my own way that I want things done. And there was not did the collaboration wasn't there. So now he, now he does what a lot of us do and he goes on five or he gets a session musician and he plugs him in and makes his music and he sounds great. So more powerful. I think there's, I think there's two sides to that story. I think there's, you know, obviously people, if you collaborate with them, and I know you collaborate, for example, with Jade, often and things like that. So people are going to expand you beyond what you naturally, what you naturally do. But I don't miss, I don't miss the band rehearsals where the bass player rocked up and he obviously hadn't rehearsed his part, which you'd agreed upon from the last one because he'd been too busy partying or shagging his girlfriend during the week. And why did I say that?  I don't miss that. So obviously when you deal with a certain class of musicians, perhaps you don't have to put up. Yeah, I think that's exactly right. Yeah. Once you get to that level where they're actually a professional and you can kind of hire and fire them, it's a little bit different. But yeah, the old band days where it was like, we're even worse if the bass player came up with their own song and they're like, we should play this. When you're like, yeah, that's going to be the next number one. Sorry, bass players. Sorry, bass players. We'll pick on drummers later. Yeah, music. Let's go on with the first song. Yeah, music. Yeah, that was a warm this up. I didn't even get onto the subject that my mum arrived yet last night from the UK. She's just down there in the kitchen. Nice. And yeah, I've got someone else to tell me off there. Very good. No swearing today. She'll watch this. If you swear, I'll get hit. You know that, don't you? There you go. Sorry. Sorry, Mrs. Mike. I'll be good. All right. So first up, let me put the name up on the screen here. A regular, in fact, a moderator. No preferential treatment. It's been a long time. I haven't played anything by this gentleman. He's here. And I was not fully aware of his music. I may have heard some bits and pieces before. This is the first time I've really heard a piece of music. I'll let you read it out, Pete. It is the one and only Doug Kitter with a track. Leave it behind. I'm excited. I've been seeing Doug around your channel for months and he tags out over my channel now too. He's crossed over. So yeah. Doug, I apologise because I've used up most of the show talking about myself and YouTube. So I'm going to quickly read some bits of the email. But this was a song that was written quite a long time ago, actually 2011, originally recorded 2011 on an older version of what we'll call Cakewalk, but it was Sona, Cold Sona at the time, Pro 6. And he was using an old Matu interface. And in 2017, after acquiring platinum addictive drums, I decided to go back and fix the drums. At some point, I accidentally deleted, accidentally deleted the original guitar solo. I've not had that happen too often, which was much better than the one that's there now. And you can't replicate it because you had that moment of magic. Yes, yes. Now, I know that Robbie Maroon says he just writes everything down. Doug, I'm going to say you should have backed everything up. You should have had servers, you should have had CDs burnt, you should have had additional hard drops. Don't listen to Pete John's on this. You're using Apple, it would all be an iCloud just quietly. Anyway, he's saying that then he had some issues with his hands, but he thinks maybe his hands improved and things he might possibly re-record this guitar part. So I think he's trying to get us prepared for the guitar part here, I don't know. Anyway, he dug this out of a dusty vault because it's a good song. He dug it, I know, I know, he dug. Yeah, we're not even kidding, are we? We're off the rails already. This is fun. Anyway, yeah, God, now I've got to read this bit of the email, Pete John. Dustin, it's a good song worth the trouble. The song is about suicide with the message. You never know how tomorrow can be so much different and you can't leave it behind. Great concept for a song, by the way, Doug, and very cool. So let's have a listen to this. He did compliment me a little bit later on saying how inspirational I've been and everything. I'm not going to read that part of the email out, of course, because I'm very... You just read it to yourself every night before it ends. I appreciate your words, Doug. So let's have a listen to this song. Leave it behind from Doug. Yeah, righty. Thanks, Doug. Thanks, Doug. Nice to hear your music properly finally and thanks for sending in. I'll go over to my esteemed guest, Pete Johns here first off. Pete, you're a man of the 90s with a bit of guitar rock. Oh, yeah. Yeah, right up my alley. As I always say, you try to be subjective, but when it's the sort of music that you dig and you listen to naturally anyway, it makes it really easy to like. So I kept just jamming and getting into the groove and then they're like, oh, I better actually be critical and try and think of some things to say. But no, I really like the guitar. I thought the guitars worked really well together. I liked the combination of that nice clean acoustic that came at the start. I think it was acoustic. It was a clean. And then the muted guitars in the background had a bit of that sweet home Alabama sort of style. So I think I love a sound like that where you bring those two together, you get the nice resonance of one guitar and the nice sort of muted darkness of the other guitar. I thought that worked really well.  And I know Mike, you and I have talked about this in previous shows and listening to tracks that it's very easy to just plug and play your virtual drums and just use the loops and the patterns that they come with. There was all sorts of guy. There was splashiness in those. There was side sticks. There was rim shots. Like there was a lot of care. You could hear the care that's taken and someone that not listening and zoning in on those drums probably would just go, oh, it was just a cool drum feel. And you could probably, like someone listening to them might criticize and go, oh, it's a bit of a loose feel on those drums. I actually thought it worked for the style of music in my personal opinion. I like a drum like that. I've been a Wolf Mother style drum that's like a little bit, it just occasionally just drifts a bit and it's hard to do that with a digital world. So I think Doug did a good job with that one. I like the guitar. Man, if the other guitar solo was better, that was a pretty hot guitar solo, I must say. It sounded good. It worked for the track. It sounded good. And what I really like, my favorite thing of that was after the set. So there was a little solo and then there was a slightly longer solo. Really liked that progression. And then after the second solo, the lead guitar went back and behind and it was a really good mixing to actually bring to, to pull it back. So it was still there, but it wasn't overpowering. Some people try to put a lead guitar part with a counter melody over a chorus. It sounds all built up. Whereas Doug was able to do that. Only things that I would talk about is, yeah, look, the loose feel. If you wanted it tighter, you could tighten up on some of that stuff, but I personally wouldn't. But some people may listen to that and go, it was a bit loose. I think it kind of needed to be. It's a rock song. It's rock and roll. It's not supposed to be perfectly on the grid all the time. And the other thing was that the vocal tones, I didn't really talk about vocals. Amazing vocals, really good, really clean vocals. There was a lot of sort of nice verb on there. I would have loved to hear a bit of delay on those vocals. Like in the choruses, especially when you hit that big rock, like even a bit of slapback, but some sort of delay that just give it that because there was lots of nice reverb there. But yeah, I mean, I'm a sucker for delay on vocals. So it's a personal thing of mine. But I reckon in those choruses, or even in just the last chorus, just really bring it home with some like slapback on those vocals just to really sort of grind it out. But that was an impressive song. Really enjoyed it. And look forward to listening to more Doug music if you're continuing to produce. You pretty much stole my notes there. But I will say, first of all, it's so strange, isn't it? Sometimes because, you know, Doug's been a very active member of the community for a long time and I've seen him around and I appreciate that very much by the way, Doug.  And I've got to say, Doug, I really like your voice. It's always going to be a personal taste thing. But for me, I really enjoyed your vocal delivery style, especially I mean, the tone of your voice and everything. I was just really enjoying it. I was a bit like, oh, Doug can sing. I mean, why wouldn't Doug be able to sing? But you sort of, you know, you've sort of seen this name in this person around so much. And then you know, you're like, that grumpy old bugger can hold a note into all right, can't he? What a surprise. So that was the first thing. So I really enjoyed the vocal style. I loved the sound of the acoustic at the beginning. It was really, it's that sort of sound again. And sometimes I'll say, that's the sort of sound that I'm aiming for when I'm recording acoustic sometimes and don't always get there. So that was really good. Again, I'd mentioned the drums. So these drums, for those of you who are new to this, this is the difference to me between, you know, really taking care and attention over a virtual instrument, because virtual instruments, I think get a bad rap sometimes, because they're used badly. Yes. Yes. Mimo Japan politely contacted me two or three weeks ago about one of my songs and pointed out how I was not using the B3 organ in the best possible way and gave me a couple of tips, which I've yet to put into practice, but it was really good. So I was using the instrument badly, you see, I wasn't using it as well as I could do. So, you know, this is so that the amount of effort gone into it. Now, somebody said in the comments, I can't remember who it was that they thought made perhaps the drums were a little bit, I could do a little bit of repair here and there. So what I'm going to say, Doug, is I see why that person said that. I can't remember who it was, as I say. So for me, these drums are brilliant in this. Somebody said they're chaotic, that good word for them. And they were suitably chaotic. And there's a lot of effort goes into making virtual drums. Just here and there. And I think maybe two points in the whole song, there was just maybe one or two hits where I thought, oh, you just went a little bit far off the grid for me. They probably disagree me a little bit here. But just a tad, it's going to be a matter of opinion. So Doug, take or leave that, go back and have a look if you like. But overall, really, really good. I did feel that sometimes there's Doug, there's this guitar riff in there, which was coming out in between the vocals. Sometimes I felt that area of the song lacked a little bit of a little bit of punch when it came. Now, it's one of those things where I don't think I'd know the answer to that unless I had the multi tracks in front of me now and I was able to quickly experiment. So I'm not sure about this. But I think maybe those distorted guitars playing that riff, Doug, perhaps a little bit of automation on that, just lift them up a bit during those little breaks where they're playing. And I felt, I've put in here, I felt they need a little bit more edge, a little bit more sizzle, a little bit more mids probably, a little bit more crackle to them. That's what I felt about them personally. And that was the only thing. Maybe the low end of the mix could do with a tad tiny, tiny bit more, Doug, not much. So again, that's going to be a matter of opinion. But you may want to experiment with that. Overall, great song. Love the song style. Nothing wouldn't complain about the song. We've talked about this, Pete, with my guest recently quite a lot about repetition. How much repetition is too much repetition? When do you not do enough repetition? For this style of music, I felt the balance was really good on this. Yeah, really, really good, just in the pocket. Yeah, it was. Yeah, that's why I mentioned that first guitar, because I've listened to that first guitar, so it was only two bars, I think, well, not long at all. And then I was like, was that the solo? But then it kind of repeated and did it again. It was really just a little break in the middle there. So yeah, it was enough to keep your interest the whole way through. Again, you had the theme, you had the hook that was playing again and again. That's why I just said the only thing that I'd say is like that final chorus.  So that's why I think, like you say, maybe maybe you want to make up some of those grungy guitars, maybe bring your vocals out a little delay or some other sort of processing or double or triple up again. But yeah, again, these are all things that are just style and taste preferences, as opposed to, hey, you need to fix your mix. You may want to enhance your mix if you choose to. If you bundled that up, mastered and stuck it out today, I wouldn't complain. I'd say yeah, good stuff. Yeah, absolutely. Now, this is a point in the show where I normally go to a little segue about Distro Kid, of course, and I've got the same four adverts that I made months ago that I play every single week for my crash commercialism. Anyway, but last week, Happy Ron was on the show, wasn't he? And he spontaneously made up a song about Distro Kid. Have you got your guitar there, Pete? Have you got it? Oh, I do. Would you like me to sing a song about Distro Kid? Grab your guitar. Folks in the chat, let's just suggest a key for Pete to play in. Let's not do B flat, because no guitarist really enjoys the B flat or E flat. Let's not do that. No one's suggesting anything in the chat there, Pete. Let's go for, look, I don't want it to be sad. I was going to say A minor, but I don't want it to be too sad. Let's do G. I'm going to suggest that which feature shall we talk about, Pete? One of the great features of Distro Kid. They've just launched Distro Vid. So let's do a Distro Vid. Now, what's the key components of Distro Vid? So Distro Vid lets you release your music out to, should I do this in song form or am I just telling you? No, just tell me, because we're going to write a song together here. So Distro Kid, Distro Vid, it's like Distro Kid for videos.  Awesome. Well said. All right, so let's get the word platforms in there. That's the only thing I'm going to say. It's got to be in G and you've got to have the word platform in there and go. All right, is my guitar coming through? Yeah, yeah, perfect. Beautiful. We don't care. That's good enough for this show. That's what we said at the start, wasn't it? Good enough for this show. All right, so the platform, the platform show district. Yeah. Okay. If you want to get your music out on every platform in the world, you want to use DistroKid. Even for your video, there's the platform of choice from Mike from Creative Source. Oh, nice choice and source. The way you got choice and source, that's bravo. Oh my God. I thought Eminem was one of the most creative rhymers I've ever heard until now. You choice and source, right? Because they don't, but you made it sound like they do. They do, if you show them the right way. That's good. Honestly, folks, I gave Pete no clue that I was going to do that. In fact, I had no clue I was going to tell Pete to do it until about 30 seconds before I did. Wait for the second and I'm going to make up a rap on the spot.  We're not in the alcohol. There you go. Sorry. My mix minus, I had it off on my channel, but I didn't have it off on your channel. So you were hearing me in a wonderful burn. Good stuff. Good stuff. Let's go on to our second song. This is from a gentleman called Mark Wilkins. It's called, or the song title, is Few Weeks from Extinction. I'm not sure if it's supposed to be a few weeks from Extinction. I just copy and paste from the email, so it could be a few weeks from Extinction. I can't say the word. Is there words that you sometimes get to that you can't say, Pete? Is there a favorite? I can't remember off the top of my head, but yeah, there's a heap that I can't do. It's usually F F the words. So someone else, solid state plugins, something like that. If you've got any propensity towards a list, which both me and you do, then it will come out in extreme form when you're trying to be doing something on YouTube. So just say SSL console. Exactly. So my worst one, I can normally say if I'm not thinking about it, that folks, if you've ever watched my videos and you see this word, no, that even though you see me say it once, I had to say it about 50 times before I actually got there. And that word is synthesizer. I see I said it then. I said it then, but when it comes to Monday morning and I hit record on the camera, it becomes the fifth of fiber. I usually just say synth because I've done that. I go, I'll just do synth then. So I'm a synth electric piano. I'm thinking, what other words are there for this? I'll go to the specific model name DX7. There you go. Problem solved. It's hard being a YouTube. What are we doing here? We played music. Mark Wilkins. Sorry, Mark. A song called A Few Weeks From Extinction. Let's put it up on the screen. I'll let you read it out. Mark Wilkins with A Few Weeks From Extinction. Yes. So you didn't give me much information. A one line email. This song is called A Few Weeks From Extinction. And it was my first attempt at working on a crossfade at the end. So there you go. We'll be listening out for that. Let's try and give Mark some useful feedback on this. Let's go. Done. All right. So now I understand about the crossfade. Yeah. Yes. And it sort of put me in mind if I thought my brain went, oh yeah, I remember hearing that in some 70s sort of records and things. Yeah, anyway. Interesting. Wow. Yeah. Interesting. Yeah. What's that you, Mr. Jones? I listened to that and I'm like, I got to the end and I don't have very many notes because I was, it was so interesting and intriguing in the structure and in the songwriting and just listening to the, like, I would have to listen to that three or four more times. And I know that sounds like an excuse as to why I'm not going to have much good input here. But it's the ultimate compliment, I think, that if it distracted me to the point where I wasn't even able to listen to the parts, it just, everything came together. I did try and get a few things. Love the fade in. Love the fade out at the end. Yeah, it does kind of remind me of, like, some songs that have almost like a bit of a reprise at the end. They almost fade into, like, the intro again. So it kind of went end to end. I loved that. Super interesting percussion, like, not your traditional drums with the percussion throughout. I thought that was really good. That pots and pans style percussion really worked well for the mix. Really balanced mix. Like, I thought that all the instruments kind of sat in their place and was really well balanced. I wasn't, I wasn't listening out for anything in particular. Nothing kind of overpowered me at any time. One of the best touches I liked was the the ooze. So this is probably in terms of fix my mix or and how we talk about songwriting and arranging a lot as well as the mixing side. But in terms of mixing in those backing vocals, they were nice. They could hear them. They were nice and full, but not overpowering. So it was mixed in well and it made some differences. So they were slightly different each time. So I don't think the ooze were there on the first chorus. They were there in the second one. And then they kind of came in in, like, the pre-chorus and towards the end there. So it was used in a unique way. It wasn't just every time we do a chorus, we have some ooze and arse in the background. So it created some interest with their, the bass line was actually really well written. It was very subtle, but just moving up. And I think, again, that the tip out of this one is, I know we're not talking tips, you did that a few weeks ago, but the tip of that is a lot of people think you only work on that first octave in your bass. Like if it's got to be between E and E, because your bass has got to be your low instrument. I think some of the best bass lines in the world are the ones that actually go up the neck a little bit and do some fun things. And play a little bit of harmony rather than a root note sometimes. Yep. Right, exactly. Still managed to sync in there with the percussion fine, but created enough interest there. And I just thought, yeah, a little bit country, a little bit rock and roll. Really interesting song like that. That's all I got because I got to the end of that song. And all I thought was I want to hear it again right now. So that's a good sign. Nice groove and stylistically quite sort of late 70s, in my opinion, not a bad thing. If that's your intention, Mark, then you achieve that really, really well. So the only sort of thing I'll say about the vocals, I liked when the harmonies and stuff came in, plenty of good stuff about the song. I was a little surprised. But with the vocals, I felt that we talked about this repetition thing. And I know this is not a mixed thing. Again, we're talking about song structure and arrangement more than anything. I can't remember the exact lyrics, sorry, but here's the way. This is our judgment day. It'll end there. Which is good. There's a little hook there. I personally was going just towards you and I was going, I'm craving something alternate here. Maybe even, and if your voice can do it, Mark, keep that one maybe an octave up. Or at least, you know, a harmony a little higher and make that harmony the melody, if that makes sense. I just needed that, just that one bit of variation in there. And that's an arrangement rather than a mixed thing. There's not a lot in the mix for me to talk about here. This is a good drum song, again, by the way. I enjoy the drums. I don't think they were virtual drums. I think they were real. But if they were virtual, then again, like Doug's song, they were really, really well done and nice. I think, Mark, the best that we're going to be able to offer you here is you're heading in the right direction. You're pretty much there. If anything, go to DistroKid and get it released. And that's the thing. You shouldn't keep your songs hidden away from the world. I'll be back. I feel it's my turn. I think it's 100% your turn. So do I have to... Now, my guitar is tuned for a specific song at the moment. So it's detuned at the moment, I think. So I think we'll have to be in the key of D with Kappa on the second fret. I like it. We'll have to do that. So give me some key words, I guess. A little bit fokey. Well, yeah, well, DistroKid is... I was just thinking about this. It's like one low yearly fee and it's unlimited. So I think you need to talk about the fact that you are... It is limitless. So I think limitless is the word. That's a nice songwriting word. It needs to be all about DistroKid's limitlessness. DistroKid. It's a mystery kid. The mystery kid. How they do it, kid. With no limits, no limits. Pete said it. There's no limits. There's no limits. There's no limits. Now we're going to rap by Pete Johns. Yeah, he's gonna rap it, yeah. DistroKid is really ace. They put your music in every place. For one low yearly subscription fee, you can be cool like Mike and me. And when he says every place, he doesn't mean every single place. Because that would be rude. And let's face, it's Pete Johns. Would never be rude. Would never be crude or lewd. So the thing is, I was going to say, DistroKid are either going to be really grumpy or really happy. And I know the people at DistroKid, they're as quirky as we are. So I think they're going to enjoy that. I think that the last two weeks of this show have been some of the most unique promotions that have ever been done in honour of our friends at DistroKid. If you do it long enough, eventually you're going to come up with a hit song. That'd be cool. They wouldn't like it, though, if we released songs called DistroKid and then we got the search engine optimisation and no one could find them anymore.  I don't think they'd be impressed. Let's go to the last song.  I was so busy. I've got a question for you, a related question. People have asked me because they're really impressed with your visualisations that you're using when you're playing songs on your show here. So how do you create those? Because those are awesome. Yes, it's from, I just have to remember where it's from, called Render Forest. Now obviously for me, I've got a reason to sign up for one of their more expensive plans. I think I pay about $50 a month or something like that. But you can get plans that are not so extensive. If you just occasionally need a video from it, yes, it's good. It's good. It's just, if you just, like I have been saying to people here and there, look, there used to be a time on Facebook years ago where you could easily, you'd pop in your SoundCloud link and it would actually play it on Facebook itself. It had a little widget and blah, blah, blah. Facebook have gone away from all that kind of stuff now. They just want to own everything. Anyway, I digress. So I reckon if you're going to share some music on Facebook, upload a little video and lots of people, that can be a bit of a hassle. This kind of thing is really cool because you can just really quickly get a little visualisation happening. And yeah, people can watch it there on your Facebook page or what have you without having to go off to another platform. Of course, for us, we want you to go to another platform. We'd much prefer you came over to YouTube because Facebook doesn't really pay us anything at all. Is it, what do they pay you for? It's zero for me. They pay me for anything. They want it all. Zero. They keep asking me for money to advertise with them. So it's minus money if I wanted to pay. And not that it's all about money, but no. If you've got a choice, where would you go? We do have rent. I have rent to pay, you know. And anyway, yeah, very cool. And we'd be remiss if we didn't say that if you don't want to go to that f at DistroKid, have their video generation service called Vizzy, which if you've released with DistroKid, you can literally just throw your song there, pick a format, and it's about $12 or $13 per video. So if you don't want to go, if you want to test the waters, you don't want to pay a subscription fee, go to your DistroKid homepage and go to Vizzy Video Generator and you can generate your own cool visualizations with your custom songs. So cool. So so so so so cool. So let's move on to this final song for the show today.  It's actually quite exciting, I have to say. So Marmite and Teabags, how have you done? Marmite. I can't stand that stuff for any English people watching. It's like Vegemite but worse somehow. Vegemite's wonderful stuff. I love Vegemite. It's a diet. When I'm making videos, it's like, yeah, give me some Vegemite. Vegemite on toast, nothing better. Make another video. I'll make six videos in two weeks, all reviews. I can do that.   So it's unavoidable. What do we say about doing a quick show today, Mike? Oh yeah. So moving on. So the final song, the final song is I like people that send me short emails. This one might be too short, I'm just going to say, because I know this is from Diana Roscoe because that was the person who sent me the email. The song is called Love is the Light because the only content of the email was Love is the Light. The file name said Love is the Light. So if you could just send me a little bit more information, folks, when you send a song in. I do like to, I want to listen to the song anyway. And I just want to remind folks also, first of all, thanks for being here for this show. You've been wonderful in the chat. It's been great to have you here and do send your music in. We would love to hear it. And as you can hear, me and Pete ourselves are quite capable of writing some pretty terrible music. Savings from ourselves. Yours is bound to be better than anything we can come up with. So let's have a listen to this song from Diana Roscoe called Love is the Light. I muted both of us this time. Yes, you did. I'm going to go first on this one, Pete. I think I'm going to offer it to you. I'm like, do we get to go last? And that's not fun. Yeah, I know. It's my show. I should go first. You should go first every time. You should barely let us speak at all. I know. I know. Just have you as a pretty face. I mean, if you could put some makeup on, it might work. Anyway, here we go. Diana, often we talk about, you know, not just me and Pete, but everyone who talks about music talks about the value of a good song.  But you can harm a song with the mix. And I have to show you, I think this song underneath this mix is a decent song somewhere. And I think it's been greatly harmed by the mix. And I'm glad you've sent it in, because I really hope that you can take some constructive criticism. I'm going to give you the riff, the main sort of riff that appears in between the vocals lines of some dispute over what instrument this is. It sounds like a, maybe a synthesized string instrument, if that makes sense. A virtual instrument being, it was way too loud, like way, way, way, way too loud. We're not talking little increments here, just way too loud. And it was very harsh sounding. I made notes to say that I even wondered if there was an, because he sent me an MP3. I even wondered if there was an MP3 export setting issue here. Because if you get the bit depth wrong, for example, it wasn't quite eight bit, but there was some real harshness here. When I put the song on, I immediately had to hit the volume and get this down to 70% of what the other songs that we've been playing, because it would, it sort of did hurt my ears a little bit. Nice singing, nice vibe, all that things going on. I even think you could lose that riff potentially. I reckon if you took it out, it could still be a better song than it is at the moment. You need to address it. It was just simply way too harsh and way out of balance. If I'm going to talk percentages, for example, I'm going to say it needs to be at 70% of where it is now, even that low, maybe coming through. But I actually maybe think it might not be a great choice of instrument as well for the riff. There was a little, there was a couple of comments from people that say the riff might be a bit too repetitive. And they did have some variation in it actually. It wasn't the same all the way through. But yeah, there's an argument to be said there, but I think it's not going to feel quite so repetitive if we can just fix that. That's your main thing with your song actually. A lot of the other things about the song were probably good, but it was so overpowering for me that that that out of balance riff that it made it hard for me to even sort of hear the other things and be yet to really evaluate them too much. But I think that's the only thing it needs to fix. Have I taken away all your notes, Mr. Johns? A lot of them. But yeah, first of all, when I first heard that, there's two songs that use a similar riff. There's the song Hal Bazaar by OMC, do you remember that one? Oh yes, Hal Bazaar. Do you really do? Yes. Hal Bazaar. And Sugar Rays every morning. Every morning there's a halo. It just reminded me of that. I don't know why. I first heard that and I heard that. Good pick. Yeah, I like it. And look, I'm not saying that's plagiarism. It makes there's 12 notes in a scale. So don't worry about that. Everything's going to sound like something. So I was down with that. And I did like, I thought it was an interesting drum sound. I thought the drums were a bit repetitive. Like that was a loop that was just played throughout the whole thing. And if that's, if that was the intention, that's cool. There's some very cool songs that have been made that literally just use that kind of old organ drum machine kind of tone, which is absolutely fine. But yeah, a little bit repetitive and yeah, the volume issue and the EQ issue. I think that either it was an export issue where it was thing, I think it might have been limited. So I think that there was some pumping that I was hearing sometimes. Like if you're here when the roof came in, yeah, it's sort of, I had that on my notes. I started to drop, but I felt there was, that was the other thing I felt about the whole song. It was so compressed. It was like, you know, I think it was just washed, right? You need to, you need some, you need some breath in that some dynamics in there. Yeah. Yeah. So I think there was some over compression and some over limiting and perhaps in the mastering process, maybe, you know, sometimes you press that auto master button and it just crushes it into a sausage way form. And that can cause a lot of that sort of pumping. And yeah, the treble end, like, I think you're right with the choice of instrument. Given it was a kind of like an island Jimmy Buffett kind of feel at the seagulls at the start, I was hearing like more of a steel drum, like a softer. Or even like marimbas or something. Yeah, marimbas or a celesta. It's like something that's more natural sounding. I think the harshness of that sound, it just sounded too artificial. And the rest of the track was going for a more natural kind of island vibe. I thought well said. Yeah. Yeah. It distracted from that. Yeah. So drum machine was a little bit repetitive and the cymbal crashes, my goodness. I don't know what was going on with those cymbal crashes, but every time towards the end there, every time the cymbal crashed, like the song crashed. And I'm like, it's sad because it just sounded really tinny and really top endy. And I think if you've got a better sample for some of these drum sounds, then it's going to really help things out. And that's pretty easy to do to just find a decent crash sound. Because it was right, like it was right. So the timing of the song was good. The songwriting was good. As you said, it was actually a really fun song. I actually really enjoyed it. And I think you rise that if you did a few little things to there, then you'd be able to do that. The vocals were good, like super smooth and well sung. Nice vocals. Yeah.  Like I didn't, they were very dry. So there was no real reverb or delay on the vocals. So I wouldn't mind adhering a little bit more reverb on those, on those vocals. And I think, yeah. Did you say reverb? I said reverb. After all these years of my pronunciation. Reverb. Reverb. Now you've gone to reverb. Yeah, carry on. But I've been talking for three hours and got up at six o'clock. I'm losing the plot here. But no, I think everything else has been said. Like there was a lot of actually really good feedback. If you're watching Dana or Dana on the replay, go back because folks like Kevin, the parent who said, yeah, the riffs are a bit repetitive. There were some other really good bits of feedback from people as the song was playing. So I think you could use a lot of that, not just what Mike and myself said, but what a lot of the folks in the chat here said, which is why it's so good to have a live audience here giving their feedback. But again, good song, good song writing.  Don't bother recording the fact that we're going to this sort of level of care and attention to tell you some of the things you might want to try. I think you could turn this into an amazing recording of a really cool fun song. Absolutely. Yeah. So in summary, Dana, I think it's been most of your time on that instrument, either change the instrument or adjust the level of the instrument. And think about some reverb on the vocals is the main thing, I guess. I guess a little less compression and Lummeting. Not so much limiting. We've gone New Zealanders. New Zealanders who just take mouth impressions? They just take vowels, don't they? In New Zealand, they go, how should we say this vowel today?   I simply can't any more. Oh, there's the edge, Pete. Anyway, I've had so much fun with you, Mr. John's today. It's always a pleasure to put an old pair of socks or an old pair of underwear. So just to recap, folks, Mike started by saying that people didn't want me. They wanted anyone but me to be on the show. And then in the end, he's compared me to an old pair of socks. So could someone explain to me why I keep coming back on this show? I love my socks. Nothing better. It's winter time here in Australia. Yeah, no, especially old ones. Especially old ones with no hair. Wait, the analogy's just lost. Socks, eh? Whereas when I was a teenage boy, I used to call them dream catchers. Yes. Michael, I'm coming to your room to tell you anything. Not yet, Mum. Not yet, Mum. Why is socks not soft anymore, Michael? Not yet, Mum. So I can't believe we went there. No, for once you started it, I usually come on here and I'm horrible on your show. Folks, it's been lovely to have you here in the live chat. We promise to behave better than this next time. We didn't intend to do the things we've done. We just fell by the wayside. Guitars, they're evil instruments. We got our guitars out and they're always, they're evil instruments. They lead people. Every time I whip it out, something bad happens. I'm not even going to leave you to end the show because I'm terrified. I know it's waiting for Michael to throw me under the bus here, but I think he's, you know, it's better than that. Absolutely. So why don't you say everyone should give a thumbs up down below and share this with someone that they think is cool. Now listen, what I want to say is this to everyone. Thank you so much for joining. So if you're watching on the replay, thank you so much for watching the replay. Now we've got a routine happening here. I know some of you are aware of it, but just in case you're not, every single week Pete's got a show before mine. Okay. And it's a great show as well that the town hall creators think and he likes the thing. And he has some good guests on there sometimes. Sometimes he's by himself. It doesn't matter. Either way. It's good. And I believe Jade has a show. It's like the middle of the night before you as well. So if you want three hours of interesting talk about music, music production and things like that, start off with Jade's. Come through Pete's and then climax over here at Creative Source. And we repeat and rinse every Thursday or Friday, depending on where you are in the world watching it. But yeah, so there's a little routine we've got ourselves into now. And I'm very grateful to Pete who sends some folks over my way. I'm the meat in the Mike and Jade sandwich. You are. Pete the meat. Pete the meat. To me, Pete the meat. It's my nickname in high school. It wasn't really. You don't want to know what mine was. Why is it that there's parts that are always the weirdest part of the whole show? I swear, we need a show that's just the last five minutes of the show for an hour. I think it'll be a lot of fun. So folks, thank you so much for being here. It's been a pleasure, Pete. We're going to head off and enjoy our Fridays now. What are you doing for the rest of the day, by the way? We know I'm going shopping with my mum. Yeah, well, I have Saturdays off now. So I can't clock off for a bit of a day off now. So I'm a big ice hockey fan. So there's a hockey game that's one period in. So I'm going to go watch a couple of periods of ice hockey. And then I'm probably going to do a bit of poets because here in Australia, it's poets.  So I'm going to have a few quiet beers and a bit of a relax time. And that's about it for me. And you're off to the grocery store. And you fully deserve it. You fully deserve it. Thank you, sir. Appreciate it. Thank you, man. Thanks to everyone in the audience. We are going to say it all of why.


Good morning everybody. My talk today will introduce some of the work of the Cherish Project and we'll look at how we're trying to instill more precision in recording eroding cliff edges in the Welsh side of this Ireland-Wales project. Cherish is a five-year EU-funded project began on 1st January 2017 so we're coming to the end of our second year and you'll note our trilingual logo with Welsh, English and Irish reflecting the communities that we're working within and on the bottom of the screen there you'll see I'm with the Welsh Royal Commission, we're leading Cherish but with the Geological Survey of Ireland, the Discovery Programme in Dublin and also Aberystwyth University Geography and Earth Science and they're bringing the Paninology and the Extreme Weather Expertise as well that I think some people were talking about yesterday how how vital that was to include that in these climate change projects. So this current round of Ireland-Wales funding is managed by the Welsh Government and the specific objective we have to report to is objective two you'll read it there to increase capacity and knowledge amongst coastal communities for the IHC for climate change. So two years business planning and five years project that's what we have to deliver against how we deliver against that is is the structure and the the wider sort of make up of the project our evaluations our policy outputs and so on as well. What I'll talk about today is the way we're targeting data and knowledge gaps and there are plenty of them still in these more remote coastlines and how we're mapping and monitoring some of that heritage with greater precision precision we're still in the baseline data gathering stage and let me have the other three years to begin to crunch that data and make it work for us. I won't talk so much about the the past environments and weather history but that's a critical plank of the project. It's too small a project to be predicting modeling climate change that's for the bigger projects we respond to published documentation in terms of how climate change is seeing how climate change is affecting the coasts of Ireland and Wales. Our latest climate change risk assessment for Wales from 2017 notes the importance of the visitor economy the tourist economy which is a key part of this funding for these sites threatened by coastal erosion but also they're very worrying that they have significant evidence gaps still and that's part of the reason the EU has put the money into this funding stream and that's what we're seeking to to fill. So here's the the project map Wales looking rather small against Ireland you'll see our Irish colleagues are rather more sensible than us having sort of five main areas we've got many more the project areas in Wales they're on the right selected for a variety of means on the basis of coast edge type erosion risk data and knowledge gaps particularly those areas where we know nothing or very little or have been too difficult to study in the past where we have potential collaboration and partnership. We're testing our toolkit approach toolkit approaches are often talked about in remote sensing and archaeology but we're trying to make that work. Crucially you'll see from the airborne laser scanning the lidar right at the top to the light aircraft which is my day job at the Royal Commission Area of Photography down to the detailed survey and geophysics the peak coring and OSL dating the laser scanning on the foreshore and then bringing the GSI in Ireland the marine scanning and the wreck diving which we hope to start implementing next year. So it's exciting we're linking the terrestrial and the marine and making that work in a long-term project. In Wales we have a number of project areas but these are our designated and undesignated baseline monitoring sites these are the sites we're putting the most effort and work into a recording these are the sites we'll go back to after key storm events at extreme low tides and so on and they encompass prehistoric promontory forts listed buildings into tidal wrecks and island sites so there's a range of different types of site there and most of the first year along with other things but was also harmonizing in agreeing these areas so that the stakeholders the landowners knew what we were doing knew we were there and were able to work with those communities on the ground. I'll be talking at the top there about Bardsie Island and Dynastinley up in north Wales this morning's case studies. We've done some work over the last decade looking at the erosion of coastal promontory forts in Wales with other partners but comparing historical imagery historical data with present day data is often tricky. You see an eroding coastal promontory fort here 1946 heavily shaded Royal Air Force vertical photograph with a more recent 2006 Welsh Government vertical photograph verticals nowadays things you see on Google Earth are taken in flat light and summer to maximize vegetation minimize shadow but it's very difficult to sort of compare the cliff edge the exact edge where was the edge of that site how much has been lost how quickly is that site changing we also have significant data gaps we reckon that light our data airball laser scanning you need better than one meter resolution to begin to map cliff edges in any precision and certainly to begin to map archaeology in Wales this is south west Wales Pembrokeshire famous area that's that's the data that's better than a meter resolution the coast is virtually missing apart from the pieces we paid for the islands down at Scoma down here so there are problems in mapping and getting precision in the coast edge yet we still have major cliff falls happening of course in limestone scenery this is south Wales carboniferous limestone this is always collapsing but how quickly is it changing this is an iron age promontory fort with a cliff collapse last year how quickly is it changing did coastal erosion affect the prehistoric communities who are building these sites we also have major losses this is Storm Ophelia and Storm Brian last year which took the end of the Green Bridge of Wales a big tourist site but there is no 3d modelling data for the Green Bridge of Wales we didn't get there in time with the drone but it's a natural heritage site anyway so we know we can see how much has dropped off but there's no way to quantify that there's no sort of metrical way to understand how erosion is changing that natural arch but these these coasts are changing fast but potentially the top level the first and quickest way to gather baseline data is through active aerial reconnaissance something we've been doing in Wales since the mid 1980s to gather baseline data and legally monitor heritage sites around Wales and we're employing this in Cherish up the coastlines there to take what we're doing in Wales across to Ireland to show how effective aerial monitoring can be this is a joint nation project Wales and Ireland doing the same survey approaches in both nations to the same standard to the single survey team that's the critical thing photogrammetric software is ubiquitous nowadays you see it in all the power points and that's a critical part now just flying with the aircraft we can get about 30 sites an hour if we orbit those sites take between 15 30 photographs even in a rapid orbit we can pop up a tolerably good 3d model of that accurate to about half a meter so already we're banking modelling data for these sites for the future for the archive and then we can choose to work on that or not but we need that better data accuracy at the start of the project in Wales in 2017 we invested 25 000 euros getting a new LiDAR flow for six island properties which had no baseline geometric data at all no accurate geometric data and this was flown at 25 centimetre in winter at low tide so that's about the length of your hand the pixel resolution including quite remote properties like grass hole which is seven miles offshore which has prehistoric roundhouses on it and a grass a ganitary on it as well birds nesting and wonderful data like Bardsy here one of the larger Welsh islands where we have the the high resolution data has made all the difference to recording and we can analyse it with a relief visualisation toolbox to really get all the information out for for mapping the archaeology or pop it into 3d for more public outturns you can see Bardsy here high mountain the mannath a model farm and village planted on lower lying slopes here with fields the eroding instruments our study site and then a headland with the lighthouse on it to the south so looking at the eroding instruments of Bardsy this is one of our baseline monitoring sites work has been done there in the past not least by Tom and Joe from the skate project as well so we've got a bit of a history of monitoring data on the coast edge there this is a maximum five meter elevation the isthmus here looking at the current predictions for sea level rise and storm surges in Wales we're looking at anything between two meters and nine meters in the next century of wave over stopping and storm surges so we're not just looking at sea level rise threat but also up to nine meters above the sea level that heritage at risk from scouring damage and erosion and in storm aphelion this five meter isthmus was essentially underwater for many days and we visited this summer to look at the storm throne stones some fairly sizable that have been brought up onto the isthmus by the sea and the geographers in the team can then look at the eroding cliff faces find previous storm throne deposits and actually begin to recover radio carbon dating samples to see how often this is happening the eroding isthmus itself is producing prehistoric burials a mesolithic flint so there's plenty of archaeology popping out the 25 centimetre lidar for barter the new lidar is is fantastic this is a real sound investment you can see the sand dunes the sand undulations on the beach there mapped in in considerable detail and even sheep if you don't know what a sheep looks like i put a picture in one of one these little dots here individual sheep are standing in the fields here as well so this is fantastic baseline data not necessarily just for the next three years of the project but if people want to see what it was like in a century's time in the long-term archive we're improving on that lidar data building on it not only with GNSS survey of the eroding edge but also modelling all the detail of that eroding edge the topsoil stripping and so on with drone photogrammetry my colleague Dan doing that and you can see the the photograph and the drone image are working pretty decent together because the we're not expecting a huge amount of that rock to change in the next century but it's this scouring of that soft edge and the sand that's going to be changing so we can build a basic model of erosion and recession there from the 19th century mapping with the present day lidar anything between five or 15 meters of that isthmus has been lost but now we want to start modelling that more this winter to see the sort of softer erosion of that finer edge to see how that's uh that's being damaged and taken away looking uh finally at uh case study of Dennis Dintley promontory thought in Gwyneth seeing how our toolkit comes together in the intense analysis of a critically eroding site this is a prominent and iconic uh coastal promontory thought in north wales uh mentioned new marsh mythology of the early medieval texts uh thought to be an iron age and roman site with early medieval occupation this eroding edge is cutting right the way through the fort it's a geological triple si so we can't stop the erosion because the geologists want to be able to see that eroding edge uh and we have some historic uh coastal oblique photographs which show how much that eroding edge has changed we can get some photogrammetric data off those 1961 photographs too how do you tackle the site with a dangerous dynamic slumping cliff face the bit of the site we're interested in is the top half meter up here which is producing roman pottery and shards so you want to get out over that edge and recover archaeological samples datable samples palaeo environmental samples without even necessarily excavating just cleaning the section up so we're talking to rope access specialist to get us over that edge safely but where is the edge as well you see these huge hunks of turf hanging over that edge how do we define that eroding edge at this site our standard approaches to a site like this analyzing recent 50 centimeter lidar which is very good comparing that with a mapping from 19th century which gives us anything up to 45 meter loss of the cliff in the last century and we've also done an interpretive topographic survey this summer which we need to hasher up this winter so there's many ways we can compare the eroding edge from the data we already have we've commissioned high resolution radiometry now geophysical survey that's the postage on the left there and we know we've got the total loss of the site potentially within about 450 years so next year we're going to start commissioning excavations on the west side here to date some of this this this site this is not excavated there's no excavations here at all and we may even have a roman watch tower in the center of the fort there's a lot of critical evidence we need to understand before erosion takes it any further but we're now beginning to test the best ways to record that edge as I said at the start quick and easy with a light aircraft nowadays this is 17 high resolution full frame 35 millimeter photographs which gives us a tolerably good pop-up 3d model of that eroding edge better than we've ever had for this site and we can get that now in a flight with the light aircraft so this is a pretty good model but of course the standard approach to gathering more detailed data now is by drone photogrammetry uh in the UK we've had to train Dan up as a registered pilot with the civil aviation authority it's a national trust property so we have to have the land ends permission to do this it's quite complex but once you're qualified you can undertake drones survey safely and this gives us a resolution down to 17 centimeters of the site but this summer we're also out making a more ambitious laser scan survey of the coast edge 600 meters of the coast edge over 50 scans took about three days quite an intensive process with our long-range scanner but this is really paying dividends now we won't be doing this for 30 sites or 50 sites we're going to be doing this for about four or five sites our key critical sites which gives us a stone by stone model of that cliff edge for the first time this is great this begins a process now where we can measure change measure how this this cliff edge is slumping and changing how quickly it's happening or is it a creating is it is it stabilizing as well between particular storm events so to the final point there really we've talked a lot about projects yesterday as well three to three of projects five-year projects but at the end of those you reach a real cliff edge what happens to the data and hopefully within cherished we're from national bodies reporting to government so we're hoping that we have a long-term archiving policy in place so if you want this laser scan data in 50 years or 100 years it should be there in the national monuments record of Wales still accessible archiving big data archiving 3d data is still a challenge but we also have policy arms there we can get out the policy sort of recommendations this project through the sort of connections we have to government and Wales and Ireland but it's also about making sites like this relevant to the communities where they're based making a site like Dennis Dentley in quite an impoverished coastal community begin to work for that community begin to pay for that community through tourism and boosting the tourism economy so that's a sort of a little look there at what we're doing in Wales with the cherished project please take home one of my newsletters and anything else that takes your fancy many thanks indeed