Hey guys it's Julia and welcome back to my channel and for today's video I'm going to be doing a little chit chat just because I wanted to talk to you guys about a few things. I wanted to just up to you guys on a few things so let's jump right into it. Basically I've been a little bit absent from YouTube recently, I'm used to uploading like three to four times a week and recently that's been once a week if I'm lucky, which I feel really bad about and I wanted to address that so I have had personal stuff going on in my life, which I never let it distract me from. I've been doing YouTube for like three and a half years and I've always never let that like personal stuff get in the way of this because this is my own thing and it's something that I used to cope as well and it's my independent thing and the one thing that has remained stable throughout the past four years. Recently I've been just getting distracted and I've been having some creative blocks so I haven't been really knowing what to film and I want to put out the best content for you guys considering we have just hit 12k as well so thank you so much and I just want to put out the best content possible so I don't want to force myself to film and put out like a mediocre video just because I want to upload, I want to like make it worth your time, you know. I also just want to change some things up on my channel, I want to change my intro, maybe do a couple of other changes, make some changes, I want to like improve for you guys and I just haven't been able to film this past little bit because when I film and I upload stuff, y'all notice when I'm upset or if I film when I'm not in the best mood or when I'm sad or whatever the case is, you guys seem to notice and I obviously appreciate you guys caring but it's just like pointing it out, I'm like oh my god like can I not film until I feel like filming or whatever. Talking about what I've been currently reading in March, I did upload my, well I actually uploaded in April but it's my March wrap up, I uploaded that so you guys could check that out for last month's books and stuff but if you're wondering about this month I've read a total of three books so far and it's like mid-April so not great at all for me personally, I would have liked it to be a lot more than that but I am getting back on a reading kick and I am currently reading The Crucible by Arthur Miller for school, I am almost done the subtle art of not giving a fuck by Mark Manson, I am about a third of the way through the audiobook for The Drawing of Three by Stephen King and I'm going to be starting 1984 soon by George Orwell for school so yeah. So some new things that you may have noticed is my reading blogs haven't been up anymore and I did tweet about this a while ago I tweeted about this but I know a lot of you guys don't follow me on there so if you don't I'm gonna self promo, you can do that, it's down below but I did tweet that I'm not gonna be doing them anymore just because they, I think over time and especially the last few they kind of just lacked in my opinion and I wanted them to be better and I loved doing them but they just didn't become fun anymore and I felt like it just, they weren't good anymore and I was just, I needed a break which I've taken a pretty long break but I'm only gonna go back to them when I feel it's right so they will be back their reading blogs but I don't know when but I'm glad you guys love them so much because everyone's asking where they went and saying that you miss them so they will be back eventually. Recently you may have noticed that I've been doing some sponsorships or working with certain companies at the point now where I'm receiving things from publishers more often I have been receiving like book boxes and in working with companies and things like that and that's been a new experience to me like at the volume it is at now it's been different than it was for me in the past and I always disclose if it's a sponsorship if I was setting something whatever but it's always my honest opinions and I want you guys to know that and if you don't know that already I want you guys to know that and that I don't do this for the money quite frankly you don't make that much money especially if you're on booktube and yeah just if that wasn't clear already I wanted to state that as well. I used to complain also about book subscription box videos that I would hate when a channel would upload like seven of them in a month like each separate video seven of these unboxings that I don't care about but I have been getting sent boxes and I've been really excited about subscription boxes because before that I had never received one before and I have been trying to combine them into videos in sort of creative ways. I did like a battle of the subscription box video and then I incorporated a few unboxing and two-way book haul and I think that's a good way for me to do it. Let me know how you guys like that and how that's going because I do like receiving subscription boxes and I think it's a lot of fun so let me know some random little things that I wanted to update you guys on I in the past few months I have been to my first metal concert which I haven't got a chance to talk about. I don't make favorites videos anymore really so I thought I'd talk about a few of my favorite things as of recently so I did go to a of my sin men concert and fire from the gods bless the fall and Kane Hill were all there who I've fallen in love with Kane Hill so much since that the concert I listen to their music all the time now and yeah but I went to that concert I have so much footage from it that I don't know what to do with it I have hours of footage but my point is that was just a really good experience for me so that's something I've been up to as well to emotionless and white concert that was really awesome I had a great time I went with my friend it was different from the last concert because I was in the mosh pit so these are just different experiences that I've been having recently and it's been really cool and so I thought I would share it with you guys and I know a lot of you guys well some of you guys do listen to the same music as me and it's really cool when you guys notice my intros and outros so like I thought I'd mention the concerts to you guys in the past week or so I went to my first book of not book event my first sort of book event but that you're invited to to attend which was really cool I went to the HCC frenzy event and it was so cool I've never been so basically that's like the YA team over at Harper Collins I went to their office and there was a bunch of people there a bunch of bloggers and bookstagrammers and there was some booktubers there but yes I went to that I was so scared but I did end up getting some footage there and I met some people there and it was just really cool a really cool experience and yeah that's all I have to say it was really cool and I was a nervous wreck so bear what I've been watching or whatever but I thought I'd mention it anyways I did see Lo Simon twice which has been amazing I loved it both times that's all I have to say also watched the show the end of the fucking world which I binged that in like a day a month or two ago and that shows really good as well a lot of trigger warnings associated with that show so be sure to look into those but really interesting show a lot of swearing kind of loved it a lot I've also finished RuPaul's Drag Race season nine because that was just added to Netflix I am happy who won I'm not going to say who won but that show I live for RuPaul's Drag Race I've been getting sent not just review copies and arcs and boxes but I've also been getting sent some other little goodies so like I got sent a pair of headphones recently that is really cool I'll have them linked down below if you feel like checking them out they're more for like running like they're those bluetooth wireless ones and the thing I liked about them was they came with like a bunch of those little the pieces that you put in your ear they came with like a bunch of different sizes and options if you lose them or whatever which I thought was really good because the the ones I'm using right now on the headphones are way too big for me so like I need to switch those out and yeah usually they do work pretty well but like I would put my phone in my room and go into another room with them on because you're but you're supposed to run with them or you're supposed to like exercise with them so your phones not supposed to be far so that's the only thing I'd say with it is that you can't like go halfway across your house with them and expect the bluetooth to work which I think is kind of normal but yes I will have them linked down below if you want to check them out because I was sent them and I do appreciate being sent them because they are a lot of fun and I've never had bluetooth headphones so check them out if you feel like it I think that's all I really wanted to talk to you guys about today again thank you for 12k thank you for your support if you want to follow me on any of my other social medias they are all linked down below I'm tired of everyone commenting that I look there because I already know I do that's just my paranoia that it's not in focus stop commenting about it thank you anyways I'll see you guys all super super soon with a new video hopefully super soon but when I do upload it will be something that I'm a hundred percent proud to put out so I'll see you guys eventually bye


Again, it's normally for technical reasons, normally you would not have the band and the singers in the studio at the same time, because you want to, again, if you're wanting to get this real polished perfect sound, you wouldn't want the piano being played in the same room with the singers as we had, but we decided pretty early on that there were definitely going to be some emotional advantages to having it all happening live. We felt that the performance would probably be a lot more real if the singers were actually singing along with the band right while they were putting their tracks down, and I think it proved to be true. Now in comparison, the We Are The World recording was actually done in pieces. The drums were done in fact at an entirely different studio, and they brought in a tape that was virtually done except for the chorus going down into a big studio where they could get the chorus and all the media in, and they did the chorus tracks really as an overdub. So to get, you know, I think they might, it was a beautiful recording of course, but I think they might have gotten even a little more energy out of it had the whole thing been going on live, but they, you know, there must have been technical reasons for choosing to do it the way they did, but it was a great feeling. I mean just an amazing feeling. I mean the power of 20 vocalists is quite extraordinary, and especially in this case, because these aren't 20 singers that are used to, you know, singing in a group. It wouldn't be like bringing in a chorus or a choir from a local church that's used to singing together. These were 20 individual vocalists, you know, who are notable in their own right as individual singers and to put them all together. We didn't really have time to, you know, work out elaborate harmony arrangements or anything. We just sort of said, well, those who can grab a harmony on the fly, go for it, you know, just do it. Let's see what happens. So it really worked out nicely. I mean, we ended up with I think just the right number of people who are sort of doing scat in the background and so forth, you know.  You really don't, you don't know what's going to happen until you've done it, you know. And then of course you can't do it five times. You have to get it on the first or the second take. I think the one we used was actually the second and the energy tends to build to the second or third take. And then, and then it's a diminishing situation after that. So you have to have your technical stuff together pretty early. And then you, then you can, you know, hopefully get what you want on tape at that point. Okay. And one thing that I think I understand what we're trying to do here is deal with feelings and ideas. This is not supposed to be glittery and it's not supposed to be fancy. It's pretty basic, down home stuff that says something that's real. So it's not, let's make it real about people. But we're doing something I think reasonably historic. So let's do it good and thanks very much for being here. I'll be isolated in there. You'll hear me and I'll hear you. If you want to take an audio feed off us, the Maltbox is right over there on the floor where he's plugging in right now. That's a feed right off the console. Takes us, takes a standard mic. We'll get this thing so we can have a sense of where the melody is.  You know, you can't do that. Freedom. That's what it's about. I need very light. Sharp. I want to get it. Let's try one. Oh, I'm so excited. I'll be buried. I'll be buried. I'll be buried. I'll be buried. I'll be buried in my grave. And no home to my Lord. And he's free. I'll be a slave. I'll be buried in my grave. And no home to my Lord. And he's free. How many go? How many go there? How many verses should we do? Well, we've got two to play with. Well, I think that's okay. How many verses should we repeat? We'll just try it out in the band. Let's see what happens. 25 verses? No. Is there a one more to proceed this? Yeah. Okay. Are you going to end it just like... End B3. Are you going to have a retard at the end? Are you just going to... Going over it too much. Of the many aspects of this thing which are very exciting, I think not the least of it, is that we've assembled in one room many of the best musicians in the state of Vermont. And that in itself, to me, is one of the important products of this whole project. The fellow who is... Don, what is your official title? Are they the music director of sorts? Okay. The bubble machine broke, but we're dealing with that now. Don, what's your feeling about the project? When Todd initially came out to me, he stopped me on Pine Street one morning and said, I want to talk to you about doing something later on this summer or whenever it was. And he said, I want to do a record with Bernie. And I said, okay, just let me know when and we'll do it. And then later on, I got a tape from him of... Mark Greenberg put together a tape of the tunes that you asked for. And I sat and listened to him and listened to him in the car a bunch and kept listening to him, got to know him. I mean, I knew most of them, a couple I wasn't real familiar with. And then Mark Ransom, Jeff Salisbury, and I came in here and did a rough of the tunes, trying to get the feels that we're going to use over the past two days.  This is hard work. We were here at 1 o'clock in the morning. We were here at 2. You were here at 2 o'clock in the morning? Yeah, you were here at 2. And then... We were here at 2 again today, too. We were here at 2 today and going... Let me ask everybody while you're here. Well, we have happy musicians in the state of Vermont assembled in one room. Let me ask you guys a question and you tell me if you think I'm paranoid or not. I think that there is an extraordinary amount of self-centorship in a sense which goes on among serious writers and serious musicians in the sense that it's not that you produce something that's rejected, but you don't even write it because you know it's not going to be done. All right, who wants to talk to that? You're absolutely right. Take the mic. I'm sure other people... Okay, well, yeah. What happens is that if you want to stay viable as a commercial entity, you don't do stuff that you don't think will... you know, if it won't sell, you don't touch it. And therefore, you do write what you think is going to work, what people will listen to. But then again, your audience sometimes... they're funny, too. They don't necessarily want to hear what's right. They just want to hear what they want to hear. So you get caught in a bind. Am I right in thinking... I mean, what gets me excited about this project and what I love about music, and I have to tell you I'm not a musician, is when music or poetry comes from people. It doesn't matter whether it's good or bad. When you see kids, you know, we go into the schools and we see kids writing their feelings and their perception of the world, I think almost by definition that's good. And it seems to me that we have very, very little of that that goes on in the mass media today. Basically it's canned. There's a mechanism, there's a style, there's an approach, and you fill in the blanks. They've already determined what's going to be in it. What astounds me is if you look at the world, just with the problems, some of the songs, with the content of the songs that we're dealing with today, the literal fact is that we've doubled the number of billionaires in America in the last year. You've got some people... One guy's wealth grew by four billion dollars. One guy is now worth eight billion dollars. And you get people sleeping out all over the streets, all over America. How come musicians aren't writing about that? And I think the answer is not the fault with musicians. I think there are thousands of serious and good writers. But I think they say, why the hell should I write that? Where's it going to go anyhow? Is that true? There is an underground. There's an underground of musicians in the folk world. There's folk festivals that just don't get media attention, but there is an underground network. And just in the recent travels that I've made, I've found that there are people writing those songs, but they're just not getting put out there. There's another interesting thing about that, too. You can hear message music as it were. You can turn into that show Top of the Pops. And they'll put on a group that has a great message song. And then they'll follow it with a complete bubble gum. That's the British show. Well, it's from London in Los Angeles. And it kind of dulls the message.  If you don't contain your message in a meaningful medium, as it were, in other words, if it isn't enclosed in a space that has meaning, then it loses its meaning. Let me ask you a question. I bet somebody ten bucks on this, so we can see if I'm right or not. I think that the song The Banks of Marble, the way we recorded it, is about the radio stations. I don't think commercial radio stations will put on a song which talks about the fact that some people are making millions off the exploitation of other people. I think Louis Mann overplayed it. I wouldn't bet on it. No. Well, we'll see. I mean, it'll be interesting. Now, what makes it unique, obviously, is that we are known in the state of Vermont. Will they not?  Will they not play it? I'll be interested. I don't think you heard it yet. It came out really nice. It was where all the flour was gone. I think that song will be allowed on the air because peace is, okay, you're allowed to talk about peace. Most people in one way or another are sympathetic to peace. But class struggle. You see, the fact that some people are exploiting other people. Some people have billions, other people have nothing. It is such an absurd proposition that people are allowed to have billions when others are starving. No one can give a rational defense for that. It will not be played very much. They'll play it. I'm not saying that some stations will not, but I don't think it will make the general mass media or the commercial media. They don't want people thinking about these things. And it's unbelievable the degree to which self-centorship exists. We talked about Russia and all that stuff. I mean, that's something I... I was telling you about this guy, Billy Bragg, from London who was at Newport this summer. They wedged him between Bonnie Ray, you know, really popular, who did a lot of stuff for the nuclear war. Her movement stuff was kind of a homogenized political thing. She's got her own convictions and stuff. They put him in between Bonnie Ray and Judy Collins. And Judy Collins' thing was so... like Vegas, it was really strange. You know, she was going, I'd like to talk about my newest American hero, Senator Daniel Inouye. And everybody was going like, what? And I was like, what is this about? And she started singing like, God Bless America. And it was really weird. But before that was Billy Bragg, who came out with his combat boots on. Black, you know, a T-shirt, a guitar with an amplifier cranked right up, singing about the workers in London and all the socialist things that were going on over there. It was just people in their lawn chairs kind of squirming around and going, well, what's this about? Whereas like Newport, the whole basis of Newport was folk music. I mean, that was where Dylan got stuff throwing at him. And now it's like, it was just a great moment. The police came up. It was really strange because all day long people were able to come up to the fence right up front and kind of check everything out. When Billy Bragg came on the road out and state police kind of just got real uptight and it was this real weird vibe and just had to kind of cool that out. He got out there and was like talking about Nicaragua, talking about all the corporate stuff going on. It was pretty amazing and a lot of people were it was a real big moment there. It's funny, obviously, I'm in public life a lot and I hear a lot of things and there are certain things, messages which are allowed to get out and there are certain messages which are not. And the class issue, you can talk about the environment, you can talk about the desire for peace, you can talk about opposition to contra-aid but if you get on the air and you say I'm sympathetic, I don't know if you get on the air but if you're a public official, I'm sympathetic to the Sandinista government. I think it was right I think. No good. There are probably three people in the entire United States Congress who would hold that view. You can be against contra-aid, that's legitimate. But you can't be pro-Sandinista and you can't, but the real bottom line of all these things is the class issue. That's the one that they're very, very sensitive about. Wealth and power, who controls the world, who owns the world. There was an interesting article of course it doesn't make the mass meter either was a study that came out that shows one half of 1% of the American population now owns 45% of the wealth. 10% own 83% of the wealth. Now you're not going to hear that talked about. What it means, after all of a sudden, on a few got it all. They own every goddamn thing. The meteor is becoming tighter and tighter. Gannett owns now 91 daily newspapers. They own cable television. And those issues you're basically not allowed to talk about. Now and then they'll put it on. But basically those are themes that they don't really want to hear about. I hope this, having you in here and having people, everybody's been around, we all know it's great having everybody in one place. I haven't seen a lot of these folks for a while and we've all getting together on this great thing is really nice. I hope Todd kind of gets the idea that we can do a little more of this kind of thing. Todd, you listening? There's a lot of, you can put any three or four or five of these people together in one room and come up with a great piece of music. It just takes a while for that to sink in. It'd be a great thing to have. Without trying to be, what's the word, maudlin about this or overly sentimental, if out of this night comes the confidence on all of our parts, more in yours than in mine, that you can do serious things. Whatever it is, your own feelings and you can fight to get it out that we can, your music can get out the way you want it to rather than shaping your music to fit other people's desires and bringing that about, I think that would be fantastic. And the fact, as Don mentioned, the fact that we brought so many, Christ, I don't know that we've ever had so many good Vermont musicians in one room at one time, and that in itself is fantastic. Who knows, maybe, I don't know. We'll get your gig inactive. Yeah, right. We're going to tour now. Now we're down to just about that.  I mean, it's really narrowed down. When the mud season comes, there's no work. After the foliage season, there's no work, you know.  I mean, you're literally, that's right. Nectars is the only place that you can play original music in town. Is that right?  It's hard to get, it's hard to get work. But outside of your own time, it's like, you know, what gigs are there?  Well, then you're playing the circuit, you know. What circuit? There's no circuit. There used to be a circuit 10 years ago, man. There's no circuit anymore.  Yeah. And you might be getting paid more, but your opportunity to play original music is still just as nil. Yeah. Well, remember that gig we did up at Smuggler at that one time when they had, you know, Brian Curry. There's a band, and then this guy starts wheeling in these huge speakers, man. It was like, what are these things? Oh, this is the DJ. So after the band was now playing, this guy was up there spinning records, we're going, no, this is really great. You know, that was really... And the guy, his DJ thing was louder than the band. It was pretty loud. It's interesting to see what happens when the classes start to break down. And you'll be able to pull out to see what happens to people if they're going to be open to what is truly happening, or it'll probably split right down the middle. There'll be those who will be open, and there'll be those who just want to take off for a vacation. Some kind of music will happen. All we're trying to do is to find a few people that don't sit in front of a TV set 28 hours a day. Those are the very few people who are still listening to music. There's Cobra, very popular, very strong messages. But the people who need to hear those messages aren't hearing them. I mean, a lot of young people are getting the message, but they probably are attuned to it anyway.  So that's the big problem. There's such a cultural gap between those who are attuned with the power of the true music that's happening and those who aren't. We have to set up a viable commercial network, somehow sort of radio network. Let me tell you something. One of the things that we in Berlin are spending a lot of time on is that thing. Now, at this point, I'm not going to tell you that it competes with Channel 3. But I think we're getting a bigger viewing audience and the degree that we can produce good local stuff that people are going to watch locally, and they're going to watch each other. I mean, going from local football games to local music. We take that access business very seriously. We're going to put money into it and energy into it. Okay, I suppose we've got to get... We musicians have got to get back to work with something to say. There's something about this project that I think has to be said, and that's that when you put out a project that has a purpose that's bigger than just promoting the personalities involved in it. When you put out something that has a message going out to the world about these issues that Bernie's concerned about and he has presented them in a way that I think has certainly reached all the people involved in the project who maybe hadn't, some of them perhaps hadn't connected their medium of music to some of these issues. In other words, you get caught up in playing nightclubs and stuff five days a week and you start to lose sight of the big picture. You know, of the power that a person who is in the performing arts has. The potential power that they have to change the world that they don't really acknowledge a lot of the time. Not that we all have to be running around trying to improve things, but the point is that if you're going to be on stage and you're going to be singing about something, you might as well make it something that's going to make the world a better place. And that's really kind of the fuel that has really accelerated the project. In my own mind, the project started as somewhat of a whimsical idea. I didn't really plan that it was going to turn into a political or social statement. That was really Bernie's energy being infused into it. Quite frankly, my original concept was quite a whimsical one that, you know, let's get this mayor who we all know is deadly serious about most things in this life who doesn't crack jokes very often in public places. Let's get him in the studio with a band and have him do ... his favorite music would be at that point. I thought, you know, maybe he's into Frank Sinatra or Bing Crosby or something and let's have him do some crooning. That really was the level that it was on originally and it seemed for a while so ridiculous that I thought we can't ask Bernie to do this. This is absurd. And eventually the idea thought, well maybe there's some music out of the 60s or something that he would be into that would in some way relate to his thinking and of course as soon as we approached him with the idea then a whole list of songs came right up bum bum bum, you know, the Pete Seeger material and the Woody Guthrie material. These were ideas that I would not have directly connected Bernie to right off but in fact once he mentioned them it made perfect sense. So that really was that initial contact with Bernie that really gave the project some shape and it was also at his suggestion that we brought in so many Vermont artists. I was thinking originally you know, let's just put a five piece band behind him. The idea of the big chorus was really something that Bernie inspired. You know, he started thinking in terms of, well let's make this into a Vermont Musicians thing, you know, not just Bernie's album. Obviously Bernie's name being on it helps give it an identity and it helps, you know, it helps make the thing marketable of course but it's also a chance for all these artists who are somewhat disconnected from each other in a lot of ways and even competing with each other for the little bit of work there is up here for a band.  Spartacus believed that when he and his followers took on an entire Roman army rather than to submit once again to enslavement and Harriet Tubman believed it on those dark and lonely nights when she risked her life over and over again leading her brothers and sisters out of bondage on the underground railroad and the workers in our country knew it when they stood up to the bosses of the government and fought to create the unions that would provide them with decent wages and decent working conditions freedom dignity the willingness to stand up against the mighty and the powerful the human spirit resilient alive like a torch from one person to another from one generation to another from one nation to another from one another the human spirit may it never be extinguished


I've got a brand new free drum plugin to tell you about with 40 kits included and some surprisingly useful features. Hi folks, I'm Mike and I hope you're well. Let's get onto that drum plugin in a moment, but first of all, let's take a look at a couple of other free plugins that I've recently discovered. TALDUB 2 is a free delay plugin with this handy drive feature in the middle that you can see here which I'm going to be talking about later. But before we get into that, I just want to explain that I've made a demo for this using another free plugin and that is Spitfire Labs Electric Piano. Of course I will put links in the description for both of these so you're getting kind of a two for one deal here and the deal is they're free. Now let's have a listen to this piano without the delay switched on first of all. Very nice I'm sure. Now if we go back to that delay plugin I'll switch on. Let's just have a listen to it in its kind of default state. So just as a pure delay plugin of course it sounds really nice and it's got a lot of the features you'd expect in here. Of course the ability to change the delay time between the left and the right channels. You can link these things as well and the same goes for the feedback which you can see here. You can either have a different amount of feedback for the left and right channel or you can link them. There's also some nice features over here like the high cut and the low cut. I shouldn't need to explain those to you but basically it's to cut the high and the low frequencies so you can really keep the delay to specific frequency ranges and then some handy controls for things like resonance and panorama which I'll get onto those a little bit later. But I want to focus first of all on this drive feature. This adds a little bit of grit to the delay which I rather like. So you could either add this on sort of full like I will do now and then control the mix with this wet and dry knob down in the bottom right here or in this case what I'm going to do is just leave that as it is and I'm going to just pull the volume down because it does get a lot louder as you push this drive up. Now let's have a listen to how it sounds now. Now I rather like that little bit of extra grit that it's adding in there. Now you can make more changes to this of course with things like resonance. You'll just push that up as I play this again. And panorama, I wish I could tell you what panorama does. I've played around with it and I'm not exactly sure that I'm hearing much difference. Maybe it's dependent on some other settings. Download this free plugin, have a play around and if you want to educate me let me know in the comments down below what the panorama knob really does. Now I want to have a look as well at the modulation down here. I'll just turn that resonance down and just have a listen to what the modulation control does to the sound. I'll just push the rate up so you can hear it. Now I kind of like to have a collection of delay plugins in my arsenal. There's so many of them and you'd think they'd all be very similar but they can be quite different. I think this is a very, very handy one to have there in your collection especially if you want to get a little bit of a gritty sound to your delay. The Roland Juno 60 is an iconic synthesizer from the 1980s. You can buy one now by jumping on an eBay and spending between $2,000 and $3,000 or you can buy a commercial plugin version for quite a lot less. If you don't want to spend any money at all then you can get this free version, the Tal Uno 62. Now unlike the commercial plugins it doesn't have a keyboard on the display but it does have all of these other controls here so that you can craft these classic sounds from the 80s. Now I'm not going to be crafting any sounds here but I will go through to a three of the presets so you can get an idea of the quality of this instrument. Let's start off with a funky bass sound, very 1980s sounding. Now one of the things I like about these instruments is the chorus effect. I'm just going to put on, I mean they're not difficult to use, they just have buttons to switch them on and off. I'll just put on chorus one here and have a listen to the difference this makes to that bass sound. Absolutely wonderful. Let's move on to something a little bit different. I am going to load up an organ lead sound that's sounding like this. And if pads are your thing let's have a listen to a warm pad. If this is the kind of thing that you love and some kind of sounds that you love then I definitely recommend get hold of this right away for free. It's absolutely amazing. Drum 8 is a brand new drum plugin from Audioletry in conjunction with Cool Wave and it's fairly simple interface, really hides the fact that it packs quite a punch. For starters, it's got 40 different kits. Now I will say that they lean towards your kind of electronic music, but there are some acoustic sounding kits in there starting off with this one, which is called the real kit. Well, you may prefer something like this one, the real jammy kit. And if you want to get really lo-fi with it, then you have this lo-fi mono kit sounding like this. Cool stuff. And then we start to get into more of that kind of electronic sound. This is the BAP house kit and it goes on like that. Let's have a listen to a few more. This is the bits kit and what about the dark kit? I'll let you download this free plugin and discover those 40 kits for yourself. But I want to look at some of the other features that you actually get with this plugin, first of all, very obviously at the top with the gain and reverb controls that they are applied to the whole kit. Yes, so you can just make it quieter, louder with the gain and add reverb over here. The filter is a filter. I'm just going to use this control to kind of demonstrate to you what it does. Let's go to the broken tape kit for that. You can hear there that essentially as you turn it down, it cuts on those low frequencies and then focuses on the lower sounding stuff. Very, very cool indeed. Now you've got the sort of drum or eight different drum sounds there to choose from. Now you can individually make changes to the sound. So for example, I have the kick selected here. I'm going to change that to the snare and then I'm going to pan the snare OK, from left to right. Let's go to a different kit again while we do that, the smack kit. Now, as well as making changes to things like pan, you could also do it to things like attack. So let's just push the attack up here and here. It makes that kick drum sort of really soft and squishy at it down. Put it down low. It's got much more of a kick to it. And you've also got a gain control over each instrument. And one thing which I often go on about on this channel is the fact that you can actually output each of the drums to a separate output. That is the control that we can see just down here. What that means is you can set it to a different channel in your console in whatever door you're using. That gives you the ability to mix from your door's console and perhaps more importantly to apply different effects to different drums, giving you even more control over the sound and enabling you to make it quite unique. Follow the link in the description down below for this new plugin. Now, there's actually a lot of free plugins out there, but not all of them are that great. So I've made this series of videos so you can get straight to the good stuff. So click here, grab yourself a coffee and have a little binge.


Hi everyone, Joe for Jaspy's casebreaks.com. Here comes a fun one, 2023 top Star Wars signature series. This is casebreak number three, it's a random character break, 33 spots total, everyone gets four random characters from this giant list below right here. Remember, there's only one spot for any and all, I know it says dual autos, but it's any and all multi-autographs. Does it go beyond duals? Maybe it doesn't, but anyway. Any and all multi-autographs will go to that one spot. Most of you will get a character from the Star Wars universe. Now big thanks to everyone here. So let's gather all your names and top three will get extra spots, little buy one, get one possibility after 12, six and a six, 12 times. Was that the, was the Kessel Run done in 12 parsecs? All right, after 12 times, Kevin, M, Kevin Benedict, and Francis, extra spots going your way after 12. Guys Kevin Benedict in the chat right now looking for something good, well, good start. You got an extra spot going your way. So we'll put a little rooftop or a little cone above your head right there. All right, now we can multiply that list by four, there's one already, two, three and four and there you go, we have a total right there. Now let's gather everybody's names. So all of your names into one list and we'll put all the characters names into another list and we'll do the randomizer and put all the results in that first tab sheet one. Let's roll it, randomize it, four and a five, nine times for names and characters. One, two, three, four, five, six, seven, eight and once more ninth and final. Well they're not really dice if we're doing Star Wars, right, they're Chance Cubes, Tyrone down to Stephen K after nine on the Chance Cubes. All right, four and a five on the Chance Cubes, nine times for the characters. One, two, three, four, five, six, seven, eight and ninth and final time. After nine we got Boba Fett and I don't know this character. Tyronelly, thankfully on the back of the cards they put what show they're from which is actually kind of helpful, a lot of Star Wars stuff out there. I've probably seen most of it but I don't know, there are some characters that I just don't remember. All right, so I'm just going to show you the list as is and then I'll alphabetize by your first names so you can see when I randomize by your first names you'll see all of your characters grouped together. All right, so Alexander, there's your group of characters right there. So just as a note, Ben Kenobi obviously is just Ben, is there a, I think there was a weird, yeah, so there's an Obi-Wan Kenobi spot and a Ben Kenobi spot. So those are two different characters, it'll be distinguished on the back of the card. Also, there may be Grand Moff Tarkin, like animated version because I know he's been in the animated series so it might be the animated series version and then the non-animated series version. So there's some of those variations right there. There's Boyd, there's Dale with your characters, oh, Dale with a lot more right here. David, Francis, you got a lot of characters here. We have Menendic, a lot of stuff for you. The Any and All multi-autograph spot could be an interesting one. And Kevin M, there are your characters. Mark, Marcus, Michael, Raymond, Russell, Ryan G, Stephen K, Tyrone. All right, we're going to pause the video. When we come back we're going to see if there's any trades. And we'll have the break. Stick around. BRB.  Star Wars signature series time, no trades done. Let's pop this open. Let's see some awesome stuff in here. We've got another case in the store if you want to run this back. Doing little promo as well. If you buy a full spot, you can try and win a full spot. Oh, saved it. I thought it was going to be a whole mess. Good luck. Let's see what we got. First one out of the gate is Mon Mothma from Return of the Jedi, Caroline Blackiston. It was Mon Mothma. Many Boethans died getting this autograph into this set. Oh, Caroline, where do you go? Or Mon Mothma. Sorry, I should be looking up characters, not Mon Mothma is for Stephen K. I should have done that. Yeah. Good call, Gilo. I should do the text crawl. We got Nien Num, three out of five. And that's going to go to Boyd. All aboard the Big Head Express. Mike Quinn as Nien Num and Rise of Skywalker. Next. We got Cad Bane, nice. That's Dorian Kinji as Cad Bane in a book of Boba Fett. Cad Bane is for Mark, Mark N, Cad Bane. Next is Corrin Trawler as Demetrius, Bistravesky in the Mandalorian. Corrin is for Kevin. Next up is Jarek Yeager, 13 out of 50. Scott Lawrence as Jarek Yeager. You know, that's a show I have not seen yet, Star Wars Resistance. I've heard it wasn't as good as some of the other ones, but you should probably see it anyway at some point. All right, we've got Bede from Star Wars the Phantom Menace. They were the pod racer announcers. Nice. Oh, Jarek Yeager, by the way, goes to Kevin Benedict and Bede goes to Kevin M. All right, next. We got, we got Sefton Vannick as Joseph Alton as Sefton Yannick, Vannick that is. That's Marcus Lindsay with Sefton Vannick. I don't remember where. He is a human male pilot from a certain service lieutenant in the Resistance. Got it. I think he was part of the battle of Exegol and serving the Resistance. I think Joe Buck with just one head is fine. We got, uh, Edrio Two Tubes, old Two Tubes from Rogue One. David Acordes, Rogue One, that's, that's one of my favorite, uh, Star Wars pictures there. Part of Saw Gerrera's group. There's Rio Durant from, uh, from Rogue One. That's Katie Cartwheel as Rio Durant. All right, sorry, I forgot where. So looking forward to these characters. Edrio Two Tubes, yeah, it's like the guy who gets the papers, gets the papers in Goodfellas. Alexander with old Two Tubes and Rio, Rio Durant, fun character that goes to, Kevin Benedict. Nice. There should be a Space Goodfellas. Yeah, old Tommy Two Tubes, said everything Two Tubes. Let me go get the papers, get the papers. I don't know if Katie Cartwheel's a real, and that's got to be a Hollywood name, right? All right, next is Cersantin from Book of Boba Fett. Nice. Old Cary Jones as Cersantin. Pretty terrifying character, pretty exciting character. I think pretty, pretty popular in the, uh, in the graphic novel series. Some references to him there. Kevin M with Cersantin. Mike Tower is a good stage name. It rolls off the tongue nicely, so I always try to, I always have to say both names. It's one of those names. Then we've got the Imperial Security Officer from the Mandalorian, Philip Alexander, that Imperial Security Officer. And that's for Kevin Benedict. Not to be confused with the Imperial comms officer, the Imperial freighter pilot. All right, next is one of those landscape, oh, landscape on the bow, this Grand Moff Tarkin. Nice. That's Guy Henry. Or is it Guy Henri? So the Grand Moff Tarkin spot goes to Alexander. And we've got Hondo, uh, Onaka. Jim Cummings is Hondo Onaka. Pirate. He's a fun character too. They need to, they need to get a live action one of him going on. That goes to Kevin M and Hondo. Always making deals with Ezra Bridger. We got Rala Keely. That's Clint Howard as Rala Keely, 46 out of 50. Ron's brother. Uh, Rala Keely goes to, goes to Kevin Benedict. The next one is Alex Wolves, 12 out of 25 from the Mandalorian. Axe Wolves that is, not Alex Wolves, he's, um, part of the, the Mandalorans who became mercenaries and seeing that storyline unfold in this season. Boy Jackson with Axe Wolves. Star Wars, obviously, Jeremy. This is a, this is a Star Wars place. That's right Logan. We got Aura Singh, played by Jamie King, playing Aura Singh. It's Kevin Benedict with Aura Singh from the Clone Wars series, an assassin I believe. Next one is Evan Peel. That's, uh, Mikaela Cotrell from the Phantom Menace and that will be for Kevin M. Is that the same Jamie King? We have Ezra Bridger, nice. Star Wars Rebels, definitely worth, uh, worth a watch, especially leading up to the Ahsoka series coming up in August. Spend your summer watching. They're very quick episodes, three or four seasons, pretty easy. Pretty easy watch. Dale with Ezra Bridger, I think they're gonna explore a lot of that series in the live action version of Ahsoka, this end of the summer. All right, two more to go. We got the Night Wind Assassin from the Book of Boba Fett, Paul Darnell. That's gonna go to Russell, all right. And the last one, yeah, that was pretty exciting to see Grizzly Beast, seeing Zeb making a cameo in the Mandalorian. You can probably see more of him in, uh, in the Ahsoka series, I would imagine. All right, the final one is Baru Lars. That's a bunny. Peace. P-A-P-S? As Baru Lars showing up in Obi-Wan Kenobi, the Obi-Wan Kenobi series again. And Baru Lars on Baru goes to Kevin Benedict. And there you go, gang. Ba-da-ba-da-ba-da-ba-da-ba-da-ba-ba-ba-ba-ba-ba-ba-ba-ba-ba. So that Star Wars Signature series, stay on credits. Star Wars series, 20 box case, random character number three in the books. We've got another case in the store, jaspyscasebreaks.com, if you want to run that back. I'm Joe. I'll see you next time for the next one. Bye-bye.


is giving the presentation. Hi, oh, yes, now it works. Okay, hi everyone. Thank you very much for the introduction. I'm happy to tell you today about our work on TILAS 1.3 PSK. So as most of you probably already know, transfer layer security is one of the most important security mechanisms on the internet, protecting billions of HTTP connections every day. And its newest version, TILAS 1.3, was released in 2018 and already sees a widespread adoption. Namely, according to F5 Labs, it has been the most preferred version among the top one million servers end of last year. So structurally, TILAS is composed of two protocols. First there's the handshake protocol, which is basically the authenticated key exchange of TILAS negotiating a session key that is then used in the record layer to actually protect the application data using an authenticated encryption scheme such as AESGCM. In this talk, I will solely focus on the handshake protocol. So the handshake of TILAS comes in basically three variants. First there is the full handshake, which uses public key certificates for authentication.  Then there is the PSK mode that is mainly used for session resumption and it allows for a more efficient and abbreviated handshake by the client and servers sharing a symmetric key beforehand. And even it allows for the client to send early zero RTT application data to the client. In addition to the PSK only, there is a PSK ECDHE variant handshake that adds an additional Diffie-Hellman key exchange to provide forward secrecy for the session keys. So we will only focus on the PSK handshakes today. So now if we want to prove a crypto system secure, what we usually do is we reduce the security of the crypto system to some computational hardness assumption. For example, DDH. And classically this reduction is considered asymptotically. This means that the security then, the security proof then gives us the guarantee that there exists sufficiently large parameters. For example, the size of the Diffie-Hellman group so that our scheme is secure in some well-defined security model. But if we now look at the real world crypto system where we usually rely on standardized parameters, these asymptotic results do not really give meaningful guarantees for a specific standardized instance of that crypto system. And here comes the concrete security approach into play, making the bounds for running time and success probability explicit. And this then results in bounds of the form as we see here on the slide, namely we have that the advantage of some fix it versus we A against our crypto system is bounded by the advantage of our reduction to the computational hardness assumption times some loss function L, which might or might not be dependent on the adversary. This relation then allows us to either it shows parameters for our crypto system for a desired security level that are backed up by the security proof or even to check whether certain parameters achieve the desired security level. Now, if we want to, if we have such a relationship, then we say that the security proof or the reduction is tight if the loss function L is independent of the adversary. That means, for example, a small constant. The question now is how tightly secure is TLS? And TLS 1.3 was the first version that was developed in close collaboration between academia and industry. So there were already many analyses during the standardization process. And I would like to focus today on the result by doweling it on as it's the most complete computational analysis that we have at the moment. And since we are focusing on the PSK modes, let's have a look at their result on PSK, ECD-HE. So generally, their security proof reduces the security of TLS PSK to its billing blocks. And these billing blocks consist of a Diffie-Harman group G with a couple of finite field and elliptic curve options and a hash function H, which is either SHA-256 or SHA-384. And different combination of these then results in different levels of security. Here you see, for example, 128-bit security configuration or 192-bit security configuration. And if we now look at the bound that is given by doweling it all in a very simplified way, you see that first, they reduce the security of TLS PSK to its billing blocks. And secondly and most importantly, you see that this bound here is highly non-tight due to the quadratic factor that the reduction to the security of the group here loses in the number of sessions that the adversary interacts with. So the question now is, well, this actually is a problem in practice. So let's have a look at some concrete numbers. So here you see four different adversaries using different amounts of resources, three of which are against P256. That means we aim for 128-bit security here and one is against P384. That means we aim for 192-bit security here. And as a target security, we set the running time of the adversary divided by two to the desired bit security level, which you see here in blue on the slide. So if we now compute the concrete values for the bound by doweling it all, we get the following. So in yellow, these yellow bars represent the advantage of each of these respective adversaries. And since you see here that every of these bar crosses the blue line here, this means that none of the configurations actually achieves the target security. And another thing I would like to highlight is that if you look at the line here top that is highlighted in blue now, is that this means that if the yellow bar crosses this line, that the probability of the adversary breaking TLS is actually one or less. That means from a concrete security perspective, the bound doesn't really give any meaningful guarantee in this case. So the question now is whether the parameters for TLS are not chosen correctly or if the bound is simply to lose and does not draw the right picture. And this is what I would like to talk about next. So we as the authors of this paper were able, independently were able to give tighter bounds for the full handshake in prior work. However, both of our works have a couple of limitations. The first one being that both of us make assumptions about the key schedule, the key derivation procedure of TLS which I will come to in the remainder of this talk. And secondly, the signatures that are used in the full handshake for authentication have to be multi secure with adaptive corruptions. And unfortunately, none of the standardized signatures for TLS satisfies this in a tight way. That means we always have an implicit linear loss that seems at the moment unavoidable. And for TLS PSK, we are now able to give fully tight bounds in this work, mostly because we don't have a bottleneck of the signatures anymore. The only exception here is that we don't, that we are not able to give a bound for PSK only with Shars V84, which I will come to briefly at the end of this talk. So let me briefly compare the bound by doubting it with our bound. So our bound is tight with a constant loss and doing the math, we get the following values for our bound that you see here in purple. And the first thing you should notice is that for each of these configurations, actually our bounds easily achieve the target security. And comparing the yellow and the purple bar, we even see that there is a difference of up to 128 bits. And one thing I would like to highlight is that one might argue that we only show the right numbers here, but actually the majority of the configurations we looked at draw a similar picture. So if you're interested in more details on the numbers, then I would be happy if you consider reading our paper. So the natural, so consequently, we have seen that the parameters chosen for TLS are actually justified, but the prior proofs were not able to draw the right picture here. So the question now is why is this the case? So the full handshake and the PSK ECDHE handshake, both at its core are basically a simple if you harm a key exchange. And for security, that means secrecy of our session key, we want to have that our adversary here that only sees the key shares, so G to the X and G to the Y, does not learn anything about our session key. And this is usually captured by indistinguishability from random. So to prove this, one would reduce the security of the key secrecy of the protocol to the DDH assumption by embedding the DDH challenge into our handshake. And this works as follows. So we basically take G to the A as the key share of our client and G to the B as the key share of our server, and then take our Diffie-Hellman challenge in place of the Diffie-Hellman key. So if we now compute the session key, then we either get real or a random key. However, in reality, the problem is that there are many, many sessions in parallel. So the question is where do we actually embed our DDH challenge because we only have one. And the simplest and obvious solution is to simply guess a client and a server and do exactly what I just told you. However, this induces the quadratic loss in the number of sessions that we already have seen. So what do we do? So fortunately, Kuhn Gornet, at Crypto-19, proposed a technique to prove simple DH-like protocols more tightly secure. And here the reduction then works as follows. So first we embed a re-realization of G to the A in every of our client sessions and the re-realization of G to the B in all of our server sessions. And then we model the key derivation of the session key as a random oracle. And here is this crucial that for this technique to work that the key derivation function not only gets the Diffie-Hellman key G to the X, Y, but also the context G to the X, G to the Y that are used to derive the Diffie-Hellman key. Because then we can switch from a reduction to DDH to reduction to strong Diffie-Hellman, which is basically just computational Diffie-Hellman with a DDH oracle. The interesting thing here to notice is that the adversary can only learn something about the session key if he makes a correct random oracle query. And we can use our DDH oracle by observing simply all of the random oracle queries the adversary makes and check whether there is a correct query among all these queries. And if this is the case, we can use this to solve the strong Diffie-Hellman challenge. And this allows us then to simulate the whole protocol in the reduction without committing to one session to embed our challenge. So a natural question that arises now is if this reduction idea actually is a template for a title proof for TLS 1.3. So let's have a look at this. So here you see that the TLS 1.3 key schedule which is basically the key derivation procedure of TLS which is quite complex. It uses a number of HKDF extract and expand calls to derive a number of keys, but the details are not important right now. The important thing I would like to highlight is that the Diffie-Hellman key due to the X, Y enters here above as DHE. And the context due to the X and due to the Y enter here in these function calls. So the important thing to observe is that they don't enter in the very same call. This means that the congoint at alt technique is not directly applicable here. But I already told you that there were titanalities or titer analyses for the full handshake. So what did they do? So the first solution by Davis and Günther is more or less the natural one because they just took the sub-routines, HKDF extract and expand and modeled them as independent random oracles. To overcome the fact that the context is separated as I told you before, they use careful bookkeeping to keep track of the separation basically. However, there's a problem because HKDF extract and expand both rely on HMAC using the very same hash function, they clearly are not independent. So the second solution by Thibaut-Jagar and myself is that we made the assumption that every major key derivation can be modeled as a random oracle. This has the advantage that the proof becomes more direct because we can directly apply the congoint at alt technique. However, we only assume that this actually is true and did not formally justify it. And due to a similar reason that all of these sub-routines here use the same hash function, it is also not inherently clear that this actually is true. So the bottom line of both of these solutions is that both do not capture that actually inside all of these boxes, there is the same hash function. So modeling these as independent random oracles is a bit fishy. And this isn't even the complete picture because TLS also use the hash function to hash transcripts and to compute max during the handshake. So it's even worse than it already looked like. So let me briefly show you how we address this in this work. So we use a modularization using the indifferenceability framework by Moad. And intuitively with this framework, we were able to show that each of the key derivations of the TLS key schedule behaves like a random oracle under the assumption that TLS's hash function is a random oracle. And this gives us the tool to both capture that TLS uses only one hash function, but also that we are able to apply the Kungouan technique directly in our proof. To prove then that TLS PSK is secure, we basically split up the proof into two parts. So first we show that TLS PSK is secure when we assume that every key derivation behaves like a random oracle and TLS's hash function is a random oracle. And secondly, we show that basically this abstraction of the key schedule behaves like independent random oracles is actually indifferenceable from the actual key schedule that is defined in the standard. So let me briefly show you how we abstract the key schedule. So we start with the hash function H, so either shout 256 or 384, and we assume that this is a random oracle. And from this, we split this random oracle representing the hash function up into two random oracles, one for each purpose of the hash function. So hashing transcripts and being used as a subroutine in HMAC or the component like HKDF. From this, we can rely on a result by Dolis et al, which basically says that if HMAC is instantiated with a random oracle, then it behaves like a random oracle itself. Okay, so now we have a transcript random oracle and a HMAC random oracle, and having HMAC abstracted as a random oracle itself, we were able to argue that each of these key derivations that happens in the TLS key schedule behaves like an independent random oracle. And we use therefore a similar bookkeeping technique as David and Günther already used in their proof to apply the Kuhn-Gordner technique. Unfortunately, the second step, so from one random oracle to two random oracles does not work in general. And this is what I would like to talk about in the last part of the talk. So here you see first our abstraction, which is kind of simplified, but I hope it transfers the idea, namely that we introduce a function for every key that is derived in the key schedule, which ultimately will be a random oracle. But why is this actually possible? So in the step form, the HMAC random oracle to the 11 session key random oracles rely on the fact that the TLS standard uses explicit domain separation using labels, which ultimately allows us to separate each of these key derivations using in combination with the bookkeeping technique by David and Günther to basically keep track of each of these branches. Unfortunately, this does not work in the case from one random oracle to two random oracles because we don't have explicit domain separation in the TLS standard for the uses of the hash function. And this means here we need to rely on the structure of the inputs to distinguish whether an input is a transcript or whether an input is an HMAC call or an HKF call, which is basically also just an HMAC call. And TLS transcripts, for example, just consist of TLS messages, which have a pre-script structure to it. And this pre-script structure, we could leverage and we were kind of lucky in almost every configuration of TLS to separate transcripts from HMAC calls. However, it didn't work in the case for PSK only configured with SHA 384, which means that we don't have a result for this very configuration. Unfortunately, to summarize, we give type bounds for TLS 1.3 PSK and show that the parameters in practice actually are justified. We give a new abstraction of the TLS 1.3 key schedule that is used in the PSHA key modes that allows for a less complex and more modular proof in the random oracle model. And we identified a lack of domain separation in TLS 1.3 PSK only handshake with SHA 384. Thank you very much for listening and I'm happy to take any questions. Any questions to Dennis? Yes. Can you give a little bit more information about why the SHA 384 case is not covered? Yeah. But before I go, there are things that there is a paper by Bargavan and others showing HKDF to be indifferentiable from random oracle up to some corner cases. Doesn't that apply to these analysis? I'm sorry, I'm not aware of this result but I can briefly explain what the problem is with the, so when we have an HMI call, we have keys that are like 32 bytes long, right? And they will be padded with zeros to the block lengths of the hash function resulting in 64 bytes. So the key and zeros for the last 32 bytes. So the end of this will be either 36 or 5C at this point, right? And the client hello starts with a version number, a random 32 byte nonce and then the legacy session ID which starts with a length field. And this length field can only take values from zero, zero to two, zero. So we can just check this very byte whether it's three, six or 5C. And if it's a case, we know that it is a transcript or not. But we are not able to do that for the SHA 384 case because we basically were in a region where there could be arbitrary bytes at this position. I'm not sure at the moment, sorry. Thank you very much. Yes, Nigel? Yeah, early on in the talk, in the non-PSK mode, the standard mode for TLS, you were saying that you couldn't get tight security because the signature scheme was not multi-user secure or not multi-user secure enough with a tight enough bound. So is there any signature scheme you could drop in as a replacement, like the Schnorr work better? Yeah, so there are two signature schemes that are multi-user secure adaptive corruptions at the moment. One is by Tivo Jagger and Christian Gjosten, crypto 18, crypto 18. And the other one is, I think, by Tivo Jagger, Kagella, Telen Lü and myself, PKC 2021. And probably, I'm not sure. I think there was another one, but yeah, there are a couple of options out there, but none of them is, of course, standardized. Yeah. Any other question? Yeah. So just another question. Is there an issue that there are no schemes with proofs? So is it clear that other schemes around fail to be multi-user secure with the... I'm not aware of this, but there are no proofs, tight proofs for that, yeah. Exactly. And as a follow-up question, would you recommend to change the TLS standard in order for the proof to go through? Yeah, this is quite a tricky question because we would introduce a couple of more labels, and especially we would need to change HMAC in some cases. So, yeah, this sounds a bit dangerous. So yeah, we have a solution in our paper, a proposition, a proposal, sorry, to fix this, but this is also just more like a hot fix than a long-term solution. So probably... I understand. It has to be. Yeah, all right. I'm not sure, sorry. Sure. Yeah, this is it. I'm sorry. Yeah, I was just like a follow-up again. So you're bypassing the need for multi-user security in this news proof? Yeah, so there are no signatures in TLS PSK because authentication is done using the symmetric pre-checking. Right, and was there a particular reason why it needed to be secure with adaptive corruptions in the previous proof? Yeah, so, I mean, otherwise we needed to... You always need to guess the user for which the adversary attacks in the proof where it basically needs to forge a signature. And this can only be circumvented if we use multi-user security by simply just being prepared in every session, right? Yeah, or for every user, sorry. All right. We're running late a little bit. Yeah. Let's thank Dennis and all the speakers of this session. Thank you.


Section 10. The Treasure and the Law, from Puck of Pooks Hill. This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information or to volunteer, please visit LibriVox.org. Recording by Icy Jumbo. Puck of Pooks Hill by Rudyard Kipling. Section 10. The Treasure and the Law. A three-part song. I'm just in love with all these three, the Weald and the Marsh and the Down Country. Nor I don't know which I love the most, the Weald or the Marsh or the White Chalk Coast. I've buried my heart in a ferny hill, twix a little low shore and a great high gill. O hop-vine yalla and wood-smoke blue, I reckon you'll keep her middling true. I've loosed my mind for to out and run on a marsh that was old when the kings began. O Romney level and Benzett reeds, I reckon you know what my mind needs. I've given my soul to the south-down grass and sheep-bells tinkled where you pass. O furl and titulin and sails at sea, I reckon you'll keep my soul or me. Song of the Fifth River. When first by Eden Tree the four great rivers ran, to each was appointed a man, her prince and ruler to be. But after this was ordained, the ancient legends tell, there came dark Israel, for whom no river remained. Then he that is holy just said to him, fling on the ground a handful of yellow dust and a fifth great river shall run, mightier than these four, in secret the earth around, and her secret evermore shall be shown to thee and thy race. So it was said and done, and deep in the veins of the earth, and fed by a thousand springs that comfort the marketplace, or sap the power of kings, the great fifth river had birth, even as it was foretold the secret river of gold. And Israel laid down his scepter and his crown to brood on that river bank, where the waters flashed and sank, and burrowed in earth and fell, and bided a season below, for reason that none might know save only Israel. He is Lord of the last, the fifth most wonderful flood. He hears her thunder past, and her song is in his blood. He can forsay, she will fall, for he knows which fountain dries, behind which desert bells a thousand leagues to the south. He can forsay, she will rise, he knows what fast knows melt, along what mountain wall a thousand leagues to the north.  A prince without a sword, a ruler without a throne, Israel follows his quest in every land a guest of many lands the Lord, in no land king is he. But the fifth great river keeps the secret of her deeps for Israel alone, as it was ordered to be. The Treasure and the Law Now it was the third week in November, and the woods rang with the noise of pheasant shooting. No one hunted that steep, cramped country except the village beagles, who, as often as not, escaped from their kennels and made a day of their own. Dan and Yuna found a couple of them towling around the kitchen garden after the laundry-cat. The little brits were only too pleased to go rabbiting, so the children ran them all along the brook pastures and into little Linden's farm-yard, where the old sow vanquished them, and up into the quarry-hole where they started a fox. He headed for far wood, and there they frightened out all the pheasants who were sheltering from a big beat across the valley.  I wouldn't be a pheasant in November for a lot, Dan panted, as he caught folly by the neck. Why did you laugh that horrid way?  Oh, look! The silly birds are going back to their own woods instead of ours, where they would be safe. Safe till it pleased you to kill them. An old man so tall he was almost a giant, stepped from behind the clump of hollies by Volaterai. The children jumped, and the dogs dropped like setters. He wore a sweeping gown of dark, thick stuff, lined and edged with yellowish fur, and he bowed a bent-down bow that made them feel both proud and ashamed. Then he looked at them steadily, and they stared back without doubt or fear. You are not afraid," he said, running his hands through his splendid grey beard. Not afraid that those men yonder, he jerked his head towards the incessant pop-pop of the guns from the lower woods, will do you hurt? Well, Dan liked to be accurate, especially when he was shy. Oh, hold! A friend of mine told me that one of the beaters got peppered last week, hitting the leg, I mean. See, Mr. Myer will fire at rabbits. But he gave Waxy Garnet a quid—Solfin, I mean—and Waxy told Hobdon he'd have stood both barrels for half the money. He doesn't understand, Euna cried, watching the pale troubled face. Oh, I wish! She had scarcely said it when Puck rustled out of the hollies and spoke to the man quickly in foreign words. Puck wore a long cloak, too. The afternoon was just frosting down, and it changed his appearance altogether. Nay, nay, he said at last. You did not understand the boy. A freeman was a little hurt by pure mischance at the hunting. I know that mischance. What did his lord do? Laugh and ride over him? The old man sneered. It was one of your people did the hurt, Cadmiel. Puck's eyes twinkled maliciously. So he gave the freeman a piece of gold, and no more was said. A Jew drew blood from a Christian, and no more was said. Cadmiel cried. Never! When did they torture him? No man may be bound or fined or slain till he has been judged by his peers, Puck insisted. There is but one law in Old England for Jew or Christian—the law that was signed at Runnymede. Why, that's Magna Charter, Dan whispered. It was one of the few history dates that he could remember. Cadmiel turned on him with a sweep and a whir of his spicy scented gown. Just thou know of that, babe? he cried, and lifted his hands in wonder. Yes, said Dan, firmly. Magna Charter was signed by John that Henry III put his heel upon. And Old Hobton says that if it hadn't been for her—he calls everything her, you know—the keepers would have him clapped in Lewis jail all year round. Again Puck translated to Cadmiel in the strange solemn-sounding language, and at last Cadmiel laughed. Out of the mouths of babes do we learn, said he.  Why did the king sign the role of the new law at Runnymede? For he was a king. Dan looked sideways at his sister. It was her turn. Because he jolly well had to, said Euna, softly. The barons made him. Nay, Cadmiel answered, shaking his head. New Christians always forget that gold does more than the sword. Our good king signed because he could not borrow more money from us bad Jews. He curved his shoulders as he spoke.  It is a good deed to break a snake's back. That was my work, he cried triumphantly to Puck. Spirit of earth bear witness that that was my work.  He had a voice that changed its tone almost as an opal changed his colour, sometimes deep and thundery, sometimes thin and waily, but always it made you listen. Many people can bear witness to that, Puck answered. Tell these babes how it was done. Remember, master, they do not know doubt or fear. So I saw in their faces when we met, said Cadmiel. Yet surely, surely they are taught to spit upon Jews. Are they? said Dan, much interested. Where at? Puck fell back a pace, laughing. Cadmiel is thinking of King John's reign, he explained. His people were badly treated then. Oh, we know that, they answered, and it was very rude of them, but they could not help it. They stared straight at Cadmiel's mouth to see if his teeth were all there. It stuck in their lesson memory that King John used to pull out Jews' teeth to make them lend him money. Cadmiel understood the look and smiled bitterly. No, your king never drew my teeth. I think perhaps I drew his. Listen, I was not born among Christians, but among Moors, in Spain, in a little white town under the mountains. Yes, the Moors are cruel, but at least their learned men dare to think. It was prophesied of me at my birth that I should be a law giver to a people of a strange speech and a hard language. We Jews are always looking for the prince and the law giver to come. Why not? My people in the town, we were very few, set me apart as a child of the prophecy, the chosen of the chosen. We Jews dream so many dreams. You would never guess it to see a slink about the rubbish heaps in our quarter, but at the day's end, doors shut, candles lit, aha, then we become the chosen again. He paced back and forth through the wood as he talked. The rattle of the shotguns never ceased, and the dogs whimpered a little and lay flat on the leaves. I was a prince. Yes, think of a little prince who had never known rough words in his own house, handed over to shouting bearded rabbis, who pulled his ears and phillipped his nose, all that he might learn. Learn, learn to be king when his time came. Eh, such a little prince it was. One eye he kept on the stone-throwing Moorish boys, and the other it roved about the streets looking for his kingdom. Yes, and he learned to cry softly when he was hunted up and down those streets. He learned to do all things without noise. He played beneath his father's table when the great candle was lit, and he listened as children listened to the talk of his father's friends above the table. They came across the mountains from out of all the world. From my prince's father was their counsellor. They came from behind the armies of Salah Bin, from Rome, from Venice, from England. They stole down our alley. They tapped secretly at our door. They took off their rags. They arrayed themselves, and they talked to my father at the wine. All over the world the heathen fought each other. They brought news of these wars, and while he played beneath my table, my prince heard these meanly dressed ones decide between themselves how and when, and for how long king should draw sword against king and people rise up against people. Why not? There can be no war without gold, and we Jews know how the earth's gold moves with the seasons and the crops and the winds, circling and looping and rising and sinking away like a river, a wonderful underground river. How should the foolish kings know that while they fight and steal and kill? The children's faces show that they knew nothing at all as, with open eyes, they trotted and turned beside the long striding old man. He twitched his gown over his shoulders, and a square plate of gold, studded with jewels, gleamed for an instant through the fur, like a star through flying snow. No matter, he said, but credit me, my prince saw peace or war decided not once, but many times, by the fall of a coin spun between a Jew from Berry and a Jewess from Alexandria in his father's house when the great candle was lit. Such power had we Jews among the Gentiles. Ah, my little prince, do you wonder that he learned quickly? Why not? He muttered to himself and went on. My trade was that of a physician. When I had learned it in Spain I went to the east to find my kingdom. Why not? A Jew is as free as a sparrow or a dog. He goes where he is hunted. In the east I found libraries where men dared to think. Schools of medicine where they dared to learn. I was diligent in my business. Therefore I stood before kings. I have been a brother to princes and a companion to beggars, and I have walked between the living and the dead. There was no profit in it. I did not find my kingdom. So in the tenth year of my travels, when I had reached the uttermost eastern sea, I returned to my father's house. God had wonderfully preserved my people. None had been slain. None even wounded, and only a few scourged. I became once more a son in my father's house. Again the great candle was lit. Again the meanly apparelled ones tapped on our door after dusk, and again I heard them weigh out peace and war as they weighed out the gold on the table. But I was not rich, not very rich. Therefore when those that had power and knowledge and wealth talked together I sat in the shadow. Why not? Yet all my wonderings had shown me one sure thing, which is that a king without money is like a spear without a head. He cannot do much harm. I said therefore to Elias of Berry, a great one among our people, why do our people lend any more to the kings that oppress us? Because, said Elias, if we refuse, they stir up their people against us, and the people attendfold more cruel than kings. If thou doubtest, come with me to Berry in England and live as I live. I saw my mother's face across the candle flame, and I said, I will come with thee to Berry. Maybe thy kingdom shall be there. So I sailed with Elias to the darkness and the cruelty of Berry in England, where there are no learned men. How can a man be wise if he hate? At Berry I kept his accounts for Elias, and I saw men kill Jews there by the tower. No, none laid hands on Elias. He lent money to the king and the king's favour was about him. A king will not take the life so long as there is any gold. This king, yes John, oppressed his people bitterly because they would not give him money. Yet his land was a good land. If only he had given it rest he might have cropped it as a Christian crops his beard. But even that little did he not know. For God had deprived him of all understanding and had multiplied pestilence and famine and despair upon the people. Therefore his people turned against us Jews who are all people's dogs. Why not? Lastly the barons and the people rose together against the king because of his cruelties. Nay, nay, the barons did not love the people, but they saw that if the king ate up and destroyed the common people he would presently destroy the barons. They joined then as cats and pigs will join to slay a snake. I kept the accounts and I watched all these things for I remembered the prophecy. A great gathering of barons to most of whom we had lent money came to Berry and there after much talk and a thousand runnings about they made a role of the new laws that they would force on the king. If he swore to keep those laws they would allow him a little money. That was the king's God, money to waste. They showed us the role of the new laws. Why not? We had lent them money. We knew all their councils. We Jews shivering behind our doors in Berry. He threw out his hands suddenly. We did not seek to be paid all in money. We sought power. Power! Power! That is our God in our captivity. Power to use. I said to Elias these new laws are good. Lend no more money to the king. So long as he has money he will lie and slay the people. Nay, said Elias. I know these people. They are madly cruel. Better one king than a thousand butchers. I have lent a little money to the barons or they would torture us but my most I will lend to the king. He hath promised me a place near him at court where my wife and I shall be safe. But if the king be made to keep these new laws, I said, the lend will have peace and our trade will grow. If we lend he will fight again. Who hath made thee a law-giver in England? said Elias. I know these people. Let the dogs tear one another. I will lend the king ten thousand pieces of gold and he can fight the barons at his pleasure. There are not two thousand pieces of gold in all England this summer, I said, for I kept the accounts and I knew how the earth's gold moved. That wonderful underground river. Elias barred home the windows and, his hands about his mouth, he told me how, when he was trading with small wares in a French ship, he had come to the castle of Pevensey. Oh! said Dan, Pevensey again, and looked at Euna who nodded and skipped. There, after they had scattered his pack up and down the Great Hall, some young knights carried him to an upper room and dropped him into a well in a wall that rose and fell with the tide.  Why not? I, of course, cried Dan, didn't you know it was a— Puck held up his hand to stop him, and Cadmeal, who never noticed, went on. When the tide dropped he thought he stood on old armour, but feeling with his toes he raked up bar upon bar of soft gold. Some wicked treasure of the old days put away, and the secret cut off by the sword, I have heard the like before. So have we, Euna whispered, but it wasn't wicked a bit. Elias took a morsel of the stuff with him, and thrice-yearly he would return to Pevensey as a Chapman, selling at no price or profit, till they suffered him to sleep in the empty room, where he would plumb and grope and steal away a few bars. The great store of it still remained, and by long brooding he had come to look on it as his own. Yet when we thought how we should lift and convey it, we saw no way. This was before the word of the Lord had come to me. A walled fortress possessed by Normans, in the midst of forty-foot tidewell, out of which to remove secretly many horse-loads of gold. Hopeless! so Elias wept. Adar, his wife, wept too. She had hoped to stand beside the queen's Christian tiring-maids at court, when the king should give them that place at court which he had promised. Why not? She was born in England. An odious woman. The present evil to us was that Elias, out of his strong folly, had, as it were, promised the king that he would arm him with more gold. Wherefore the king in his camp stopped his ears against the barons and the people. Wherefore men died daily. Adar so desired her place at court she besought Elias to tell the king where the treasure lay, that the king might take it by force, and they would trust in his gratitude. Why not? This Elias refused to do, for he looked on the gold as his own. They quarreled, and they wept at the evening meal, and late in the night came one Langton, a priest, almost learned, to borrow more money for the barons. Elias and Adar went to their chamber. Cadmille laughed scornfully in his beard. The shots across the valley stopped as the shooting party changed their ground for the last beat. So it was I, not Elias, he went on quietly, that made terms with Langton touching the fortieth of the new laws. What turns? said Puck quickly. The fortieth of the great charter say, to none will we sell, refuse, or deny right or justice. True, but the barons had written first, to no free man. It cost me two hundred broad pieces of gold to change those narrow words. Langton, the priest, understood. Do though thou art, said he, the change is just, and if ever Christian and Jew come to be equal in England, thy people may thank thee. Then he went out stealthily, as men do, who deal with Israel by night. I think he spent my gift upon his altar. Why not? I have spoken with Langton. He was such a man as I might have been if we Jews had been a people, but yet in many things a child. I heard Elias and Adar above stairs, quarrel, and knowing the woman was the stronger, I saw that Elias would tell the king of the gold, and that the king would continue in his stubbornness. Therefore I saw that the gold must be put away from the reach of any man. All of a sudden the word of the Lord came to me, saying, The morning is come, O thou that dwellest in the land. Cadmiel halted, all black against the pale green sky beyond the wood, a huge robed figure like the Moses in the picture Bible. I rose, I went out, and as I shut the door on that house of foolishness, the woman looked from the window and whispered, I have prevailed upon my husband to tell the king. I answered, There is no need, the Lord is with me. In that hour the Lord gave me full understanding of all that I must do, and his hand covered me in my ways. First I went to London, to a physician of our people who sold me certain drugs that I needed. You shall see why. Thence I went swiftly to Pevensey. Men fought all around me, for there were neither rulers nor judges in the abominable land. Yet when I walked by them they cried out that I was one a herceurus, a Jew, condemned, as they believe, to live for ever, and they fled from me every ways. Thus the Lord saved me for my work, and at Pevensey I bought me a little boat, and moored it on the mud beneath the marge gate of the castle. That also God showed me. He was as calm as though he were speaking of some stranger, and his voice filled the little bare wood with rolling music. I cast, his hand went to his breast, and again the strange jewel gleamed. I cast the drugs which I had prepared into the common well of the castle. Nay, I did no harm. The more we physicians know, the less we do. Only the fool says, I dare. I caused a blotched and itching rush to break out upon their skins, but I knew it would fade in fifteen days. I did not stretch out my hand against their life. They in the castle thought it was the plague, and they ran forth, taking with them their very dogs. A Christian physician, seeing that I was a Jew and a stranger, vowed that I had brought the sickness from London. This is the one time I have ever heard a Christian leech speak truth of any disease.  Why not? They drove me across the drawbridge of the castle, and fled back to their booth. Thus I came to be alone with the treasure. But did you know this was all going to happen just right? said Euna. My prophecy was that I should be a law-giver to a people of a strange land and a hard speech. I knew I should not die. I washed my cuts. I found the Tidewell in the wall, and from Sabbath to Sabbath I dove and dug there in that empty Christian-smelling fortress. Hey! I spoiled the Egyptians. Hey! If they had only known it, I drew up many good loads of gold which I loaded by night into my boat. There had been gold dust, too, but that had been washed away by the tides. Didn't you ever wonder who had put it there? said Dan, stealing a glance at Puck's calm, dark face under the hood of his gown. Puck shook his head and pursed his lips. Often, for the gold was new to me, Cadmiel replied. I know the golds. I can judge them in the dark, but this was heavier and redder than any we-dealing. Perhaps it was the very gold of Parvain. Hey! Why not? It went to my heart to heave it onto the mud, and I saw well that if the evil thing remained, or if even the hope of finding it remained, the king would not sign the new laws, and the land would perish. Oh! Marvel! said Puck, beneath his breath, rustling in the dead leaves. When the boat was loaded I washed my hands seven times and peered beneath my nails, for I would not keep one grain. I went out by the little gate where the castle's refuse is thrown. I dared not hoist sail, lest men should see me, but the Lord commanded the tide to bear me carefully, and I was far from land before the morning. Weren't you afraid? said Euna. Why? There were no Christians in the boat. At sunrise I made my prayer and cast the gold, all, all that gold into the deep sea. A king's ransom. No, the ransom of a people. When I had loosed hold of the last bars, the Lord commanded the tide to return me to a haven at the mouth of a river, and thence I walked across a wilderness to Lewis, where I had brethren. They opened the door to me, and they say—I had not eaten for two days— they say that I fell across the threshold, crying, I have sunk an army with horsemen in the sea. But you hadn't, said Euna. Oh, yes, I see. You meant that King John might have spent it on that. Even so, said Cadmille. The firing broke out again close behind them. The pheasants poured over the top of a belt of tall furs. They could see young Mr. Meyer in his new yellow gaiters, very busy and excited at the end of the line, and they could hear the thud of the falling birds. But what did Elias of Berry do? demanded Puck. He had promised money to the king. Cadmille smiled grimly. I sent him word from London that the Lord was on my side. When he heard that the plague had broken out in pevency, and that a Jew had been thrust into the castle to cure it, he understood my word was true. He and Adar hurried to Lewis and asked me for an accounting. He still looked on the gold as his own. I told them where I had laid it, and I gave them full leave to pick it up. Eh, well, the curses of a fool and the dust of a journey, are two things no wise man can escape. But I pitied Elias. The king was roth at him because he could not lend. The barons were roth at him because they had heard that he would have lent to the king. And Adar was roth at him because she was an odious woman. They took ship from Lewis to Spain. That was wise. And you? Did you see the signing of the law at Runnymede? Said Puck, as Cadmille laughed noiselessly. Nay! Who am I to meddle with things too high for me? I returned to Berry and lent money on the autumn crops. Why not?  Flora and Folly threw themselves at it. The children rushed forward, and when they had beaten them off and smoothed down the plumage Cadmille had disappeared. Well, said Puck calmly, what did you think of it? Whelan gave the sword, the sword gave the treasure, and the treasure gave the law. It's as natural as an oak growing. I don't understand. Didn't he know it was Sir Richard's old treasure? Said Dan. And why did Sir Richard and Brother Hugh leave it lying about? And— And— Never mind, said Euna politely. He'll let us come and go and look and know another time. Won't you, Puck? Another time may be, Puck answered. It's cold and late. I'll race you towards home. They hurried down into the sheltered valley. The sun had almost sunk behind Cherry Clack. The trodden ground by the cattle gates was freezing at the edges, and the new-waked north wind blew the night on them from over the hills. They picked up their feet and flew across the browned pastures, and when they halted, panting in the steam of their own breath, the dead leaves whirled up behind them. There was oak and ash and thorn enough in that year-end shower to magic away a thousand memories. So they trotted to the brook at the bottom of the lawn, wondering why Flora and Folly had missed the quarry-hole fox. Old Hobdon was just finishing some hedgework. They saw his white-smock glimmer in the twilight where he faggoted the rubbish. Winter, he's come, I reckon, Mustan, he called. Hard times now till Hethel Cuckoo Fair. Yes, we'll all be glad to see the old woman let the cuckoo out of the basket for her to start lawful spring in England. They heard a crash and a stamp and a splash of water as though a heavy old cow were crossing almost under their noses. Hobdon ran forward angrily to the ford. Gleason bull again, playing robin all over the farm. Oh, look, Mustan, his great footmark as big as a trencher, no bound to his impudence. He might count himself to be a man or somebody. A voice the other side of the brook boomed. I marvel who his cloak would turn when Puck had led him round or where those waking fires would burn. Then the children went in singing farewell rewards and fairies at the tops of their voices. They had forgotten that they had not even said good night to Puck. The children's song. Land of our birth we pledge to thee our love and toil in the years to be when we are grown and take our place as men and women with our race. Father in heaven who lovest all O help thy children when they call that they may build from age to age an undefiled heritage. Teach us to bear the yoke in youth with steadfastness and careful truth that in our time thy grace may give the truth whereby the nations live. Teach us to rule ourselves all way controlled and cleanly night and day that we may bring if need arise no maimed or worthless sacrifice. Teach us to look in all our ends on thee for judge and not our friends that we with thee may walk uncow'd by fear or favour of the crowd. Teach us the strength that cannot seek by deed or thought to hurt the weak that under thee we may possess man's strength to comfort man's distress. Teach us delight in simple things and mirth that has no bitter springs forgiveness free of evil done and love to all men neath the sun. Land of our birth, our faith our pride for whose dear sake our fathers died O motherland, we pledge to thee head, heart and hand through the years to be. End of Section 10, The Treasure and the Law and End of Puck of Pooke's Hill by Rudyard Kipling.


Welcome to CERN, the European Laboratory for Particle Physics. Today, almost 17,000 researchers and engineers come to CERN to investigate the universe, how it works, what it is made of. Using some of the largest and most complex pieces of the equipment in the world. In the Large Hadron Collider, we smash particles together just below the speed of light. By doing this, the physics community has produced some fundamental discoveries. In 2012, we identified the Higgs boson, which is the manifestation of a field that gives mass to all other fundamental particles in the universe. This type of research results in huge IT and computing challenges. Things happen very fast around here. In the Large Hadron Collider, particles collide at approximately one billion times per second. Our data analysis needs are so great that we need to distribute the LHC data around the world to over 170 data centers and laboratories that collaborate with us. The continuous program of upgrades and consolidations to the Large Hadron Colliders and the experiments at CERN will result in the coming years to greatly increase the ICT and computing demands. This is why we keep looking at next-generation technologies like quantum computing and why we have joined the IBM Quantum Network. Using quantum machine learning algorithms, we're exploring how to pinpoint these complex events in a way that is much more efficient than even our fastest supercomputers, which is exciting for us because we design and build quantum computers to tackle precisely this kind of seemingly impossible challenge. At the heart of our quantum computers are what we call qubits, the basic unit of quantum information. Unlike the bits within a classical computer that can just manipulate ones or zeros, qubits can hold much richer information. We can exploit this to calculate the boundaries around interesting events more efficiently using many more dimensions that can be visualized or handled by a classical computer. Qubits are made by trapping and controlling tiny bits of the universe. In our case, pairs of electrons. So in a way, we're using tiny parts of the universe that we do understand to help us find the other tiny parts of the universe that we don't understand. Quantum computing may play a very significant role in helping us expand our knowledge beyond the standard model of physics. This means investigating the many open questions related to dark matter, dark energy, the relationships between gravity and quantum mechanics and more. Quantum computing might not provide all the answers, but it may help us see the universe more clearly and ask better questions.