Hi, I'm Nate Adams, CEO of HVAC 2.0, and often known as Nate the House Whisperer. And today I wanted to tackle a strange but surprisingly important topic, which is duck design. And to some degree, it defines itself as the design of the duck system for a house. Which you can see, this is actually my house that I'm sitting in right now, a duck design that I had done for this. It's a very important thing, so we're going to dig into why to get one in particular and then also what is it. So let's start with why. And here's the key piece. So it's a technical thing. If you have an uncomfortable room or you have moisture problems or there's dust or things like that, that is fundamentally caused by one of two things. So the first one is, there's too much heating or cooling escaping the house. So it's going from inside out and vice versa. The second one is, there's not enough heating or cooling being delivered to the room that is uncomfortable. And it can be either or, or it can be both. And we'll get into how you diagnose that in a moment. But here's what it looks like. You have to deal with heat, air and moisture flowing in and out, and air is by far the most important of those because heat and moisture travel on it. And then once you have a house reasonably tight, doesn't have to be perfect. What we find is a one-to-one ratio of blower-door leakage to square footage is about where things start getting decent. Sometimes you've got to be in the .7 range, but somewhere in that range. That's good enough to control problems with HVAC. And then you need to make sure that the HVAC is adequate. There's two sides of the HVAC, there's the equipment itself, and then there's the delivery system, which is the ductwork. Now to figure out what do you need when it comes to figuring out first is the house super leaky. Because if it's super leaky, it's like a boat that has a decent size leak in it. You don't need to buy a new bilge pump, you need to fix the leak.  And then with that blower-door number and your energy use and your thermostat settings, you can do a load calculation, which figures out how much it takes to heat your house on the very cold days and to cool your house on the very hot days. And it needs to be accurate and to do that, you need a couple of extra pieces of information.  Now this is most important for new construction or if a new duct system is in the offing, because fairly often in areas that have HVAC and the attic, it's all flex duct. So more often than not, duct systems get replaced when the system gets replaced. And if that's the case, having duct design for that is a really good idea. But a duct design helps you figure out what size ducts need to go to each room, how much flow they need to get, things like that. And so to fix leaky houses, it looks like air sealing and insulation. And the fix for getting air heat and moisture to the right places in your house, it starts with right-sized variable speed equipment. You're going to hear me say that again and again and again. It is the key to just about everything. And that is not the least expensive stuff. That's mid-range to up-range. There is no cheap variable speed stuff, doesn't exist. Okay, now switching over to what it achieves, there are two different things. So the most important one is that it increases the odds of success. So if you have lived in a home that has rooms that run much different in temperature, say 5 or 10 degrees different from other rooms in the house, if you make sure that there's enough flow going to those rooms and there's enough duct size going to it and there's enough trunk feeding that duct, you're much more likely to succeed at creating a really comfortable house. And the second part is it creates contractor accountability. So if you just ask somebody to put a system in and they put it in and it doesn't work, well, you don't really have a leg to stand on. But if you give them a design that shows exactly what size duct you want going to which rooms and how much flow it's supposed to get, you now have a leg to stand on if things don't work. So it's an accountability step as well. So is this critical on every job? No. In retrofits, probably 10 or 20%, something like that. If that. In new construction, I would recommend doing this every time. That's worth the exercise, because you'll also figure out where you have to put soffits and if there's a weird duct that has to go someplace, you're going to think about that before you build the house and the HVAC contractor comes in and is like, crap, we're going to put this thing. So it's important to think that sort of thing through. So let's go over what is a duct design. This is actually a duct design for my house that I'm sitting in right now because this is about to get a heat pump. And I haven't changed the duct system yet, but I wanted to get a design for it so that I can do that this winter. And let's talk a little bit about the industry standard side of this. So a duct design is a piece of the industry standard HVAC design process. So this is from ACA, which is the American, sorry, it's the Air Conditioning Contractors of America. The American Baseball Association of America. No, that's not it, ACA, Air Conditioning People. So there's a four step process. First you do what's called a manual J. I'm not quite sure why it's called a J, but it is. And that is the load calculation. That is how you calculate how much it takes to heat or cool your house on that very hot or that very cold day. The problem with MANJ is if you don't have a few extra pieces of information, namely energy use, blower door and thermostat sub points, we have seen it be off by as much as plus or minus 70% for cold climates and heating. So in heating, it can be crazy high. There's some houses we found we can drop the manual J 60% and still cover worst case load on that. So it's just like, it's not helpful sometimes. So you really need a few extra pieces of information to make that calculation useful. But what that ends up doing is it helps you decide what size HVAC is needed.   And so you're going to use the manual S calculation to figure out what is next. Now not everybody does this, but this is what the normal protocol is. So manual S takes your loads and then what piece of equipment can suit those needs. Once you get manual S done and you select equipment, you do manual D, which is the duck design and that determines what size trunks are, what size ducks need to come off to the different rooms, how much airflow the room should get based on how many BTUs, how much heat or cool they need. And you do that. And then manual T is not done very often at all, but that is outlet selection. So that is what kind of events are you actually putting in the ceiling or the walls of the floor. So that's it, manual J, S, D and T. What I'm going to show you is not that specifically, but I just wanted to give you an overview of what that looks like so that if you hear these terms, you aren't mystified. So manual D is the brand name. Like I said, a duck design may or may not use those protocols. One of my friends likes doing this more rule thumb than anything. It may sound funny to hear from me, but there you go. Now when it comes to load calculations, there are two primary kinds. So there's block load and then there is room load. A duck design deals with the room load. So a block load is for the entire house or sometimes it's one floor. So if you have a two-story house, it'd be the first floor load and the second floor load, maybe the basement. Room loads are just what they sound like. It's how much do you need for each room. So a duck design requires room loads, which requires a more detailed model than a block load.  Doing a duck design typically takes hours. It's a whole nother ball game, a whole nother level of modeling. So it's going to cost extra. It just is. Now the room by room, what it does is it helps you figure out how much does it take to heat and cool each room. This is going to take into account which way it faces because if you have a west facing bedroom with a large window, that's going to get beat on in the summertime because you can't shade western-faced windows because the sun is going to come in way too low of an angle where in the front, like say the front is south facing, the sun is going to come in. So you just need a little bit of shade and it will stop the sun from coming to the window. But western windows in the afternoon, you're going to cook. And so a duck design and a room by room load calc is going to take that sort of thing into account. What it also helps with is what air flow is needed. And if you know how many cubic feet per minute you want for heating and cooling to a room, that helps you figure out what size duct you need to run. And then what size ducts goes back to what size trunk. And then the trunk is related to what size equipment you buy because every ton or every 12,000 BTUs, rule of thumb is it's 400 cubic feet per minute. So you can go as low as 275 and almost freeze the coil. Out west I have friends that will run 600 or 700 cubic feet per ton because they don't want any dehumidification in the summertime. So there's different ways to do it but 400 is kind of the middle of the road assumption. So a two ton needs 800 CFM, three ton needs 1200 and so forth. Now there are two different main documents that you will see in the duck design. One is super numbers heavy, I'm going to show you that in a minute. And then the other which doesn't happen all the time. So the numbers document that's what you're going to see every time in a duck design. But 3D drawings can be really helpful for figuring out little details of again like where you're going to run the duct here, what size do you need and if it needs to be this size, what are we going to do with headspace, fit between the joys, things like that. So again like I said numbers lay out the loads, flows, duct sizes and so forth and the 3D really helps you visualize it. So let's look at what the numbers look like. This is on the house that I'm sitting in right now. So my friend John Askevel ran this load and as you can see there's a lot of numbers. So let's talk about what they are. So for starters we'll look at square footage. This is a little house, it's 1150 square feet. It was a good deal, it came with 5 acres, it's nice enough, it's fine. It is funny, I grew up in a house about 5 times this size. But this is fine. And so you can see how many square feet each room is as you go through it. And that's important for helping figure out how many BTUs it takes for each one. So then next up we'll highlight three different columns. These are the loads, the heating and cooling loads. So down here is your total heat load, which is 30,926. I suspect that this number is high on this house, probably not super high but a little high. And then there's the cooling load which comes in at a little over a ton. So a ton is 12,000 BTUs. So this is three window units and I know that I'll do it because we're actually running the house with two right now. Heat pumps getting installed this weekend as I'm recording this. But the heat load, you can see what it is for each room going through it. And the larger rooms are generally going to have higher loads. And then see how the master bedroom is 171 square feet but the living room is a little bit bigger at 220. Look, their loads are almost the same. This room has two walls exposed outside and two windows. So that sort of thing is going to get calculated in here. Next up you get cooling load and cooling is split into two. So you'll see something like that's sensible. Sensible is heat load, the heat that you can sense. Latent is humidity load. Latent actually means it's a phase change. So you have to take it from vapor and convert it down to water, which means you have to remove energy to be able to do that. And so it's going to depend where you are in the leakier your house is. The much higher latent loads are going to go up. And there's a problem there because air conditioners, they have a split. So they do 100% overall cooling, but they might only do 10% dehumidification, particularly if you have a high efficiency single stage piece of equipment. Avoid those like to plague. Those are a recipe for mold. You want to run right size variable speed equipment so it can ramp down and you get good dehumidification. But if you can run the coil in the air conditioner cold, so the thing that's in there, it looks like a radiator, picture a radiator car and you fold it into like a letter A, it's called an A coil. If you can keep that cold, you will do much more dehumidification and you can get to where it's like a 50-50 split between humidity reduction and actual cooling. So this won't matter out west where you don't have nearly as much humidity, but in the east this is really critical and makes HVAC design here a lot harder. I sometimes wish that I didn't have humidity to deal with. But in any case, room by room you can see what the loads are and like the kitchen is high because it's planning on the stove running part time basically. So you can kind of pull these apart and see what all things are happening. So that is the loads. Next up we'll look at air flow. So this is how many cubic feet per minute each space needs. And so the highest here is 64 for the master bedroom. There's a look at load is just enough higher to go from 63 to 64 CFM. And then in cooling, it can be quite a bit higher. So like look at the kitchen, it's asking for a whole lot of cooling for the kitchen because again it's trying to deal with that stove or the oven. And so then you come down to what your total air flow needs are so 642. Then you get to see what the duct size is. So 46 CFM can be served by a five inch. So it's one five inch duct and this is just one program that is used for doing this sort of thing. There's a number of different programs but they're going to be similar in their outputs. The bathroom and hallway needs a four inch duct. The big one is the kitchen it's suggesting two seven inch ducts. So that's what you're designing to and that's assuming 642 CFM of air flow. And then this is the air flow to design to which is usually the cooling particularly if you have a furnace and an air conditioner. The furnace doesn't need nearly as many cubic feet per minute to move a lot of BTUs because it's putting out 120 degree heat which is a huge difference is a 50 degree difference from indoor temperature one from 120 down to 70 where an air conditioner is typically putting out like 55 degree air. So if we're running that same 70 that's a 15 degree difference. So you have to move a lot more air the 15 degree difference to cool. So cooling is typically the dominant one although if you run a heat pump that will probably take it back to where heating is dominant. But this is what you have to design the system to that makes sense.  Now a good duct design I mentioned how manual J can be really wonky as to what size it suggests versus what reality is. So a good duct design you want to use a model that can trued energy use because that's a huge huge swing in what the load of a house is. You may pull up to a house and think that its load is double what it actually is when you look at the bills. You want it to be trued to blow it or leakage the overall leakage of the house. You want it to be trued to room leakage if at all possible. So you may run the blower door and you find out that one room is 40% connected outdoors where everything else is 10 or 15. That 40% room is going to be a lot harder to heat and cool because it's so leaky to the outside. So you figure that out with zonal pressure diagnostics which is one of the pieces of the HVAC 2.0 comfort console. It's one of the reasons it's in there. And then lastly it needs to be trued to homeowner experience. So if you know that a different room is too hot or too cold you want to be keeping that in mind as you do a duct design at least for a retrofit. New construction we're doing our best. So all of these like I said ideally if you're going to do a retrofit they should follow an HVAC 2.0 comfort console if at all possible. If it's new construction you aren't going to have these although you should A be building a reasonably tight house because new home should be tight. B you should be able to predict what the blower door number is on that house. So you want to set targets. We usually set a fairly easy target and then a tough target and we will typically give bonuses for the tough target so we suggest the client's pay bonuses. So that is the numbers page and then you can get a 3D drawing as well. Now I did something weird on my system. So remember how it said it wanted 642 CFM? The unit that I'm putting in here is either a 2 or a 3 ton. It's kind of a strange thing. Bosch makes it. And so I wanted to leave room so that absolute worst case scenario maybe I could run it in 3 ton mode to experiments. So I suggested that John design this to 900 cubic feet per minute rather than the 642. So he upsized the flow proportionally to each room and that resized the ductwork. So there were no eight inch ducts if you remember. So these are the two kitchen ones right here. It's suggesting two eight inches where the design showed two sevens. So this is where you get into if you have what it is by the books and then you put in a little extra input and you see what happens. So anyway, this is the unit here. It's a down flow, which for my markets, pretty unusual. So it sucks in the return from up top and this is an eight inch fresh air vents, but it sucks in down through the system and then it blows out underneath the floor and it goes two different ways there. So this is the duct system that we'll build soon. We're going to run with what it has for the moment. This is that same duct system put into a 3D version of the house where you can kind of see it floating. But I kind of like this one because this helps me visualize what the duct system looks like. Few things to note. There are no ducts at the very end of the trunks. Same here. You should always have a trunk extend out 18 inches past the last duct. And the reason for that is if you don't, the air will bias to flow through there. Everything when it comes to air flow in a duct system, you want to think about water because at the pressures that air works at in an HVAC system, it flows like water. So if you go to the end and you give it a place to go, it's just going to go like right through that end one where if you make it stop and it has to hit and then come back and bounce out, you're going to get much more even flow everywhere than if you let a duct come off the end. So that's one common thing to look for that we see it's an error in at least half of houses that I go look at because it's easy. There wasn't a duct design. They didn't know the rules. Again, this is an accountability step. And then this is another way to look at that same duct system. So this is overlaid over the layout of the house. So and again, 3D, this sort of thing. This is optional. But he's going to do it because this had to be done in a separate program. The reason is this program here doesn't true to energy use. And that was really important to figure out. So he basically just made this work and everyone that I've seen uses one program for doing the number side of things and then another program doing 3D. So depending on who you work with, they'll use different software. There's plenty of them out of that work. All right. So in conclusion, duct design, what and why? So the what's are, sorry, the why's are to increase the odds of comfort happening and then to create accountability for contractors. The what is detailed numbers on heating and cooling loads, how much flow needs to go to each room and then what duct size needs to go there. Then a 3D drawing, which is optional for visualization so you can help get your head around it and then particularly for new construction, you can think your way through where are we going to physically put these ducts because oftentimes you end up with one where you're like, I don't know where we're going to put this thing. So that's the basic idea. So hopefully this is helpful. You're going to see different charges or different prices for this sort of thing. But it's a reasonable amount of work to do these. And then there's typically revisions that come after this as well, particularly new construction. You'll put out a design. You'll notice this, this and this that need to move around and then you'll redo it. So these are things to keep an eye out for. But hopefully this is helpful. Again, you want to make sure that you're using right size variable speed equipment in a reasonably tight house and then you run the duct design. It's kind of the last step in the process. So I'm Nate Adams. Have a great day. And I hope you learned something today. Bye-bye.


All right guys How we traveling good? good to hear Just made it to Melbourne We've got our rental car. That's the first First tick off the box first box ticked should I say and now we're gonna head to the accommodation So it feels good man feels good. It's nice and fresh Can't wait to train tomorrow can't wait to see this apartment.   I've been spending I've spent an hour trying to find this car park What the what in the oh my god? This is the last time.  Okay, three two one.  Keep your eyes peeled for a park with yellow and black Striped tape around it You see if you can spot it. Oh, I got it. I got it And we're gonna back into why not these reversing cameras aren't bad There's a mission We did it We're at the apartment Well in the car park. Oh, thank God for that. Wow. What are we? What are we working with? We've got a hallway also myself bathroom to bedrooms for one person as you do Three bedrooms. No That's a mirror Okay, we've got two bedrooms We've got an awesome kitchen.  Let's turn some lights on. Oh, mate Look at this pristine Melbourne apartment living that's what that is. Look guys.  Oh, oh, what do we got here? Little welcome package Tea and coffee. I'll take that Welcome Well, it is an Airbnb Let's see what we got. I love treats Well, it's not edible treats It's bath treats And you know what guys? I was actually I was gonna mention something about this but but this has um Brought it to the forefront. Look, I have been living in a tiny apartment with my mom and my sister With no space.    I saw a Woolworth's across the road Yeah, go get something to eat and I'm gonna come back here and sit down on that couch and Have a wee chat a final chat for this video titled Alice brings to Melbourne We're here. I'm gonna be at football training in 12 hours. Oh Yes, I am Right my friends. We're back. We're back. I've got some goodies, but first of all Oh, what does this say? I want to go outside, but we're gonna read this first. Halo short stay house rules No noise between 11 and 7. All right. We've got two hours. No discarding cigarettes over balcony. What about joints? No rubbish left in room left in bin room No rubbish left in bin room.  Any rubbish or spillage in common area? No, we're not going there Any of the above occurs? Well, it won't please be aware that a CCTV cameras on every level Which will be held for evidence No worries Let's check this shit out. I actually guys. This is Come to think of it the view from this balcony in the daytime is Apparently absolutely sick You can see the whole entire city and There's like a massive park just across the road. So So first thing we're gonna do tomorrow is have a look out there and show you what it looks like But for now there ain't much going on. What do we get from the supermarket? Let me show you now Can you see me? I would use my tripod, but It's in the suitcase and I can't be fucked getting it out. So I'll just show you here. Okay first things first We've got a croissants We have two Greek yogurts. We've got a bottle of Diet Coke We've got some Nutri-Grain bars We've got a microwave tie green chicken curry meal, which is questionable at best Questionable we've got five bananas six bananas We've got an egg sandwich, which is my favorite by the way We've got some sushi, which I'll probably eat first or else it's gonna go bad chicken and avocado sushi And we've got two tins two big tins of tuna. So we've got three sources of protein here. We've got the Greek yogurt We've got the tuna Actually four sources. We've got the eggs in the sandwich and we've got chicken in both of these meals here that microwave meal and the sushi We've got carbs in the form of bananas the bread in the sandwich the rice in the well in both of these the sushi and the meal and The Nutri-Grain bars so I'm thinking I need fuel. I'm thinking right now I'm not thinking about eating this now. I'm actually thinking well What am I going to do over the next couple of days because especially from now up until You know tomorrow morning at 10 o'clock. I need to fuel myself.  I'm going to have my sushi I'm going to have my sandwich and I'm going to have a Greek yogurt And that my friends Is most likely going to be What I do for the rest of the night I'm going to set up my computer I'm going to eat. I'm going to have that shower And there is one other thing one other thing one other you know crucial element to my night That's gonna make it that much better And some of you guys already know what I'm talking about Hold on a sec. I'm still here. I'm still here guys If you have been here for a minute you will know by now look I Do have advice drink a lot But I do like my smoke so with that being said guys Thank you for being here. Thank you for keeping me company. It's been great We're here Loads of exciting stuff coming up, but the most exciting thing is obviously my newborn. Okay, Tristan It's Tate and Tristan Tate McDonald and Tristan McDonald remember the names mate remember the names It's all I can say definitely a bit colder than I'm used to not gonna lie It's it's a bit chilly But I don't mind a bit of chill. I gotta be honest After living in Alice Springs for so long a bit of rain and a bit of cold Actually makes my day believe it or not now it's time for that shower


Jimmy K here, Metal Voice. Look at this. The Metal Voice shirts are now on sale. Just go to the video description to find out on how you can purchase one. Metal! Welcome to the Metal Voice. Alan, it's been too long. Yes, yes. It's been too long with Todd. One of our greatest interviews ever, I think, was with Todd LaTorre himself, and we're honored to have him back with us today. Yeah, yeah. I think we did like a four-hour interview with him once. We just got to talk like the whole afternoon. Hey, I got the gift to gab. The news. Yeah, February 5th. Jim, what's it got to mean? Rejoice in the suffering on Rat Pack Records. February the 5th. Pureter now. Yeah. Very exciting news. Very exciting news. All right. Tell us about the album. Just tell us about the album. We're talking about anyways. Tell us about the recording process of the sound, Todd. All right. I'll keep things more concise for you. So I don't answer 10 questions with one answer. All right. The short version is my friend Craig and I wrote and recorded the album here in Florida between my studio and his in about a four month period. We wrote the music and recorded everything. And then, uh, and we gave the recordings to Zeus, who you know from doing all the work with Queens, Reich and other artists. And so he did the mixing and the mastering. And, uh, that was, you know, right when COVID started and the lockdown happened, we flew home from two canceled shows. And I called him and said, Hey, this is the time because, you know, we've talked for several years now. We've talked about solo record. And I said, I got to get it done now. Todd back to 2017. We talked about that. So, and you placed a little clip of it. You're talking about like, you know, three, four years now. I know. Yeah. So that's, that's the short version is the recording process was done. Here we had some get-togethers in person, but because of the distancing thing and not knowing about the situation. Um, you know, we did it between both of our home studios. And that was it. It was, it was really simple to be honest. All right. I mean, just for, you know, let's start who plays the instruments. I mean, you're doing the singing, you're doing the drums, I imagine. And. And Craig does all the guitars and bass and he does, uh, any keys, primarily like atmospheric sounds and just like a little bed of some, some notes and stuff underneath. Um, and yeah, so just the two of us did the whole, all everything. Um, we did, did have a guest solo on the title track where Jordan Ziff came in and, uh, he played the second half of the solo to rejoice in suffering. And was this, okay. So again, you mentioned COVID. Did this kind of help you or hurt you in this whole solo project thing? Or sort of like, Hey, this is a great opportunity to like get this done. It was a great opportunity to get it done. I mean, there was no touring for the foreseeable future. We didn't, you know, then you didn't really know. And I remember saying like, um, this is going to be, we're going to be down for a long time, like months and months and months.  I was like, no, dude, this is, this is gnarly. You know, I was watching, uh, Dr. Michael Osterholm on a Joe Rogan podcast when he wasn't really doing any stuff on the, on TV. And you know, he's an expert in this. And so I was listening and I was like, this, this, this looks really bad for a million reasons. But I thought, okay, I'm never home for any real length of time. And it's hard to focus on this stuff. Like when you're only home for a week. And you're like, okay, I got to go back to these songs. And I was just, I told Craig, I was like, this is the time right now. And every single day I woke up and we just worked on the music and recorded and, and we got it done. But yeah, I can, I just considered it as a, an opportunity that I'm never going to get again to have this kind of isolated downtime to just focus on this. So can we get to the title, like rejoicing the suffering? Like, what does that come from? So that was the first song that was, that was ever written. So that, that one song was written many years ago, actually. There was only, that was the only completed song prior to the March recording or set a starter, started the songwriting sessions. And that was written about my dad's suicide and the turmoil that was surrounding that personally with certain family dynamics that were really not good. And so that was my, you know, to the two individuals in the situation. So yeah, there's a couple songs. And initially I thought, you know, maybe I'm going to write a concept album about, about my dad and about, you know, that whole situation. And it ended up, I ended up not doing that. But then apology, which is really what I consider the last track of the album itself, one through 10 is what I consider the main record. That's also that song is, is if I were in his, like his last day through his eyes experiencing his very last day, that song's about, about my dad also. So that title, without getting into too many details, that's essentially what it's surrounding is, is, is that situation. I mean, apology for me is one of the strongest songs on the album. I mean, just your vocals on that could be right off of the warning, right? I mean, just the emotion that you have in there just brings me right back to that time period. Yeah. I really liked that song a lot.   And I think that was it. And so everything starting in March, aside from the ones I just said was all finishing apology, finishing pretenders and then we wrote all everything starting in March. So essentially I say the record really was kind of written and recorded in four months with the exception of those two pieces. I told you. I really like apology. I think it's a good closer. Even though you do have the bonus tracks again as, as one through 10, I think it's a nice ending.   You know, hopefully people can, even if they don't know what it's about, and I was really reluctant guys, you know, when I did this, I was thinking, you know, I know people are going to ask me about the title and what does that mean? And do I want to explain what it means? Cause it's really personal. And do I want to explain what apology means? Somebody can say, well, but you're putting it out there for everyone to hear what, you know, it's natural to ask why would you not want to, but sometimes that's my, it's my way of bleeding out. It's my, you know what I mean? It's my therapy. And so I feel okay with explaining some of the things I've said to you. And it's a sad reality for a lot of people. There was some more positive news here.  I think I counted like six different influence or different types of voices just in that song alone, you know, the vocal Olympics basically. That's what it is. Some guy, a friend of mine, he heard, you know, the first song we put out was dark and majesty and he, he messaged me. He goes, how does someone have a duet with themselves? That song.  You can mimic and sound like so many different things. But at the same time, you know, people are like, but what does he sound like? It's like, you know what I sound like? All this stuff. Because I sing with whatever the song makes me feel like it wants. So, you know, I really kind of contest that type of a response as far as like, okay, well, obviously he doesn't sound anything like Queens right on this. So he's trying to sound like that in Queens right. And I say, well, when Michael writes a song and it sounds like Queens right, I'm going to write it. I'm going to phrase things that way. I'm going to, it's just the way that it is. And, but, but I got to say pretenders. Hold on. Just not to cut you up, but I know what you're going to say. Let's talk about Robert.   But maybe that song made you feel like painkiller or something. Right. Yeah.  You know, you're ready Van Halen now. Like, he's not the only guy to trill it on. Yeah. But I mean, you know, another singer that's a friend of the show stew block with ice earth.  Right. On the bonus track. Yeah. And he's famous for doing these types of things as well. I mean, it's amazing. I told stew, I texted him one time. Like I had watched him do, I think it was painkiller on the 70,000 tons. And then he hits this note that's to the stratosphere. And I was like, I think I texted him and I was like, what the app like WPF dude.  I wish I could sing like that. You know, we call them freaks of nature. That's what we call it. Awesome. But you know, I didn't have other textures and other sounds to my voice that people don't get to hear because again, I'm never going to put that stuff in Queens, right? I mean, there's some songs in Queens, right? Like, like hellfire. Okay. There's a line in there.  That's totally like what I would sing on a pretenders or something like that. But that's just a little piece. Yeah. If it was like, you know, it sounds like overkill in vanguards of the Don wall. I love, I love overkill. I love that kind of delivery. And so when I heard that, you know, that thrash thing, I was like, okay, this doesn't need flowy, melodic clean. This needs harsh shrill, percussive phrasings. And, you know, so that's what I did.  Maybe you can just add to it as we go along. Let's do it. All right. So I got the crossroads to insanity for me. That's like Queens, right? Me Tony Martin era Sabbath, you know, that's true. Yeah. We wrote that song in two days. And we have, we have a video for that song. That's coming out very soon that will surprise you.  It shows Craig's solo work that's very melodic. I mean, such a good player. And then, you know, the ending, when we did that ending, it kind of reminded me of planet caravan, right? And I was like, you know, okay, I'm kind of hearing this. I like this clean ending. It's not expected. Let's just do that and let it fade out. And so yeah, that's one of my favorite songs. I think that'll be a favored song among the people that do get to hear the record. I agree. Along with the apology, I think those are my two favorites on the track as well on the album. So critical cynic, just you go drums crazy on that song. I mean, So that song was started.  And I said, I said, this is, this is what I'm feeling. But now there's a middle section. Oh, wait, is that the song? Hold on. No, that's another song. We'll, we'll tell you that part later.    And, uh, And that song was written about the, the, the science deniers. That's what it's written about. So even the chorus, you know, how it's written about, you know, How can we grow when we can't see criticized positions dishonor those who know what's to gain, make of all this madness? Yada, yada. But you've got people that have spent their life. You know, in higher learning, when it used to be revered and coveted and respected and trusted. And now people are like, well, I did my research. I did my research. Research happens at a laboratory. You want, you want to note, here's a note on the masks for my cousin is an infectious disease doctor. And just throwing it out there. Cause I know you're just in the stuff. Yeah. He says that if we have, if I wear a mask and you were a mask. And I have, I have the Corona virus, let's say, and it, and it comes out of my mask. Miniscule, right? Like very small. And then a very small goes into your mask. It's like actually having a vaccine. It's like, Is that great? Is that, that's, that's kind of what they're thinking. That's what the mask can actually do. They filter it out to a point where it's so tiny.  Right. Yeah. So the viral load is so small, but enough that your body will respond in a way that can be beneficial to you. To create the antibodies that you need to fight off a bigger dose of it. Right. Right. Is that fascinating? But I just thought I'd throw that out there. Fascinating. You know, but, but anyway, that song. Allen was, was, uh, was written about surrounding that, that topic. Okay. That we had vexed. I mean, for me, he's got a nice acoustic intro. But he's got an 80s feel to that song. That one does that. And you know that, the intro to that song is, is Queens, right? The delivery on that vocal is very much in what I would do in Queens, right? Because that's what I felt. Right. Um, and that's another, that's another song. I was outside on my porch and my mailman came up and he's really cool guy.  And I said, no, you know, and I was just like really irritated. Right. And I'm like, man, I got to get out of here.  And, uh, and, uh, and so that started that.  I always go out and I look up at the stars. And that's what that intro is. You know, talks about that.  And, um, so that, that has to do with kind of the current times, if you will. So, so Vex has got the eighties metal feel. I mean, fractured for me is kind of like nineties kind of grungy Alice, the change kind of feel. So, and you know what? That's, that's my least favorite among all of them. To be honest, it was like, yeah, it's like, it's like, it's like, you know, I mean, and I'm thinking. I'm like, you know, to be honest. It was like, the, it's okay. Initially we were going to have bonus tracks for different territories to be honest. And I was like, okay, one through 10s. The main record. I said, I want to have a special track for Japan. Maybe I'll have a separate bonus track for the U.S. And one for Europe. And then at the end, it was like, condition human. There's the song Mercury Rising. There's Espirito Muerto. There's different songs that nobody's ever heard. They're in Japan. You've never heard it. It's on a seven inch vinyl. You don't even know it exists. And I said, and you can't find it, by the way. But we have three songs that are great Queen's Rite songs that most people have never heard. And they were released legit. And I said, you know what? No, these were going to be bonus tracks. We'll just make them extra goodies at the end of the record if people can like it or not like it, whatever. But yeah, that's a really good assessment, Alan, because it totally has that kind of a sound.  And it just had that feel to me. And then Darken Majesty, you know, for me, that Cinderella meets Alice Cooper, another very strong song on the album. Yeah, I would say that's, you know, the chorus is definitely more Crimson Glory. And the verses remind me kind of more of like a fight, overkillish, you know, it's got that good headbanging groove and then it opens up to a nice melodic chorus. That track has a lot of things in it. And I think that was why I was like, you know what, if I just put out something that's too out there, the initial base that I have of listenership, they may, I want them to connect with some element of a song. And this is a chorus, I think they might appreciate. But I'm really going for a demographic that maybe doesn't even know who I am to get into more of that heavier audience where it's like, I've heard of the guy, but maybe they don't listen to Queen's Rite, for example. And so I'm really trying to just broaden that viewership or listenership to let people know, hey, I can do a lot of stuff here, I'm not just this guy over here. You know, there is a lot of down tuning, there's a lot of, there's industrial elements as well, right? It's a heavier album, like you just said, it is overall a heavier album than any Queen's Rite album, right? Yeah, I mean, it's not like crazy heavy, but it's like heavy in a classic sense, in a thrash sense, the Mesa Boogie guitars, I mean, the guitars are very biting and kind of, they're very present, which I was like, Craig's guitars are so good and his rhythms are, they need to stand out. And we don't want a bunch of layered guitars, we want to keep it to rhythms and that's it and make it. And to be honest, when we were doing this, I was like, I was like, dude, you know what I miss? I miss hearing a stripped down sound like fight, like overkill, where you don't have so many layers of guitar. It's just simple, classic metal, right to the point, you're not having to sift through all these different elements to understand the riff. I was like, I want to keep it very simple. I'm not trying to reinvent anything new. I just want to do what music that I like to hear in my car and songs that make me want a head bang and groove to, that's what I want to write. And I don't, honestly, I'm like, I don't care if anybody likes it or doesn't like it. I mean, you want people to like it, but if people don't connect with it, the whole objective for me was to like have the outlet. Yeah, whatever you do to the next two songs, I mean, that's for me, it's stripped down heavy metal classic hellbounded down and vanguards of the dark wall. I mean, though for me, that's just a classic sound, just like you described it. Yeah, I mean, hellbounded down has has a little has a good groove like Pantera.  So instead of singing there, you know, how do you end up here? You know, I was doing more of that as like a like a Tom array, a type of a delivery, like I don't want to sing here, I just want to vocalize an attitude here. And yeah, vanguards of the dawn wall is just a straight up thrash tune, you know. Yeah, so okay, so you have this album, it's being released, the pandemic is pretty much still in play. You can release videos and all right, but I mean, I don't know, Florida is how open it is, I guess I'm hearing it's kind of the Wild West, dude, it's it's stupid. Yeah, but can you play a show open? Is Florida open enough to do a show? Just came through town. Steele Panther played here, jet plate played here, collective soul played here.  But are you going to be playing or are you saying no, wait a second, I'm waiting till this is over. I mean, I'm not doing anything right now. There's liability, I would assume with fans and there's liability with just yeah, I just I mean, you know what, I would assemble a group of players that are my buddies that are my friends that are also known.  But like if I could go to Europe and play five, you know, a handful of festivals and come home, I would be like, I would love to do that with this music. Queens Right always comes first. That's the bottom line. It's always going to come first. It's always going to take precedence.  But I want it to be right. So but as far as like right now, there's no way I would I would risk myself or or have a reason for people to gather unnecessarily. I consider it unnecessary right now. And look, I haven't worked in 11 months. Wow, zero, zero, zero paycheck from touring in 11 months. Okay. I'm still not going to go do it until it until the protocols are established and put in place. And I trust the situation. And it's going to be with Queen Drake first. So are you are you finishing material for like a now with this all this free time? Are you guys like writing material for a new album? Yeah, yeah, yeah, yeah, Michael, Michael flew down recently a week or two ago. And Zeus came down. And then Casey lives here. So he was coming over every day. We recorded 1415 new song ideas. And then he's coming, Michael's coming back down again. And like a month or so. So we're writing new Queen Drake stuff. And Zeus is recording it in real time as we're in a room coming up with fresh ideas on the fly. Eddie and Parker, they may come down. It depends. Parker slammed with his guitar shop. He has a shop called Diablo guitars. And he's just like, you know, exploding things are going great for him. And Eddie's songwriting at home and he doesn't feel safe traveling right now. So that's why he didn't come down there. And I said, dude, I totally respect it. And I get it. Absolutely. But yeah, we're working on new stuff. How about a live album with your your era, you know, sort of yeah, that would be nice. We have we have tons of multi track recordings from two years of live shows. And I and I told Eddie, you know, I think Michael has the hard drives. Why don't we divvy up, send hard drives to each of us and we'll pick three songs each guy because you've got a 2000 song, you know, things to go through. And I'll pick three songs. And like, I'll just find the best live performances from those three songs. And maybe we can assemble 15 songs or something for a live record. So I mean, that's something we are talking about. I guess he's been listening to songs and sifting through some of that material from live performances. So we'll see. All right, so well, Todd, it's always a pleasure to speak to you. We should do this more often and a great congratulations. It's a really solid and strong album. I more I listen to it the more I discover new things and it's thoroughly enjoyable. Thank you so much. I appreciate it. I hope that that people dig it. And you know, I was did a nice four page layout and art shock and and actually got album of the month. Hey, that's great. Todd, your album is is great. I really enjoyed it as well as much as Alan enjoyed it. We're kind of texting each other back and forth saying, oh my God, this is amazing. Thank you, God. All right, we know you got another interview. We know you, Naga. And so pick it up, everybody pre-order now. Rejoice in the suffering February 5th via Rat Pack. Reavere Rat Pack Records. Here we go.


Hello, and welcome back to the CSS podcast. And I can't believe that we're already at the end of season four. Four years of doing this. Geez, really? What? Oh, dang. I guess you're right. Yeah. Right? Wild. This season, we've been focusing on CSS gotchas and resolving these common CSS pitfalls. And on our last episode of the season, we're going to take a look back at some of those tips and tricks and pick some of our favorites to highlight in this recap episode. Honestly, the recap episodes are some of my favorite that we do all season. They're really fun. Yeah, they're like, open up our noggin and just give us all the information. We didn't listen to a single CSS podcast. We'd like to just get the footnotes.  This is the footnotes, exactly. So for today's episode, we each decided to pick just our three favorite tips and tricks from the season. And there are so many, so I definitely recommend you listening to those episodes. But if not, we're here to catch you up. We've got your back. We've got your back. Yes, I'll start with one that I just think is so core to being a developer these days. And that is, how to center a div. We did a whole episode on how do I center this div. And I think we listed like 10 or 11 different ways to center a div. So definitely check out that episode if you haven't listened to it yet or seen it yet. But the favorite pro tip in that episode is just to do a display grid. And then either use place items or place content center, depending on if you want to align all the content as one or individually place them within the parent. Because that's how you do both vertical and horizontal centering at the same time with basically one line of code. I use this all the time. Place items is the magic word for me. Place content is Adam's favorite. But I still run into situations where I've tried place content here and there, and I go back to place items. I'm the same in the other way where I'm like, hey, items? That's not what I needed. No, that's so funny. It's so funny. We should start sending those to each other.   And I used both on a demo the other day and was like, oh, look, we got both in here. I remember we talked about it on there, like, what are the times when you need that? It's like, well, you want the content to be centered items to be centered inside. I'm using my fingers like they're layout nodes. But she got a chunk of content, and then it's all text-aligned centered. But it's not text-aligned, it's item-aligned. Anyway, now I've just got a freak hand. Looks like a dinosaur. I did it a lot, too, when we talk. I talk with my hands. It's awesome. I think that one, that same episode, did that have the grid pile in it, or did we just? Yes, it did have the grid pile, which I absolutely love that term. Came from one of your articles that I read, grid piling. We just pile it all in one place before you position it. Loved that. It's like a football pile. There's like a ball at the bottom, and all the nodes just stacked on top of each other, and dog pile. Anyway, I used that one the other day, too. And I was like, oh, the show, we had this on the show. Nice, nice. Well, my first one is just because the more I went through Stack Overflow, and I knew this was like a silly thing from all the companies that I worked at and stuff, but you only need Zindex one or two. I'm like, I don't know. What situations? You need more Zindex. You're like, I got 99 elements, and this one's the 100th, so it needs 100. I also like a negative one when you want things to go behind. Yeah, that's a tricky one. I used that trick for a ripple one time. I set a negative one on it, and on the parent, I set isolation, isolate, which creates a stacking context or whatever, so I was like, this is a non-invasive way to create a context, which I can then paint behind the elements with a ripple. Yeah, nice. I've definitely done that for things like image effects with blend modes, or if you're trying to make a background to something like a border where you want the content above it, but you want the border to not be an actual CSS border, but maybe like an image or some kind of texture. I've used it for that. Awesome. So yeah, Zindex, you only need one or two, and if you're looking for more, create custom properties and just start creating a system. A system, that's a great tip. That's a great tip. I heard OpenProps has Zindices you could use, the system. It goes up to six, and then it has the important one, which is like a joke, and it's the maximum, and it's like, I don't know if all those fellows, you can try this custom property, but I doubt it's gonna solve your problem, but it's fun to put in there. We're totally going off script here, but another thing to note is how important works, and that really changes the cascade layers and your mental model. I think we have an episode on cascade layers also that goes into all of that. If not, we definitely have written about it and talked about it before. So, because how important might not work the way you think it works. So check that out too. It still might not work the way I think it works. Everyone's like, because it flips the cascade, and I'm like, yes. It flips the cascade, exactly. Because I have a really strong mental model of the cascade in my mind that I can easily invert, which creates understanding, and I'm like, I'm still a little lost. I just have to go try it. The lower precedence layers with that important flipped the highest precedence. So something like the user agent style by default has the lowest precedence before the user styles that lay on top of it, before the developer styles lay on top of that. But when you have that important in user agent, it's the highest precedence. And then vice versa with user agent styles, if they're important, they're highest. Then it's the user's preference styles. So user styles with that important are the next highest. Then it's developer styles that are layered because layered styles have a lower precedent than unlayered styles, but a layered important has a higher precedence because it flips the cascade. Flipped it, yeah. So. That was really well done for just like off the top. I'm just trying to memorize. Like I diagram this one time, and think about that diagram every time I describe it.  Oh, what's that song? It's the Missy Elliott Flip It and Reverse It. So that's what you're doing. Flip it and reverse it. Okay, you just kind of put that thing on there, flip it and reverse it, and then you know what important is. Yep, that's exactly where my mind goes to that song. So the second item for highlights of this episode is the Why Is My Image Distorted episode. And this is something that I've run into and see people run into a lot. For example, if you're creating like blog cards and you have a specific place that you want the image to appear, you would oftentimes set that image to with 100% and hide 100% just to fit into that square, rectangle, whatever the size is, circle, who knows. But that always causes distortion in the image if the aspect ratio of your image or media isn't the same as the space that you're applying. So what you have to do is use either object fit for foreground images and you could do object fit contain if you want it to always be within that space or cover if you want it to hit the edge of that image so it fills and covers that space, which I usually use object fit cover. And then you could also reposition it so you could do object position to position where it is within its parent. I use that a lot, object fit contain or cover. And then background size for background images. So it's kind of funky because they have the same values contain or cover and they do the same things, but one is object fit and one is background size. It's just the way it is. That's just the world we're in right now. Memorizing all these niche properties that get you what you want. They're just tools in the tool belt. Yeah, different names, similar outcomes. Yeah, but I use that one a lot. So I just wanted to highlight it. Yeah, that's a good tip too. And yeah, I feel like earlier in my career I didn't put a lot of foreground images in just because I don't know. Well, I was like, I want background images. It's just easy to manage or something. And then the more I was like, no, but I want these images to show up on social. I want these images to show up in search results and blah, blah, blah. I'm like, oh, well, it's totally flipped me around. And now I'm trying to get as many images into the HTML as possible. So they're not just a corridive. They're inclusive in the content and the way that a robot might crawl it and try to discern what's in the image. I don't know. But yeah, good tip. Well, mine, second one, unsurprisingly about color and fixing those muddy gradients that are just, once you see you can't unsee type of thing. And I want to thank both the feature in CSS and color spaces, because you kind of need both of those. It's not just one that gave it to you. And it's nice to have options. So once you've seen the issue, you know how to get around it in the older style of getting around it is kind of annoying, adding extra points into the gradient lines that you're sort of like, hey, don't go that way. Stay on track over here. And so you kind of guide it more. But with these color spaces, you're like, I trust you color space. Go and do the most beautiful gradient that you can. And that's really cool. I like that we have those options. Yeah, also if you haven't checked it out, Adam has a great site called gradient.style. And on that site, you can check out different gradients and different ways to interpolate them. But also it shows all of the new color spaces as well in your gradients, which is great because color pickers don't have them yet. So you can open DevTools, use the DevTools color picker to get those extended color spaces, but you can't use the inline UA browser supported a color picker to get those. So I like to use the gradient.style tool, even just for picking color. I like the color picker. I like the color picker too. Yeah, thanks for shouting it out. I was gonna skip over it. I was like, ah, I've mentioned it before, but I go to there all the time. And yeah, it has that button too, where you can see the old SDR versus the HDR. And that can be really illuminating also when you're thinking about these muddy colors or just like, why do I care?  Okay, that's nice. Yeah, it's also cool to see what it looks like an unsupported browser. So older versions of browsers that your users might have, if they have older iPad versions, like OS versions, for example. And you can make decisions on if you wanna make that trade off and have your users who do have updated browsers with the more vibrant colors. And this is a feature that's supported on modern browsers so you can take a look yourself at your browser support matrix and what your users are accessing your app or site on. Yeah, upgraded. It's got that little output too. It'll be like, here's both. So you can upgrade to the color or just straight use the new gradient. Hopefully it helps somebody out there. Yeah, it's great. Thanks for building it, Adam. So my last and final tip of the season is all about why app property might not be working. And this one I picked specifically because I had a friend who actually contacted me, reached out and asked this question maybe a week before we recorded our episode. And it was just so timely and funny and I've run into this and I've seen other people run into this and it's a very common gotcha for app property. And so I'll paint a picture. Say you have your root or you have custom properties. Very common thing to do is put all your custom properties in the root. You might have something like color primary and it might be red. And then you might update something like color button primary to use your color primary. So you set color button primary to var color primary. So that's all good and great. When you use that color, like say you have a button and you set the background color to color button primary. All good, get what you expect. But if you have a variant like a blue button and you update color primary inside of a different scope. So inside of that class blue button, you set it to blue. You don't get that blue color when you use var color button primary. It doesn't update the root scope of color primary which you're setting in a different place. So this is when you're expecting a child selector scope to update a parent's scope. And it might not be super intuitive especially if you are used to having global custom properties and then you're trying to update them more locally. It doesn't always work out the way you want. But there are two solutions. So one is to just scope it where you're using it which is what I usually do. And that would be to set all of the color button primaries and other things inside of your buttons instead of inside of your root scope. So you can access values from your root where you have all your colors, your default colors but anything that is component level is at the level of your components. So that way you can update it with the blue button and set update color primary to blue and you'll get blue. Another thing that you can do which is an interesting thing is to scope that color primary in multiple places. So you could do both in the root comma button and then update it there. So that way you would have colon root comma button and then all of your colors. And when you update color primary you will be able to update it to blue because you're scoping it in multiple places. This is doable. I would just recommend that you scope your custom properties to the types of components and levels at which you're using them. I prefer the first method but there's multiple methods. I thought that was cool. And we talked about it in that episode. Yep, that is cool. That one still kind of bites me. I mean, obviously I do a lot of custom properties and I still run into issues where I'm like why isn't this custom property the value I want? So I have to go back to this episode and just remember the different tricks to kind of get your way out of it. And they had saved me numerous times already. Yeah, that's a hot tip. Well, my last one is about load layout shift because I learned some new words that I was like, oh, these are totally fun distinguishing names for shifts that happen in the UI.  And these are just cool things to have in your tool belt when you're talking with designers or developers about performance or even just UX jank to have the verbiage that's common amongst y'all selves so that you can debug it and fix it. Well, yeah. That's a good one. I also remember learning and using a bunch of terms in our episode that we talked about image rendering or not image rendering, browser rendering. What was, it was like one of the more recent ones. Maybe it was the last episode or two episodes ago. It was about, oh, was that the custom property episode or it was the, I don't remember exact. I think it was the custom property episode where we go through a lot of terminology on expected values and which values you're writing. And I'm totally blanking on all of the different steps right now. Me too. It was like authored value, computed values, two other modes of special values that were like. Right, because values change after calc. Anyway. Yeah. And also context dependent. It like goes through this gauntlet. It's like it gets punched eight times before the final value is known of a custom property and that they all had names each of those phases. Yeah, I forgot most of them too. It happens. That's all we have for our show today. I want to say thank you for joining us on this journey. We definitely tried something new this season where we had video as well. So hi to those who are watching us and not just listening to us. You know, we'll see how it goes for next year. I definitely love doing this podcast. It's always fun to have different themes throughout the year and kind of see where the platform changes and how we could bring that into the episodes. So yeah, I just want to say shout out to all of our listeners and thanks Adam for being a awesome co-host. It's been so much fun. Aw, thanks.  It's always fun listening back to the episodes. I'm like, hey, we sound like we like it. That's really fun. We've done like 78 episodes now. So lots of content. I could probably put all of this into AI and make AI even in Adam. Robo, Adam, and you and us. That'd be, I don't know, would it have the same personality? Well, just like up its craziness too. So I'd like be weirder AI. You need to like invent more stuff. I don't know. That'd be really funny. It has been really fun being on the show with you too. I look forward to all the episodes that we were gonna make. I mean, because I feel like this year we took a little bit of a break from the sort of a speck deep dives because we kind of caught up. And anything that we were gonna cover was gonna be kind of wiggly and it's always weird if our episodes come out and it's like stuff has changed. Like we had to do a cover or a color follow-up one. And I think we got new stuff though, I think for this next year. So there might be lots of new stuff landing. Lots of changes even from when we talked about the new stuff. So I'm very excited. That's probably what we're gonna dig into next year. And there's so much to talk about in the CSS space. Yeah, and we might have to do some HTML a little like pop-ups and anchors like this, right? You've got the trifecta and that's a fun conversation to have. Even just like top layer, that's CSS ancillary. We should cover it. There's a lot of overlaps. Like even with pop over, there's pop over open. There's starting style. There's a loud discreet for your transitions. There's so much in that space that overlaps the CSS. And then there's even a lot of JavaScript that overlaps the CSS like view transitions. That requires JavaScript to initiate and create your view transition, but it also has a lot of CSS properties, like your old new transition, your named transitions. It's all aligning around the CSS space. How dare this world continue investing in CSS. Don't they know this is one of the worst language it's ever made? It's not even real. Ah, just kidding. I love this language. It's the best. Sorry, a programming language. We should, yeah, let's go out with some really, let's roast CSS. No, I'm not prepared for that, but no, this is a good language. And yeah, I'm so surprised year after year that nothing has made it inferior. Nothing has taken it off of its winning position. It's on an upward trajectory right now. Yeah, and it's only getting better. And well, it's honestly getting a lot more complex too. It's like the specialty required is higher. The potential of the output from someone who knows our CSS is just higher. It's really cool, like any other, yeah, it's fun. And if you miss us in between seasons, you can find us on the internet, on Twitter or X, wherever you wanna call it. I'm Yuna, that's at UNA. And you could message us, show ideas, questions about these new features, or even questions about CSS in general. That's always good to hear. Yeah, what shows do you wanna hear? We've got episode ideas. Do you wanna hear about HTML? And do you not want to? Because this is the CSS podcast. You know, tell us what you do and what you don't want. We're listening on there. And if you like the show, like the season, please give us a review on whatever podcast app you're using that helps people find our podcast also now. It's on YouTube, so just sharing it with friends, sharing it with coworkers, giving us a review is always nice. We love to see them, love to read them. And yeah, we love to make the show. So thank you for listening again. Yeah, we'll see you next season. Bye-bye.


Hey everyone, I'm at SciTech in Perth, Western Australia in a mock-up of the International Space Station. Astronauts experience some problems living up here in microgravity, including muscle wastage and a tough time going to the space toilet. So why haven't we put artificial gravity on the space station? You'll find out in today's space pod for May 11th, 2016. Many science fiction movies show people walking around on spacecrafts installed with gravity generators. Unfortunately, those machines don't exist today. The only way to generate usable artificial gravity is to use centrifugal force as a substitute. So what is centrifugal force? Well, let's take this bucket of water here and I'm going to spin it around the top of my head. The water doesn't fall out of the bucket even when it's above me because I'm generating a centrifugal force that's fighting against gravity to keep the water in the bucket and push it away from the center of rotation, which is where my hand is just here. We can calculate the centrifugal force by using the equation f equals omega squared r, where omega is the angular velocity, or how fast you're spinning, and r is the distance from the center of rotation.  So artificial gravity is all about using spin to create a force. So how can we do this in space? Well, there are three main ways to achieve this. The first is to rotate your spacecraft or just a part of it. NASA has concept designs for a vehicle called Nautilus X that would contain a rotating section to provide artificial gravity. A small-scale version of its centrifuge would first be sent to the International Space Station as a technology demonstration. However, there are no concrete plans to do this in the immediate future. The second option is to take your spacecraft and attach it via a tether or a long cord to some sort of counterweight and spin those two objects around each other. This was actually attempted as part of the Gemini 11 mission, where the spacecraft was tethered to a modified Agena upper-stage rocket. However, the astronauts were only able to experience 0.00015 Gs of force. And the third option is to take a centrifuge and put it inside your vehicle. This was actually attempted as part of the NeuroLab experiment on STS-90 in 1998. The centrifuge was placed in the payload bay of the shuttle and was able to give astronauts the feeling of 0.5 to 1 Gs of force. Well, that's great. So why haven't we used these methods in space? Well, unfortunately, there's a few problems with generating artificial gravity in these ways, the first of which being gravity gradient. Now, I know I'm pretty short, but there's about 1.5 meters difference between my head and my feet, which means in a spinning spacecraft, my head would experience a different gravity level to my feet, because my head is 1.5 meters closer to the center of rotation than my feet. This is especially a big problem in small centrifuges, where the gravity gradient can be as high as 20 to 100 percent. I make standing people feel as if they're hunched over. Now, I know astronauts have to exercise in space to stay healthy, but jogging in a spinning spacecraft might not be a good idea. Remember, our equation relies on omega squared or how fast the spacecraft or you are spinning. So theoretically, if you were jogging in the direction opposite to the direction of spin, you'd effectively cancel out that spin and experience no artificial gravity. And vice versa, if you were jogging in the direction of spin, you'd increase your apparent spin rate and increase the artificial gravity you'd experience. Finally, the most practical thing we have to worry about is the Coriolis force. Inside a spinning spacecraft, if you move towards or away from the center of rotation, you experience a force, the Coriolis force pushing you to the side. So we may need to rethink how we designed ladders in a spinning spacecraft. But wasn't there a plan to put a centrifuge on the International Space Station? Well, yeah, there was. And it was going to be called the centrifuge accommodation module, or CAM, and it was actually built by the predecessor of the Japanese space agency, NASDA. It would have been capable of simulating gravity to half to 1g for subjects under the height of 0.62 meters. But it was canceled due to cost overruns and problems scheduling it onto a space shuttle flight. I hope this introductory video to artificial gravity didn't get your head spinning too much. But thanks for watching. I'd also like to thank our patrons who make these videos possible. We are a completely crowdfunded show thanks to the founders, architects, engineers, ambassadors and dreamers of tomorrow. And if you would like more information on how to crowdfund this show, head over to patreon.com. Don't forget to subscribe to our YouTube channel at youtube.com slash tmro and join in the conversation by following us on Twitter, Facebook and our website tmro.tv. My name is Lisa Stojanowski and until next time, keep on discovering.


My gosh, it's been a week. I was not looking forward to filming this video at all to be completely honest with you Good morning guys happy Friday. It is Friday. Once again at 6 30 in the morning and I am at WW oh my gosh, it's been a week I was not looking forward to filming this video at all to be completely honest with you it has Been a week so many things So many so first of all if you follow me on Instagram I posted on my stories a photo of my ankle at Jazzercise on Monday I don't know what I did but my ankle so behind my ankle bone behind that was completely Swollen like so swollen and sore that the next day Tuesday I could barely put any weight on it at all and it just killed and I was like what the heck did I Possibly do at Jazzercise? I mean I've been going long enough that that shouldn't have happened So Wednesday it was a little bit better. It was still pretty swollen So I decided not to go to Jazzercise on Wednesday just because I didn't want to make the injury worse And then today I decided to put on my new tennis shoes the ones that I've been wearing the last One or two times to Jazzercise. I'm trying to break them in before I head to San Diego because I'm doing a 5k Fun run in San Diego So this morning I put those on because as you know, I go to Jazzercise right after WW I think the shoes were what caused the issue with my ankle because as soon as I put the shoe on It sits right at that part of my foot and it just instantly hurt So I don't know if I had my shoes too tight if it's because the back of my shoe is super super solid because it's new Oh my gosh, that's what happened So I realized today that it wasn't something that I did as far as like working out when because I was like What did I do any different? I think it was those shoes. So today and back to my old shoes I'm going to have to wear those more around the house. My ankle is still a little bit swollen So I didn't want to risk injuring it even more because I go to Jazzercise tomorrow as well So that happened Also, it's my time of the month and I have been Ravenously hungry all week. I have eaten clean all week Which I am so proud of myself for that non-scale victory for the win. I have done really well on my food I haven't splurged on any non-clean food, you know snacky food processed food But I have eaten a lot more this week than normal and in fact to be completely honest and transparent with you I literally have not tracked at all since I think it was Monday I think Monday was the last day that I tracked I went ahead and just ate when I was hungry Made good food choices when I was hungry ate clean good whole foods So I am sure that my results on the scale are not going to be good or seller Or a loss at all. I'm probably going to gain one because I didn't track Which means I'm not sure exactly what I ate this week, but two it's my time of the month and I am in the midst of it. I feel Bloated and just bleh and you know how you feel that way So I'm sure that the scale isn't going to deliver some great results today But I do have a game plan going into this next week and like I said non-scale victory I did have one of those this week. So I will take it. I'm loving my clean eating.  Hi friends. Welcome back So I am out of my ww workshop and it was a fantastic workshop Like I've mentioned in several of these weigh-in videos. It seems like ww knows exactly what workshop topic I need for the week. So today we talked about blue dots and the blue dot challenge As I mentioned before I went in to weigh in I have not really tracked since Monday And I have not been honestly paying attention to blue dots at all for quite some time And I looked back over my tracker and my weight tracker as well as my monthly Tracker and I'm seeing a pattern if I'm getting a blue dot consistently That is when I am losing the most weight So it's really important for me to get back to the basics and really start paying a little bit closer attention To blue dots. So that is my plan for the upcoming week. So let me share with you what ww talked about As far as the blue dot challenge and then I'll share with you what my plan is for the upcoming week So the first tip from ww is start exploring So go ahead and go back a few months See how many blue dots that you earned in the given month And even go as far as opening up a day of your tracker that you earned a blue dot to see what you ate To get you within your blue dot range It's really important to kind of look back the past indicates the future So if we can look back and see the days that we earned a blue dot and exactly what we ate on those days We can try to duplicate that again to earn a blue dot This month or this day or this week and as I did this exact thing and looked back There were months that I had tons of blue dots And there were months that I didn't and by looking at the months that I didn't have As many blue dots those are the months that I didn't lose as much weight So I think they do go hand in hand now is the blue dot the be all end all absolutely not There are some days that you're more hungry than other days or less hungry than other days But ww actually has a points range for all three plans I am going to put that points range On the next screen so that you can see depending on the color plan that you're on What your points are above and below your designated point range that earns you a blue dot And I think this information is really really valuable So number two is notice patterns and I think this is really important again Go back and look and see what patterns you developed during the months that you lost the most weight And those are the patterns that you're going to want to duplicate going forward And I don't think that necessarily having a blue dot every day or four or five or six days a week Is going to make you lose more weight than those people that aren't getting a blue dot Because that range is so drastic between the under points you can eat and over points you can eat to earn a blue dot I don't think that The only reason you're losing weight is because of the blue dot But I do think that staying within your h e z or your healthy eating zone is really important Staying within those points that earn you a blue dot Is where you're going to see the most success and number three is get connected So search the hashtag blue dot challenge In connect there are over 36,000 posts with the hashtag blue dot challenge You can get gain some inspiration get some ideas on what you can do to stay within your healthy eating zone And you can also look and see what success others have had when they're in their healthy eating zone I do want to caution you guys on one thing and this is a big thing that I had a question on at my workshop So that blue dot range that I showed you guys the up up and below What is considered your healthy eating zone on the different color plans? This is if you do not use your weekly. So for me, I use my weeklies every saturday So I can't go plus eight plus five plus ten over my points every day and still earn a blue dot Because I've already used those weekly points on another day. So this is if you do not use your weekly points independently, this is if you essentially divide them up over the week You can go above your points that many per day and still be within your healthy eating zone Also, this kind of goes hand in hand with below your daily smart points Try not to eat below what's considered healthy eating You're just not eating enough to fuel fuel your body if you're below that minus number per day So hopefully that makes sense. So for me, it's great to see that range of points But I have to stay within my points every day because I choose to use my weekly points on saturday So I don't have those to divide up over the rest of the week So now let's talk about my weigh-in. So as I mentioned briefly before I went into my workshop This was a rough week since I transitioned over to clean eating This is probably the roughest week in other aspects of my ww journey not so much Eating good whole food But not tracking my points and probably eating above my allowed points every day Not being able to exercise like I like to that makes me feel the best And third just having a little bit of an injury It plays kind of a little bit of a mental Mind game on you when you can't do the things that you want to do You can't be as active as you normally are Because it hurts it hurts to walk it hurts to stand So with that being said and also it being my time of the month and in the midst of the worst part of that Sometimes being a girl is not fun when I stepped on the scale today. I actually gained one pound So it's better than I thought that it was going to be but I've been doing so good I have not gained anything since the beginning of january. I've lost every single week So I wanted to keep that streak going that pattern going throughout the month of march, but But with that being said I take full responsibility for the pound that I gained Again, I probably over ate what was considered a calorie deficit Even though it was good food doesn't mean that you can eat as much as you want because it's clean whole food You still have to track your points and watch your calories so that at the end you end up in a calorie deficit Therefore you see a loss on the scale So it's my own fault that I gained a pound, but it kind of motivates me and rejuvenates me for this week So here is my plan for the upcoming week. I'm actually going to jazzer size today I will be getting in four days for sure this week friday saturday monday and wednesday And I may just go tuesday as well to make up for this one pound gain Also, I am going to focus this week on blue dots So I would like to see blue dots six out of seven days I will not get a blue dot tomorrow saturday because as I mentioned that is the day that I use my weekly So I won't be getting a blue dot But my goal is to get a blue dot the rest of the week So that's kind of what I'm doing as far as food goes. I am going to be tracking every day Because I did not like I said track since monday So I just need to get back to the basics back to tracking every day back to shooting for a blue dot back to getting In the exercise that I Know helps me with my results on the scale And I feel much more toned up and healthy and strong when I'm exercising In fact, I recently posted just a couple days ago a picture on my instagram and my facebook group And I'll go ahead and insert that here for you guys But I posted this picture of me On the left is the very first time That I went to jazzer size so my very very first Visit to jazzer size and a photo from a couple of days ago and there is such a huge difference I am so much more toned and stronger and healthier just from going to jazzer size So for me seeing that was huge. That's a huge non-scale victory Again, the weight on the scale isn't the whole world to me. It's how I'm feeling in my body How my I feel stronger and leaner and healthier That's what's most important to me and I need to get back to going to jazzer size consistently I know it's only been a week and I only missed one day, but for me, that's a lot. I miss it I can't wait to get back to it. So I'm actually heading there in just a couple of minutes for the 810 class But I also want to know down in the comments how your guys's week went What is your plan for the upcoming week? Maybe you'll want to join me in the blue dot challenge Where we shoot for as many blue dots as we can possibly get in a week And of course next week, I will share with you how that went for me Let you know if I got back to basics how many times I made it to jazzer size How many blue dots that I got and maybe you'll want to join me and see if we can Share those results with each other at the end of the week next week So comment down below with how your week went. Did you gain? Did you lose? Was it what you expected? And what are your goals for this next week? Also if you're new welcome you guys Welcome to my channel. Welcome to my journey. It's been fun It's been a journey, but it's been a lot of fun And I'd love to have you stick around make sure you're subscribed and your bell notification is turned on That way you're not missing a single video if you love these wane videos these tips these tricks these workshop recaps I'd love it if you'd give my video a thumbs up It means a lot to me and it really truly helps my channel and of course again, leave your comments down below I can't wait to interact with you guys. Read your comments. I really like to hear how your guys's week went Wish me luck this next week. You guys wish me luck on my ankle Getting back to the basics and let's go for a huge loss on the scale this next week Thank you guys again So so much for watching and spending your friday with me and i'll see you guys in tomorrow's grocery haul. Bye guys


It's really quite interesting then listening to both Trish and Andrew in regard to their experience and where they come from. So I'm not going to talk too much about the law, I'm going to talk to you more about what my role in the community is as a community liaison officer and dealing with the elderly in the community and I have to be perfectly honest that I haven't seen a great deal of difference between our older drivers, our senior drivers and our P-platers. Two points, they make new ones every day. Second point is that they don't really consider the consequences of their actions. Now head saying that, that's a bit deep and dark but head saying that I mean for a junior driver, they don't consider the fact that they've got inexperience. The older drivers have a huge really broad amount of experience so therefore they feel quite superior in that area. Unfortunately where they let themselves down is that they're so intimidated by the loss of their independence that that stops them from being open and forward in regard to some areas where they may be struggling. So when I speak to the different community groups that I do and a lot of them, the majority of them are senior groups, I always bring up in my presentation about when is it time and they go from a happy and laughing and I'm giving a few war stories about handbag security and a brick in a bag and all this type of thing. So they go from this really happy jovial type mood to total silence and stoned faces when I say when is the time. And they're really intimidated by the fact that I'm wanting to speak to them about that because they think the police are the ones that take their licence away from them. So head saying that, once I bring that topic up and I actually say to them look you've all gone stone quiet but I'm actually bringing this topic up because I'm giving you this opportunity today to talk to me about anything that you may be concerned about and it's not because I'm going to take your licence off you, it's because I want to give you the opportunity to ask something that you may not be willing to ask you GP and it's quite amazing the questions start flying and they go back, they revert back to that junior year where they're putting their hand up and really want to get involved and ask questions and it's been quite good. They actually leave feeling quite relieved and they want to know about the process and what happens when they do get called up for a driver review. In regard to from a police operational perspective how a driver would come to our attention is quite often if they look quite, they do things a lot slower because they're taking that extra time. Quite often that could be the danger on the road is that they are taking that just a bit longer to make a decision. Quite often I'll speak to my oldies about, you know, if you've got some concerns about the traffic on the road and people are going too fast for you and you go to the supermarket, well don't park in the supermarket car park, park down the road and then walk into the shopping centre. You don't have to, you don't have to actually try to navigate your way through a car park. And it's quite interesting, it really generates some really interesting conversation between them. So operationally when they come to our attention it's usually because they've got a dent on every corner of the vehicle and I want to actually share with you a bit of a war story is that Operation Safe Plate is a Crown Prevention project that I do in Ballarat and it's been quite successful and the oldies love it and they all want their cars done and their number plates secured with these one-way screws. Well I don't know how many people here are familiar with the underground car parking bunnings. Yeah, you know those big concrete steel, yeah, I nearly got wedged one day between an older driver and a little laser and one of those concrete pillars and it was the most scary experience in my whole life. But she will tell you that she's the best driver in the world. Every corner on that vehicle had a dent and when I actually, once her screws had been fitted to that vehicle I pulled her aside because I wanted to have a conversation with her, I wanted to know more about what was going on, not because I was going to take a license off her because I don't have that power, but it was because I wanted to consider, you know, the options for her. So pulling her aside she was quite, you know, wouldn't hear it any other way, she was best driver in the world and I was trying to assess her seating position and she was so close to the wheel that meant her feet were so close to the pedals that she had no control over that vehicle, but she was so close because she couldn't see properly, hence why I nearly ended up between the car and the pillar. Lucky I'm a bit of a gruber and I got out of the way really quickly. So it's really quite frightening, but from that position that's somebody, that's a classic example of how somebody's come to my attention, from that point obviously a form that we have on VP Forms was filled in and she was put forward for a license review. I don't know the outcome, I doubt very much whether she's got to keep a license, but there's a duty care involved and it was my duty care to make sure that that woman was reviewed and that her license be reviewed. I don't know if everybody's aware or not, but there is a service in Ballarat called Director Care. Have you heard of them? Yeah, they're a fantastic organisation that actually assists people if they need to go to medical appointments in Melbourne and so on, so direct to care. Now, Victoria Police stats have actually shown us that I think as you said, David, Andrew, that 16% of last year's fatalities were drivers over the age of 70. I think I'm pretty much done actually, thank you.