Countdown for Blastoff. X minus 5, minus 4, minus 3, minus 2, X minus 1. Fire! From the far horizons of the unknown, come transcribed tales of new dimensions in time and space. These are stories of the future. Adventures in which you'll live in a million could be years on a thousand would-be worlds. The National Broadcasting Company presents X minus 1. Tonight, the science fiction classic, Knock by Frederick Brown. Tonight we have a strange story to tell. A sweet blood-curdling little story that is rarely only two sentences long. The last man on earth sat alone in a room. There was a knock at the door. What's that? Who are you? You have regained consciousness. Who are you? I am Zan. I'm still asleep, I must be. You are not asleep. Maybe if I close my eyes it'll go away. I will not go away, man. No. I guess I'm awake. Who...what are you? I am a Zan. What's that?  Look, I don't...what happened? Where are you from? From planet seven in the third galaxy in the fourth quadrant. Where? It is not necessary to repeat information which is correct in the original statement. Planet seven, but...you mean I'm not on earth?  What are you doing here? The Zans have annexed your world. You mean you've conquered earth? Yes, that is correct. We will now prepare your planet for habitation by the Zan. How about the people? What about the population of the world? You are the population of the world. Now, wait a minute. I can't... I don't understand what's happened. The Zans have landed on your planet. We have removed the lower life forms to prepare for colonization by the Zans. When did all this happen? Two days ago. You have been unconscious until now. You really mean I'm the last man on earth? That is correct. Identify yourself now. What? Kindly provide data as to your position in the elementary social order of your planet. Oh. I'm Walter Fielin, Associate Professor of Anthropology at Nathan University. How do you speak English? We have deciphered your written and recorded records. It is not difficult to reconstruct your language. It is a primary type of auditory communication. Oh. Is there anything you want to complete your natural habitat? You mean I'm a prisoner? That is correct. What would you want further in your room? Do I have to stay here? Yes. The rest of my life? Forever. Then you better bring me my books. They will be done. That's rather considerate of you.   It is immaterial. I will be back, Associate Professor of Anthropology. Oh, that's all right, George. Just call me Walter. Very well, Walter. I will be back with your books. All right, George. I'll be seeing you around. You will not be around, Walter. You will be here. Hello, George. Wait a minute. You're not George.  It makes no difference. The sun are many and they are one. Then I'll call you George, too. I'll call you all, George. What can I do for you? Point one. You will please henceforth sit with your chair facing the other way. Uh-huh. I thought so, George. That plain wall is different from the other side, isn't it? That is correct. It is transparent. Yeah, that's what I thought. I'm in a zoo, right? That is correct. How many other animals do you have in the zoo, George? 216. Not complete, George. Even a Bush League zoo could beat that. Did you just pick at random? Yes. All species would have been too many. Male and female each of 108 kinds. Male and female of all the animals? There is a female of your species among the collection. Anyone I know? Well, never mind. It doesn't matter anyway.  For carnivorous species, we make synthetics. The flora was not hurt by the vibrations which destroyed animal life. Oh, nice for the flora. Well, George, you started out with point one. I deduce there is a point two kicking around somewhere. What is it? Something we do not understand. Two of the other animals sleep and do not wake. They are cold. Don't worry, George. It happens in the best regulated zoos. What is wrong with them, Walter? Nothing much. They're just dead. Dead? That means stopped. But nothing stopped them. Each was alone. Well, maybe they just died of old age. Old age. I do not understand. You don't? How old are you, George? Your planet went around the sun about 7,000 times since I was born. 7,000 years? Yes, I am still young. Yeah, baby arms. Look, George, you've got something to learn about this planet you've hijacked. You've got somebody you don't know where you come from. An old man with a beard and an hourglass and a scythe. Your vibrations didn't kill him. What is he? Oh, old man death. Down here are people and animals that live until somebody. The grim reaper stops them. He will stop more? He gets us all, George. With your lifespan, it won't seem like a minute and we'll all be gone. Looks like you made a mistake, George. And I don't think as much you can do about it. That is not correct. The sun is a logical being. We will take action. Well, George, where are you taking me? We will be there shortly. We will bring your books and your chair. You mean my lease is up? I do not understand. It's moving day? That is correct. We are here now. You will live here now, Walter. It is a larger room. Well, be it ever so humble, there's no place like home. Go inside. Be careful with those books, George. Don't lose my... Oh, excuse me. Who are you? What are you doing here? I guess George didn't explain. George tries to be polite, but he hasn't quite caught on yet. I'm Walter Fielin. My name is Grace Evans, Mr. Fielin. What's all this about? Why did they bring me here? I think I know why, but let's go back a bit. Do you know just what has happened otherwise? No, not exactly. Well, I've been talking to George. George? Well, that's what I call them all of them. There's no way to tell them apart anyway. There aren't many of them here yet. They come from outside the solar system, sort of an advanced scouting party. I saw their spaceship. It's as big as a mountain. Yeah, they're moving in on us. They cleaned off the Earth with some kind of vibration. It destroys all sorts of animal life. I don't know whether they did it all at once or if they had to circle the Earth a few times, but they killed everybody. No, I was afraid that... The cheerful note is that you and I saw other animals were picked up beforehand as specimens for the zoo. You do know this is a zoo, don't you? I suspected it. But I don't remember anything about being captured. I just woke up here. Well, my hunch is they used the vibrations just low enough to knock us all out. Then they cruised around picking up samples at random. When they were all set, they turned the juice on full blast. How terrible. Yeah, well, they solved a lot of problems for us. Housing shortage, wars, even the atomic bomb. I don't suppose the human race, you and I have to worry about anything now. It's awful. Only they made a mistake. They underestimated us. I don't understand. They thought we were immortal. But we were what? Immortal, like they are. Oh, they can be killed, but the Zans don't know what natural death is. They didn't know anyway until they lost two of us yesterday. You mean there are more than two of us? Oh, not more of our species, no. These were merely fellow animals, a rabbit and a canary. And by the Zans' way of figuring time, the rest of us are only good for a few minutes of peace. It's a joke on them. They figured they had permanent specimens here in the zoo.  I don't think so. George, that is the second Zan I saw, told me he was 7,000 years old, and he's young by their standards. When they learned how quickly we'd die, they were practically shocked to the core, if they have cores. How can you talk that way about it? Academic detachment. I learned it at faculty tees. At any rate, they've decided to reorganize their zoo. Two by two. What, are they going to keep us locked up together in this one little room? Yeah, I'm afraid so. It's plenty of furniture, though, and George promised to bring me my chair. We've got to do something. Why? Well, I don't know. It just seems to me we owe it to the human race to do something. Well, perhaps you have a suggestion? There must be some way. They can be killed, you said. Oh, yes, sir. I've been studying them. They look horribly different, but I think they have about the same metabolic and digestive system as we.  But you said 7,000 years. I think I figured it out. Now, George cut his... I suppose you'd call it his hand when he brought in my books. Started to bleed. Red blood. But I could see the cut closing as he stood there. By the time he left, it was healed. I don't understand. Well, you see, whatever factor there is in man that makes him grow old is missing in the Zan. Their regenerative powers must be unlimited. They just don't wear out. They go on and on until they're stopped. Suppose we killed one. There must be some way. Oh. What would be the use? They wouldn't even punish us. They'd just give us our food through a trap door and put up a sign saying beware of the man. Dangerous. I don't think they'll even have to bother in your case. I don't see anything funny. I'm sorry. It just reminds me of Martha. Martha? My wife. She died two years ago. I'm sorry. Well, not at all. It was a pleasure. That'll be George with my books. Come in. Hello, George. Hello, Walter. Point one. I have brought your books. Point one, eh? What else is on your mind? Another creature sleeps and will not wake. A small feathered one called a duck. Well, it happens, George. I warned you. Old man death. The Grim Reaper. I told you about him. Walter, the Council of Zahn has met. It has been decided logically that A, no life form can withstand the full strength vibrations with which we cleared your planet. Therefore, the Grim Reaper you spoke of does not exist. Pretty neat, George. What's B? B, the only intelligent life to escape the vibrations is you. Therefore, the logical conclusion is you are stopping these animals by some means unknown to us.  You will tell me now that this is done. You've got me? Yes, we have. It is necessary to save the remaining specimens as long as possible. If we do not get the information, we may be forced to dispense with your species entirely. This means you, Walter, and the female. Now, hold on, George. Don't go off half-cocked. Let me take a look at these animals that won't wake up. I will take you there now. Go first, Walter. After you, my dear George. Now, you should have got them in the winter, George. The fur is worth more than. It's ermine. This is the reptile king. Here are the ducks. It's the male. The female has been stopped. Lucky girl. What's the matter, fellow lonely? Walter, you will tell me how you stopped the female duck. You've got me, George. I didn't do it. Maybe she died of the Dutch elm blight. Walter, you are not being logical. We have concluded you are stopping these animals. Tell us now how it is done. I've told you, George. I haven't the foggiest notion. Very well. We will have to take further action. What are you going to do, George? We will go back now to your room. What happened, Mr. Fielin? You might call me Walter, after all George does. And we have more in common. Please, what happened? Just a duck, a dead duck. George thinks I killed her by remote control. He wants me to tell him how. Did you? Look, I'm just an ordinary anthropologist. There's no telling what those animals died of. Just natural causes. But George can't see it that way. He thinks I'm holding out on him. Good. What? At least we can get back at them some way. At least we can do something to them. Why, after all, George isn't a bad fellow, if you like, an ant mentality. How can you say that? They murdered the whole and the human race. I suppose so, but we can't change that now, so why think about it? We just can't sit here and do nothing. I fear to see how we can do anything else. At least we could be fighting. I can't see the virtue in that. I was more or less content with my books, and we've got George to talk to. Of all the men in the world they had to pick. Don't you want to fight back? Don't you want to keep on fighting to the end? It hadn't occurred to me. But we've got to, Walter. Why? I can't really explain it, but, Walter, if there was any good in man, it was that he kept on struggling against nature and the end even against himself. He kept on fighting for what he thought was right, and we're all that's left. Walter, we just can't end by giving up. We've got to keep on fighting. You know, you do remind me of Martha. There isn't much left for us. We could beat them in this one small thing. We can pretend there's a secret about death. We could refuse to tell them anything. Well, there isn't anything to tell. But they don't know that. Promise me you won't give in.  All right, Miss Evans. Hello, George. Now you will tell us how these animals are stopped. George, this may come as a shock to you, but I've decided not to tell you. Why? Oh, a romantic attachment to lost causes. My grandfather was a Confederate officer. Walter, you are not being logical. Neither was my grandfather. He charged a Yankee battery with one round of ammunition and a corn cob pipe. You are not logical, but that is expected in lower life forms. You will come with me now, Walter. Where are you taking him? To the second level. Go now, Walter. You won't tell them. I can't guarantee anything, but as of now I don't intend to. We've got to fight, Walter. Remember that. We've got to go out fighting. Yes. Yes, I think you're right. Go now, Walter. Goodbye. It's been a pleasure, Miss Evans. I am waiting. Go now, Walter. After you, my dear George. You will tell us now, Walter. That was the first level of vibration. There are many more. However, we have calculated that none of them exceed your threshold of unconsciousness. Very clever, George. Of course. You will tell us now how do you stop these animals. You will tell us now. As of now, no. However, I'm not very brave if that encourages you, George. You are not being logical, Walter. You're telling me. We will now use vibration level two. Walter. Walter, you are still conscious. Let me alone, George. You will tell us now. You will tell us now how you stop the animals. Let me alone. Let me alone. We have had vibration levels one and two. There are still fifteen more before your threshold of unconsciousness. No, no, no. Let me alone. Walter, listen to me. Another creature sleeps and will not wake. We must know now. Stop here. Better start vibrating again, George. No. What? It would not be logical. We have calculated that no further level of vibration will overcome your irrational psychological block. We conclude you will not tell. Let me go. That is correct. That's real nice of you, George. I appreciate it. We have calculated that the resistance of the female of your species will be lower. We will now place her under the vibrations. No, no, George. You can't do that. Listen, George. George, there is no secret. Can you understand that? There is no secret. Those animals died from natural causes. I'm telling you the truth. That is not a logical answer. We will get the woman. I've told you the truth.  We must know now. The female animal cage next to the duck has been stopped. We must preserve the survivor. The animal... animal next to the duck? We will bring the woman here. She will tell us after the vibration. No, no, no. Listen, George. You want the truth? You want to know how to save the mates of the animals that have been stopped? You will tell us now? Yes, yes, I'll tell you now. I give up. But you've got the promise to leave the woman alone. You promise, George? If we receive the answer from you, Walter, there will be no further need for the vibration. I guess that'll have to do, all right. All right. Take me to that stopped animal. I'll tell you how to save the mate. Very well, Walter. You are being logical now. We will go. Walter, are you all right? Just let me catch my breath a minute. What do they do? What happened? After a while, I told them what they wanted to know. Oh, no. As George pointed out, it seemed to be the logical thing at the time. But you promised. I know. It was our last chance to beat them on even one little thing. Perhaps. You mind if I sit down? You gave up. I suppose you could call it that. I'm very tired. They've beaten us completely then. There isn't even anything we can do. The last of the human race and we give up.  Isn't that bad? Something might turn up. What did you call me? No, I must have said Martha. Sorry, she was my wife. She died two years ago. What were you saying? Nothing. Nothing. It doesn't matter. It's too late. It's too late for the whole human race. What now, George? The Council of the Sun has met. No? Something wrong, George? A zan has been stopped. What? A zan is dead? That is correct. Well, you didn't believe me, George. But you can die. You can really die. You'll have to get used to that if you're going to stay here. The Council has decided. A, you have in some way stopped this zan. B, you and the woman must be eliminated. Walter. No, no, you've got it wrong, George. The Council has decided. This time you will have the full vibration. This time. Walter, what did they do to you? Oh, they have a rather effective third degree. They tortured you, Walter? Yes. And I, I thought, oh, Walter, it was all my fault. I wouldn't even have tried without you. I suppose we have a last chance now to, to end with some dignity. I think you're a very brave man, Walter. No, not very. There isn't much else to do. Do we go now, George? Now, Walter, wait. What's that? I have been told another zan has died. Now, now will you believe me? The Council of the Zan meets now. Two gone already and you were with me, George.  What stopped him then? I told you it's old man death. You came to the wrong planet, George. Your immortality doesn't go down here. He can stop you but you can't stop him.  What now? The Council has decided. This is a place of death. We will leave your planet. Leave? You mean you're giving up? It is not safe for the Zan. Walter, they're leaving. They're really going. Come on then, George, and don't hurry back. It would not be logical to do so. We are leaving the earth now. Goodbye, Walter. Goodbye, George. Well, they're all aboard now. So wonderful to feel the sun and the wind again. Yeah, they've closed the hatches. Walter's as safe for us to be out here. Yes, they're not interested in us any longer. They only want to get away. And I want to see this, Grace. The Zan leaving earth forever. They're blasting off. There they go. Yes, it's all over now. Well, I suppose we might as well go back in. I still don't understand. Walter, what made them go? Well, I just told them the facts of life. Of death you mean? After all, I thought George was old enough to know. At 7,000 years he was going to be a pretty big boy. I wish you'd stop joking and tell me what happened. Look out for a step. Well, you remember when the first animals died? The rabbit and the duck? Yeah, and their mates just started to pine and waste away. Yes. Well, that worried the Zan. They wanted to keep the last specimens alive if they could. So finally I broke down and told them about affection. Affection? Yes. And then I introduced Donald. Who's that? Here we are. Grace, meet Donald. Walter, please, what does affection have to do with it? That's what the Zan wanted to know. I told him it was love that made the world go round. But having lost his mate, Donald would die immediately unless he had affection and constant petting. Petting? I even showed him how. Here, fella, come on. I held Donald in my arms and I petted him a while. Then I let the Zan take over with the animal in the next cage. What animal? Take a look. You mean this cage? Watch out. Don't go too close. Walter, it's a rattlesnake. Their metabolism made it impossible for them to die of old age, but I had a hunch that they could be poisoned. Then it was the snake that killed the two Zan. They never even knew what bit him. Then you outwitted them, Walter. Well, I suppose... I thought you'd just given up. Walter, I'm so ashamed. I had given up. I probably wouldn't have fought if you hadn't pushed me. Well, I... Well, we've got a world to plan. A new world, Grace. I know. We'll have to decide which animals to let out of the zoo and which ones are to be safer to keep in. But first there's a bigger problem. What's that? The human race. Oh. We've got to make a decision about that. Pretty important one. Even if nobody won it. Of course it may go backward for a while until it gets its breath, but we can save the books and all the most important things and get it started ahead once more. No. It's the Garden of Eden all over again. But Eve, you'll have to watch out for that snake. Now, don't. Don't be ridiculous, Walter. No, funny. You even blush like Martha. Only you're stronger than she was. Pretty, too. I wish you'd forget about Martha. I think I will, my dear. If you'll give me time. Now, Walter, feelin', you listen to me. If you think for one minute that I... I thought it would never happen to me again. But it is love that makes the world go round. So, Grace, if you could only... No. I wouldn't marry you if you were the last man on earth. But that's exactly what I am. I don't care. I don't even want to talk about it. I'm going out. But think it over, and please come back. You see, I told you. It wasn't really so horrible, our story. Remember how it goes? The last man on earth sat alone in a room. And then there was a knock on the door. Come in and grace, my dear. You see, it wasn't horrible at all. In just a moment, a word about next week's adventure. Tonight, by transcription, X minus one has brought you Knock by Frederick Brown. Adapted for radio by Ernest Kenoy. Featured in the cast were Alex Scurby as Walter, Laurie March as Grace, and Louis Van Rooten as the sound. X minus one was directed by Fred Way and is an NBC radio network production. And now, next week, a strange and chilling story from the Bureau of Missing Persons. The story of what occurred when they accidentally intercepted a short-wave message. A cry for help from a missing atomic scientist who told them the fantastic story that he was now the man in the moon. How did it happen? You'll hear next week at X minus one. X minus one. Join the Abbots on another baffling mystery tonight over most n-


Goose by Molly Bang, on a dreadfully dark and stormy night, an egg was blown right out of its nest. It rolled and rolled down a deep, deep hole until it landed in a den of woodchucks where a baby goose hatched out. That baby goose was adored by her new brothers and sisters and by her new mama and papa, who taught her everything they thought a youngster should know. That little goose learned very, very well, but the goose was often sad. She felt different from everyone else and nothing could make her feel better. Her family tried to make her happy, but they couldn't. Her friends tried to make her happy, but they couldn't. So the goose set off into the world to see what she could figure out by herself. Things only got worse and worse. The goose felt sadder and sadder. She was so lonely. She didn't notice where she was going. She lost her footing and fell down, down, down. She dropped, falling toward the ocean below, fighting to stay aloft. She flailed and flapped her wings and found out she could fly. You know, goose surprised everyone, especially herself. Goose, goose, fly, fly, woodchucks, sad, sad, different, different. Family, family, friends, friends.


I recently played through Doom 2016 and it was awesome, though the sound design in a few places was a little underwhelming. For example, the Mancubus reveal. I thought the monster sounds could be much better. So I wanted to try my own skills and see what can I come up with. Let's do it. Hey, I'm ANFA. I'm an electronic music producer and sound designer, so I only use open source software and Linux. In this video we're going to design some monster sounds for Mancubus. And we'll see if I can beat its software. Here is my hardware session. I've already loaded and prepared my video reference. And the first thing we'll do is just listen and watch the original. The Mancubus growl here. I find it to be not the most satisfying thing ever. So let me see where it is. Exactly. Okay, I'm going to mark it on my timeline. All right, we can see it on the wafer. I'm going to make this smaller so the video reference doesn't obscure anything important because we're going to mostly work on the audio. Okay, so here is... I'm going to put myself range markers. Little clicking. This is going to be growl one. Here is going to be smash one. Okay, let's start with these two sounds. I'm going to mute my reference and make it smaller. And now the original, the original DOOMs or DOOM2s, sound effects for Mancubus where I believe based on the pig squeal. I don't have a pig in my house, so I can't really record that. I can record my own voice and I want to try that. So first I want to try something that anyone can do. And that thing is called freesound.org, which is a fantastic repository of Creative Commons licensed sounds. Creative Commons licenses are so-called permissive licenses or some rights reserved as opposed to all rights reserved. And specifically a license called CC0 allows us to do everything. We can take the sound, use it in a commercial product and we don't even have to credit the author. It's basically public domain. So I'm going to use such sounds because when I worked in a video game studio and I was making sound effects, I used that resource a lot. And I limited myself to Creative Commons zero licensed sounds for that reason. I don't have to credit the author and it doesn't create any headaches, legal headaches for my employer. And we can just grab the sounds, I can use them as elements, transform them, do whatever I want and it's all good. And I've also published over 900 sounds on my own on freesound and they are all licensed under Creative Commons zero as well. So you can grab my sounds and do something with them. All right, so let's search for a pig squeal. And I'm going to limit myself to Creative Commons zero. And let's just listen to what we have here. Yeah, I don't think that's a real pig. Let's listen to some more sounds. Okay, again, this is not a real pig. That is a real pig. So I know this author has access to actual pigs. So these sounds are not squeals. So I'm going to see if there's a collection of these sounds. Okay, I guess he's just was passing by some pig and recorded that.  Okay. Okay, guinea pigs is not what I'm looking for. That's what I'm looking for. Okay, let's open this one. I'm going to download it in a while picks MP3.  But it's a great resource. I'm downloading this. Okay, MP3 or not, we're going to use that as an element. Pig multiple snorts. We could use that for something as well. Let's see the next page. Okay, there's a lot of noise and not a lot of meat. Okay, I don't know what that is. Yeah. Yeah. Yeah. Oh, that's awesome. Jared G Gibb, okay.  It's not a very clean recording, but I think we can use that as well. All right. To download sounds from free sound, you need to create a free account. And that's to track who downloaded what so you can credit authors if needed and just to make sure everyone knows who downloaded their sounds and you can also comment. So it's really no big deal. Let's download the sounds. It looks like there is a problem with free sound at this moment. Okay, so while I'm waiting for free sound.org to become available again, I thought I'll try my own and record some squeals with my own mouth. All right. So let's create an audio track. We could make a bunch of them as to start with, maybe four will be due, we'll do good. Okay. And now let's make sure they are all using the same first input. Okay, and I'm just going to open up my video reference and get a feel for this mancubus. Okay, what do we have? Is that usable? Let's try some more. That's a different thing. Let's try an inhale, exhale thing. Let's try again. Yeah, so what I'm doing is called pig squeal in metal, I believe you're inhaling and that creates a very different sound from anything you can do on exhaling. All right, let's see what we can do with that. Gonna unmute this track. Yeah, I'm going to hide my video reference for now because I don't really need it. And the first thing is this is very quiet, so I'm going to make it louder. Or even hit alt, no, no, no, hit alt two, no, hit alt three and normalize these sounds. Okay. You know what? It's going to be nice to see the video reference as we're working, even if it's small somewhere in the corner. Oh, yeah. That will do. Yeah, the timing is a little bit bad. It should start in here. That's not a problem. What I'm going to do is move all the other recordings down and maybe split them among these tracks. Yeah. Okay. I'm going to mute the other ones. It opens its mouth around here. So yeah, that should be the good timing. And what about this? Oh, it's already growling there. Yeah, it's starting to growl in here. Okay. So I'm going to move this back and I'm going to time stretch this part. T, I'm going to, yeah, monophonic instrumental. We can actually resample without preserving pitch because we're going to pitch shift this down anyway. So this way we're retaining a little bit more quality. I should probably do the same for my other squeal, just to make it compatible. So let's time stretch it as well. I hope by the same amount. Let's listen. Okay, I think that's good. But now it's too long, so we'll need to shorten it. Yeah, that's nice. Okay. All right, let's see. I would like to compress this a little bit because the levels vary and I would like to have this be a bit more consistent in volume. So let me use the stuck compressor. I'm also going to enable auto return so I can just, oh, auto return doesn't work when I'm using jack sync so I can disable jack sync. The timing is going to be wrong, but okay, it doesn't matter. We have the sync locked in already. That'll do. Now let's see what we can do with a pitch shifter also. There is an interesting pitch shifter. It's called MA pitch shift. Again, all the plugins I'm using are open source as well as the DAW. The cool thing about this pitch shifter is you can make some wacky noises and it has a crossfade which would be like mix. Okay, let's make the window shorter so it's not going to be laggy. All right, that's nice. We're adding a little bit of lower pitched version of this and it's blended together. Also, I'm going to click here and disable strict IO so we do have stereo output. Let's see. Okay. MA pitch shift on its own creates a wide stereo image and we may reduce that later if it's too much. Actually, I'm going to do this right now. With stereo tools is a very nice plugin for managing stereo converting from mid-side to stereo and back. I'll just go side level. Yeah, so we have a nice stereo image but it's not too wide. It's not like it's a horde of monsters all around us.  All right. We could try and make this more guttural. I'm going to see if I can do auto talent. Ah, yes. This plugin is a pitch correction plugin but an interesting thing which is quite unique unfortunately is that it has formant correction as well. We can disable the correction so it's not auto tuning our squeal but I think I'm going to move it upward so it operates on the raw signal that's going to probably have less trouble. I can do formant warp. Oh, we need to enable it as well. And we can automate that so we can go like touch and now. And then. Yay. Okay, we have a little bit of like a little click here. Oh, yeah, that's the click. Okay. Let's just cut that out, move this over, crossfade it. Yep. We also have a tiny bit of noise in here. Yeah, we're going to cover this with reverb later. But it's good to have as clean source as you can get. My PC is a little bit noisy in here. That's why there's this thing. Okay. Let's see what we can do. We could do also pitch modulation to make this more wet and sound more growly but we would need a chorus for that. Or maybe we could use chow tape because chow tape is a very interesting plugin that we can use it to saturate that. And that could also give us some nice growl and grit. Oh, here's our automation track that we made. I'm going to move this in here and see the user interface. Oh, but we can make it larger. I love scalable user interfaces for plugins. Every single plugin should do that. Especially when you're working in 4K, imagine tiny plugin user interfaces that you can't scale. That's not going to work well. All right. Let's listen. I can enable ultra-return because I'm not using jack sync. Let's see what we can do with saturation on this. That's too much. Let's listen without it and with. I think it's a little bit too much crunching on the bass. So I'm going to lower this in the tone and up the treble. Okay. Filters. We can enable filters and make-ups. Makeup gives us clean signal. For example, if I filter out low-end, like I did here, if I enable make-up, it's going to filter out the high-end respectively from the dry signal and give it back so that now it's not like I cut off lows. It's that I only distort highs and mids and the low frequencies are clean. So that's also something to do with this. What if I crank the bass now? Yeah, you see, because distortion still operates on that. All right. Now, we can go with flutter and flutter. Let's see what do we get if I increase this. Syncs. Sync to tape speed. Oh, we get a little bit of that wobble and that's really interesting. I just want to make sure this is consistent with. I think it's consistent with the session transport. Let's see what we can do with wow. Sync to tape speed as well. Okay, let's give it more depth. Let's disable flutter for now so we can only hear what wow is doing. Yeah. Sync to eight bars. Whoa, that's one bar. I'd like this to be faster. Variance. Definitely we need less depth. Oh, we had flutter going on all along. All right. See what else we can do with this plugin, the grade. Okay, that's not going to be useful. Chew. What does chew mean? All right. Chew is like cutting up, cutting out sections of the tape. Loss. Okay, I don't think I want to do any of that. I can actually disable it. Because I'm not really into emulating tape with this. I want to just use it as a saturation and pitch modulation plugin. Let's see how does it work with our video reference. This was recorded at 1080p, but I downscaled it to 480. Oh, okay, this is out of sync. Now I need to press this. Okay, all right. I think we could now, I want to add a reverb bus. Make it a stereo bus. Add an aux send to that bus. Let's make it full. And now I'm going to go and insert ether. Which is recently my favorite reverb plugin. It's quite flexible, really. Okay, hide my reference for now. Okay, we're in solo and now I'm going to also like remove dry. So this is, let's change the seeds. Okay, that's only earlier reflections. What if we modulate them? Okay, that sounds ridiculous. It sounds ridiculous on its own, but if I make this a little bit, just a little bit. Yeah, it can be nice. The late reverbs is a bit... I think this means if the late reverberations are applied after early reflections or post. So post will probably use this as a source for this. And I would like that. Now I'm not sure if I want to... No, actually I can do that. I thought maybe I'll apply this reverb as a plugin right on the track, because then I can compress it together. But I can also sidechain compress it with the source signal, and that's not going to be a problem. Let's do this. Audio 1. Oh, it has a mono output. Oh, no, I just have a mono input, okay. Unable sidechain. Yeah, of course that's well overdone. Still. And on the other hand, I would like to sidechain gate this. Sidechain gate. Sidechain gate. Oh, no, I'm going to be copyright stroke. Sidechain gate stereo. I would like a VST version. Let's be sidechain gate stereo, yes. Okay, there it is. Let's root in the sidechain. Okay, let's make sure we are using the external input, so the sidechain actually. All right, this is of course way too aggressive. I want to raise the threshold and increase the... and also increase the release and lower the attack. Okay, so now we're kind of blending the reverb as a part of the sound rather than an effect of the environment. I think I'm going to lower your reduction so it's subtle. We're kind of doing the opposite things with this. Yeah, so maybe the compressor doesn't make sense in here. Fear some clicks. I don't know where they're coming from. Not from here. That'd be some dropouts. Yeah, it could be some dropouts. Alrighty. Let's see what we can do with the other tracks. Of course, this is going to be useless unless we pitch shift it down, so let's T. Let's maybe do it like twice. Resample without preserving pitch. Yes. Now we can layer these two. Oh, the length is ideal. This one at least. Not for this one. Oh, no, no. Let's better cut in here to have the natural tail. Let's have this on solo. Hey, that's not bad. It sounded really weak before pitch shifting, but this makes it sound really nice. Let's see the video reference. How does it compare? That's nice. It's not bad. What if we blend it together with this? Of course, it's going to be too quiet because it's highly compressed. Okay, I'm going to just copy the compressor. We're getting there. We are definitely getting there. I think the timing is a little bit off. Yeah, it's ending too late. I could shorten this part, so I'm going to... No, no, wait a minute. First I'm going to locate where it should end, then I'm going to stretch. Yeah, okay. Now I'm going to stretch that... Wait, wait, wait, wait. Okay, stretch, and now I'm going to use crisp monophonic unpitched percussion with stable notes. Balanced multi-temporal mixture. Let's try this. Who knows? Okay, that sounds really good. I can't tell the difference between this time stretch and non-time stretch part. That's good. Is the sync all ready? It's like shutting its mouth. Starting to shut its mouth here. So we're doing this too late. Too early. Should be longer, right? Okay, and now when it opens its mouth again, it's here. I'm doing this way too early. Wait a second. This timing is not correct with this timing. That's going to be a problem. Now it's correct, okay. Now it's not corrected again. So in some parts it's correct, in some parts it's not. That's kind of weird. Okay, it's difficult to have the sync. Looks like we need to... kind of eyeball it. Unfortunately. This used to not be a problem. I don't know why now it is. Let's see, maybe we can send this a little bit to the reverb as well. I think I hear the story. Are we clipping something? Yes, we are. I'm going to add a limiter. Okay, so I think what I've heard before was speaking. Actually clipping on the master bass. That's not good. Yay! Sounds good. Save the session. What else we could do to improve? I would like to try some EQ. Because it's... Oh, and also maybe make this... allow it to be stereo. Minimize the... reference and disable jack sync. Yeah, some of that low... That sounds like guttural. I think this one is too loud now. We could use some of that. Maybe just this tail. Time stretch it so it's very slow. Yeah, kind of like that. Have it be like a... Of course it's too quiet. So let's paste the compressor again. We need to... cut off the very bottom of that. Because it's going to... That could be interesting. Let's move it before the compressor so it... I think we're not getting... enough volume out of that. And also I could add some chorus. Let's use cough multi-chorus. It's a nice one. Let's just listen to this part. Let's make this stereo. See what we can do with some extremes. Madam delay. Let's see what that does. Okay, it's very distinct. Right, now it's just some part of this whole thing. Let's see what we can do with this last recording. Let me just pitch shift this down. Auto talent. Auto talent can be used as well... as a pitch shifter. Because if we disable the correction... we can do pitch shift. Informed correction. That's an interesting element. It is. It's too long, of course. Let's close this plug-ins window. Let's see. That's too short. I'm gonna stretch it out. This time, let's go this balanced multi-timbrel. We got some really nice guttural sounds out of that. Let's see what we can do with an EQ. Maybe let's remove the lows. Actually, you should have used this type of filter instead. Now, right now, I'm using EQ in sound design, so this is not mixing. We do need a compressor to bind it together. I think we should have a master bus. I'm gonna control shift N, make an audio bus stereo. I like to call my sub-mix busses... I should have made this with a sub-mix bus. Okay, let's do it like that.  Now, I'm going to reroute all of these tracks... to the ground, sub-mix, and even the reverb. Okay, now everything goes into here. What we can do is now multi-band compressor this. Let's go LSP multi-band. We can use something a bit easier to use, like ZAM as a multi-comp stereo. This is a free-band multi-band compressor. Let's turn them on. Okay, these are thresholds. Let's lower them. This is makeup. No, this is knee. Where is makeup? Okay, makeup. Okay, here's... Let's see how that works with our reference video. Mute this region. Let's see how that compares to the original. I think the sync is better on the original. I think these are too long. They are ending too late. Let's try again. Okay, I think this is the growl. I think that will do. Let's see free sound is available. That's a bummer and I never had this problem, honestly. That's it for this video. If you can't growl yourself, you can use pre-recorded elements that you can find on freesound.org. I recommend using sounds licensed under Creative Commons 0 because these are legally the safest ones. I hope this video was inspiring, interesting. Let me know in the comments if you think I've done a better job than its software on this mancubus growl. And yeah, thanks for watching. Oh, I would also like to thank everyone who is supporting my work financially. Without these people, I couldn't be making videos. So huge thanks. And if you, dear viewer, would like to join them, please go to patreon.com.anfa or liberapay.com.anfa where you can give me a buck or two every month. That's greatly appreciated. And if you would like to get some help or just hang out with people who are using open-source software and Linux for audio production, please check out my community chat chat.anfa.xyz There is also Discord, but Discord is proprietary so I am promoting Rocket Chat instead. All the links are in the video description. Now go! Make some growls.


Welcome to BCH Technologies. Today we're going to work on a workforce 3640. You can see the printer has no problem to start and to go into ready mode. But as soon as you print a page, this is what's going to happen. So this printer was from a company that only uses OEM apps and ink. And now I just print a random page. Let's say the nozzle check page. So nozzle is completely clogged. And also there's IR97, which is something wrong with internal hardware. This printer and also all of those printers, they all use T252 cartridges. And if you follow the internet, there are lots of problems with those printers. And you're going to see why. Actually it's pretty easy to fit. Also when a person has a problem with this printer, they normally just sell it very, very cheap. So you get a couple hundred dollar printer that people sell it for forty, fifty dollars. And here's one example from Facebook. And here's a local pickup on eBay. Most of those clocks are caused by epsom ink. Because epsom is using pigment ink in those series. And also they didn't design a strong pump for unclogging. We have some strong believers of epsom's OEM ink. So I'll stop here talking about epsom ink. What I'm just going to show you is that this print head is using epsom ink all the way. There are two tabs on the right. And there's another tab on your left. You don't need any tools. You can just use your fingernails to pull it out. This is more advanced version. So I'm not going to bore you about how to cut the power-offs so you can move the carriage. Then on the right side try to find a little hole. And that's the one that the right tab is going to attach to. So just use a screwdriver to press it in. And then lift it up. The left side is a little bit harder. Let me show you where the hole is. See that hole with a little bit of white. The white is part of the white plastic outside.  And there it is. Let me just use a long needle to show you one more time where's the hole. So I pulled the hole inside and from the outside here you can see that. The best tool to use is your long needle for the refill. But here I happen to have a really small screwdriver. Forget about it. I'm going to back to the needle. This piece can be removed easily. The purpose of it is to hide those cables. Then we remove the three screws. And then we can pull the printhead out.  It means that this side of the ribbon is going to be towards the bottom. And I'm going to do it for each side of the ribbon. The bigger ribbon and the smaller ribbon. So when I put it down, I know that this side is towards the bottom of the printhead. Okay, you might spot some problem here. I'm going to show you what's wrong with it. So remember this is an original printhead, original Epson. We didn't do any cleaning. We just took it apart. So it's easier for us to see what the original problem is. And you see the problem there? Okay. So let's take a look at what's going on inside. You can see there's a leak inside the printhead. So the yellow ink flooded the circuit board. When there's no electricity connected to the printhead, and the printer is fine, by the once you start printing, that's where the problem starts. So we're going to clean the electronic board. And also we need to deal with the clogging. The clogs made by those pigment ink. The top piece is just rubber and steel. So we're just thoroughly cleaning the ultrasonic cleaner. Take a look at the chunks of pigment. They do not dissolve in water. They're just spending water. So once it's concentrated, it's really hard to get rid of it. When the top piece is cooking, let's work on the bottom piece. So we take a priming syringe that will flip the side of the silicone tip. Let me show you where to get those priming clips under the cleaning solution. It's right here under accessories. And the priming clip and syringe. And the cleaning solution is also under accessories. Anti-clogging agent. You can see the nozzle coming out very evenly. That's a good sign for the clogging. Now we're going to use ultrasonic cleaner for the printhead. Ultrasonic cleaner, they clean by creating microscopic bubbles. So when those bubbles burst like that, and that's going to create a temporary vacuum.  So that's how I can dislodge the pigment. And so clean the printhead. The ultrasonic cleaner is safe to use. Except ultrasonic can destroy any kind of foils. So therefore the ultrasonic cleaner, you cannot use it for things like a microphone or speakers. Or there's some absent printhead that use foils to separate colors. So if you use the ultrasonic on those, that's going to destroy the printhead. Not all the ultrasonic cleaner are created equal. When you buy on the market, most likely you're going to get a 45 kHz cleaner. The one we use is a high frequency is 80 to 85 kHz. Here's an SEM for the nozzle. To be able to clean inside the nozzle tube, you need a bubble smaller than the diameter of the tube. The size of the bubble depends on the frequency. For example, you have a 45 kHz, which is popular on the market. You're going to have a 6.5 micron bubble. And the absent precision core radius is 10 microns. So you're okay, you can fit in. So the regular ones are from the market works. However, if you use 85 kHz, it will work better. Because you're making much smaller bubbles. We have some ultrasonic cleaners under accessories. But today the one we use is our new model, which is a lot cheaper than this. Our new model is specifically designed for the printhead, and it's well under $1000. So we did 10 minutes on one side, and then 10 minutes on the other side. When you pick up an ultrasonic machine, make sure you pick the one with a basket. Not only because a basket will provide extra protection of scratching, also the U-part is supposed to be suspended in the liquid. We're going to cover the printhead with this special tape. At home you can just use a surround wrap. We blow dry with compressed air. Then we just put it there like an air dryer. When you see this air is normally, there's a clear ribbon behind the printer, and your cartridge called the ribbon. When you work on your cartridge, it's very likely you'll just touch it and get it caught in a slot. Let me show you where it gets caught. See that clear belt caught right here in the slot. You can use your finger to push the ribbon out. Now it's asking for cartridges. Because we're already thoroughly cleaned the printhead, we decided to use a BCH cartridge to convert the whole system into a dye ink printer. For all the third-party cartridges, Epson will throw this air as though it's not Epson cartridge, and then do you still want to use it? Then we just say, OK, OK, OK, and that's it. OK, you can see the printer can read the ink level, no problem. So now we just go to print a couple pages. The first cleaning didn't look good, so we just do another cleaning. We did three cleanings, then we wait about an hour. We finally got the result we wanted. I hope you enjoyed this video. Use it us at www.bchtechnologies.com or locally at Greensboro, North Carolina. Thank you, cheers.


Hey, welcome back with us folks tonight. I want to show you how we picked up the Netflix dip in this chart, I want to show you step-by-step what went through my mind and I'll try to pinpoint exactly Well, I'll try to share exactly how to do it. So this goes to my friend mark who's asked me to Do this for you and so here it is. I sure hope it will help you out in Finding dips in your plays eventually. So here it was Netflix had some news yesterday About some things are trying out more news today about trying to go after people sharing passwords It has been bullish since a 52 week low Earlier we can see it here the 329 82 so Some analysts were bullish yesterday more even today. So I was looking to For we we bought it yesterday closed yesterday. I was looking for continuation today But where to get in this is where I'm about to show you so here it is This is the beginning of the day I'd like to look at pre-market activity Looking at the early rise and then This is what we want. I want to concentrate on it. Basically, you see this rise up take a screenshot of this so I could share it clearly this is the Open basically we win it. I like to you know, this this break of the pre-market Hi, it became bullish. Oh, and then it broke under so this could be a fake out just to squeeze all the The bulls in you know, it becomes a bull trap Yeah, it turns down after that What I wanted to make sure of is how this would survive If the whole thing had kept on going, I mean it would have been a well too bad However, the market was kind of hippie and This is what I was looking for I was waiting for something to pull back to a certain area Now this red line that you see is the 50 EMA and This is all done on a five-minute chart 50 EMA and we hit that 50 EMA if the the EMAs are For me they're there to confirm something the Because it was it has been so bullish the 200 EMA is Something that I care more about than the 50 nonetheless. This was there So this is you know first thing that I noticed. Okay, we're getting really close to the 50 EMA What else? Let's get out of here for a second and Look at the time What's the time on that? Red candle look at the time. It's 11 Remember 11 o'clock, right? Let's take this for a second Now this is the spy chart Remember I tell you to look at the rest of the market compared to your ticker. This is the spy chart 11 11 is here. Okay We are Let's get rid of this so you can see it Basically the 11 candle is this one. So basically Netflix was going down spy started to get bullish and Here at 11 we hit the 50 EMA on spot on Netflix what I also like to look at is the stochastic momentum index. I'll drop this down below Let me put back the the line here at 11 This was 11. So I'll show you the stochastic momentum index. See how it's crossing So it's this line here See how it's crossing to the upside Now let me move out of here and I'll show you what this Oscillator is doing see obviously the whole thing will move up However on the five minute it will hit top bottom top bottom However, when it hits the bottom like this Rarely will you see it continue without some sort of a bounce? So I was expecting some sort of a bounce on the spy And if you look at the line and the level on this line look at the support it has From the previous day This is pre-market Right, this is pre-market activity basically it landed on support there, and this is yesterday's high Just before the gate were really close after the after the open were hit resistance So basically was resistance it became support and I was expecting the whole thing to Let's get out of here. So you guys can see it clearly same line here and we're hitting that line as Support again. Now, let's move back to same thing 11, right? Let's move back to the net Now we're back in Netflix. Remember I was looking at the 11 O'clock candle when it hit the 50 EMA What I like to look for is support check this out This is the line it's getting at so draw a line at the 11 o'clock You just drew a line for spy You can clearly see that it looks like it's going to be on support. It's rising It's at the this 11 o'clock Draw so basically how is it reacting compared to the market? Well, you can expect that it's probably going to at least grab something. So basically you're Believing that this is the bottom. I'm not looking to come Confirmation on this and then and up being chasing. No, what I think is this can be the right bottom Where to and but actually where and why look this look at this and On support, right? We are Hitting this is the pre-market activity. We're very close to that high of pre-market and Look at this big Humongous candle when the news came out from the test of to do it in South America And how this is not a fact fat finger trade. It was a huge order. I was bought at At that level Basically here Right, it hit very close to 360 we are very close to 360 so you have one lining up the other one lining up You have this volume in one candle. Do you think it's going to bounce there? It could be a coincidence that it would bounce however when you have The 50 EMA Bounce when you have the rest of the market, you know spy is bouncing rest of the market and support Well, you have many things in your favor telling you that you're not gambling You're weighing your chances and These things are telling you that you are at the right level For a bottom to buy to the upside now. I said my target was high of day high of day at the time was This here this was a little higher than 365 Little higher than 365 made to there. So basically, you know, it's a slow climb to that Once it breaks through fine It doesn't matter if you're not in anymore the idea is not to grab the perfect treat by the idea is Be able to find a bottom if you can leave runners on after you Reach your Exit strategy, which was a retest of the high it went to 373 ish something Yeah, 373 31 final but in the end what I wanted to show you was how we found that bottom Adding more Strategies than just you know gambling so I believe there's more than there's there's more to it than just Going with one indicator the idea is to go with many things in your trade analysis that will get you to Picking the right play. So I hope this helps and Stick around we'll go for more like this


What is going on guys welcome back to the channel critical overlord here in this beat I'm gonna just be talking about Jason Blum and Blumhouse wanting to bring back the screen franchise So last year I think this came this is when the first talks started about this idea. They even said they wanted to bring back I know what you did last summer or do a reboot of I know what you did last summer Recently they Jason Blum had an interview and he said a bit more. He said That's something they've looked into but nothing's happening at the moment That's not what I want to talk about. I want to talk about the idea of them bringing it back And what could potentially be done if they did eventually get a hold of the screen property I would like them to do screen 5 and just have that be a sequel to screen 4 It doesn't have to be set a full eight years later. Of course, you could always do that It could be set like one or two years later Possibly three five it doesn't have to be the full eight because it's been eight years since screen four came out You you don't you don't have to do another large time gap like you have but screen three and screen four You don't have to do that. You know, you could always just set this movie a few years later I would like screen five to bring back Nev Campbell David Arquette Courtney Cox Wrapped the series up Don't do what you did with halloween. Of course, that's always an option I think that's that's what the reports make it seem like they want to do But that's that's nothing nothing concrete has been given as to what they all we know is that they have interest in getting More entries in that film franchise. They want to do screen movies That could be a plethora of things that could be a screen five that could be remaking the first movie that could be Ignoring some films and being a sequel to a certain movie It could ignore screen four and basically Do its own thing and still be screen five, but it's ignoring screen four. I don't know Something of that sort. I don't think the I don't think remaking it would be anything To uh, I don't think remaking it would be the best idea because unlike the halloween series screen is more consistent It has more consistent narrative being told in it It's more consistent than a lot of the other horror franchises That came around the 70s in the 80s and whatnot Uh, you have the same cast for the most part in each movie. You had the same writer for the most part for each movie You had the same director for the most part with each movie uh Just something should be left untouched and I even think they had the same musical composer for Pretty much every sequel. I think marco beltrami composed a lot Composed all four sequels if I'm if I'm not mistaken if I am please correct me But scream is definitely one of the more consistent horror franchises that will come out in the last decade or so So if blumhouse gets their hands on the property, I would like for them to do screen five brain back courtney cox nev cambell david arquette Set the movie a few years after screen four Sydney press goddess back in the turmoil again. She has another ghostface killer chasing her down We could explore a few more things that we didn't find out in the original trilogy because if you recall screen four Was supposed to be the beginning of a new trilogy that of course did not happen because once west craven died in 2015 Uh plans of doing anything else with the series were basically put on hold and we haven't heard anything since sydney prescott or nev cambell the actors who play sydney prescott She is gone on record saying that she doesn't think it could work without west On multiple occasions david arquette who plays dewey in the film He has stated that he would of all he would be down to do a fifth movie if it ever got confirmed So we know his involvement is something that he would like We know this is something that david arquette would like to be involved in I think the tricky part is going to be convincing Neve camber to come back convincing kevin williamson to come back because kevin williamson if i'm not mistaken is the one who said that Craven's death is what affected anything further moving Ahead with the series because i don't think anyone wants to actually touch this series Without his involvement because he was such a crucial Component to the series because he directed all four films And i think it's just more of a respect thing not because you could always I think they are well aware that they could continue without him What is more so a respect thing because he The series the series is mostly scream and uh nightmare and elm street are like his His two most well recognized film series west craven gets recognized the most for a nightmare and elm street and scream because He kind of his the way he directed those movies is what made them what they were And i feel like everyone involved with the movie feels that if they were to step away from that And do a movie without him there they would be shaming his legacy or showing disrespect to him Uh when really how you can look at it because this is what david arkett said screen five or whatever the movie is could just be A tipping of the hat something that could be done in his memory To show that while you're not here with us We still wanted to finish the series and we hope that we did it the way you And we hope we did it in the way that makes you proud of what you started and now we have finished What you started all those years ago. I think screen five should end the series It shouldn't be a case where you even scream six could always happen. Yes Because if you recall scream three was supposed to be the end all be all back in 2000 scream three was supposed to end the series If we do a screen five, I feel like that should be the last movie in the series This doesn't need to be a case where we're bringing ghost face back. It's time to Have newer newer faces coming to the horizon It's fine to have these revisiting's every now and then and I know screen five and screen six We're supposed to come out a long time ago along with screen four But if they do end up getting their hands on this property I think the best thing to do would just do screen five in the series bring back the original three Do it right do something in respect to west craven's legacy Respect the narrative that was already being told don't try to retell anything Just do something that would live up to what you know He would expect of the screen franchise keep the self-awareness of the characters keep that cleverness Bring back some terror because screen four. I think that's what we're screen four was acting screen four was acting in the terror department Nothing really too suspenseful there. I still think the scariest the scariest entry in the screen franchise still to this day is the original one The original film balanced horror comedy suspense everything so well And then scream two did a fine job with the screen three was going off of the rails a bit screen four went off the rails a bit So I think we need to get back to grounding the horror in the comedy and mixing them well together because Scream at the end of the day is not a horror comedy series It's a series that has comedic elements in it because of the situation the characters find themselves in So I would like to see screen five done in a way that will respect west craven's legacy brings back the original trio Get west get Kevin Williamson back to write the script and in the series write send it off on a high note Have the film being west craven's memory and just call it a day Those are my thoughts on Blumhouse doing screen movies If you agree with this or if you don't want to see any more screen movies Let me know down in the comment section below if you enjoyed this video make sure you give it a thumbs up If you haven't already subscribed and turn on post notifications, so you never miss a video in the description I'll have links to all my social media accounts on my facebook twitter and instagram You can message me there to let me know what movies news or reviews you would like me to cover in the future With all that in mind guys. I will see you in the next video


This is CP McGregor speaking and welcoming you to another performance of your war department program proudly. We hail Through the courtesy of the Hollywood Coordinating Committee Represent mr. Barry Sullivan as the star of our play one for the records written by Richard Hall with music by Eddie Skrabanik It happened quickly the car traveling a little too fast the intersection the screech of breaks and then Five weeks after the accident in which his wife was seriously injured Don Harrington the radio producer sits at her bedside in the darkened hospital room Feeling better. Oh much much better. Well my darling. You know what day tomorrow is? I haven't the slightest idea I mean you tell me about it tomorrow is October 14th a very remarkable day Or on that day four years ago two people met in London Wimple Street if you care to be precise right in front of the Barrett house go on it sounds wonderful Well at that time he was a rising young actor in the repertory theater fourth speared from the left and Henry VIII And she on that morning. They met she was a vision and he beheld her and he was entranced And they spoke of the Brownings and they decided that Robert and Elizabeth would be wonderful names for children May afternoon grew into evening in the evening into Starlight and the Starlight Starlight grew into a promise they've shared together ever since Well, that was a beautiful speech down You know you really should never have given up acting to become a radio producer. Yes, you think so wouldn't you? Oh, but my darling we have so much to be thankful for oh, yes, so much and you know what? Dr. Reynolds says that in a few days. We're gonna unzip by that cast and throw it away. I'm glad I'm a little frightened too I've almost forgotten what you look like well, I'll tell you Betty I still have arms that long to hold you in a stomach that get butterflies every time I realize that you'll soon be home and I have eyes that get stars in them whenever I think of you. Oh my darling. Sorry visiting hours are over That woman never misses her cue does she? Well my darling, I'll have to run along. I'll see you tomorrow.  Will you don? Seems like I almost live each day for the 10 minutes we have together. I won't be See you tomorrow darling Rest well. Oh, dr. Reynolds. Oh, hello Don. How's our patient? Oh, she's wonderful doctor. I just told her about the cast but About her eyes doctor. Oh the darkened room the coverings over eyes were just a precaution Don We have pulled the blinkers off when we remove the cast they make you happy. Oh perfectly doctor. Thanks to you Well Don, I really don't deserve all the credit your wife's recovery has been remarkable You're good medicine for her Hey, by the way, what's the overcoat for? Oh, I'm driving up to great pines tonight up in the high cold country Well, you better take your earmuffs along to say that's a thought. We're planning a broadcast up there I have to check the facilities. Oh say doctor. I didn't mention great pines to Mrs. Harrington. No No, the mountain roads are pretty icy this time of year and Well, I've so often urged that she use all her energies toward getting well I I didn't want to the worry not even for a minute. Yes. Well, all right Don You'll be back tomorrow night tomorrow night. So long doctor so long Don We're all set. Mr. Harrington all set Barry. Well, how's Mrs. Harrington? I'll have Mrs. Harrington home soon Thank you, Barry. Now. Let's get this trip to great pines over with Well, that wasn't too bad a berry. Oh, sir. We didn't even have to use chains. Hey, listen to that wind Will you it looks like it's blowing up a storm. Thanks, sir Well, let's get into the hotel and get our work over with as quickly as we can in the morning and get down off this hill This is WGP the great pine station highest radio station in the world Attention motorists approaching great pines your caution to put on chains at the divide. We repeat all motorists Really must have snowed here last night Well, Barry. You're happy with everything here. Oh, yes, sir. Mr. Harrington the Studio is small, but I think we can get by nicely. All right fine. Now. Why don't you go get the car and we'll roll out of here You've got the chains. Yeah, they're putting them on right now. Good guess up and hurry back Hello, yes Yes, doctor, but I don't Yes, doctor, I think it'd be best if you returned as soon as you can I'm leaving at once. Mr. Harrington. It isn't serious doctor Oh, no, no, I don't think so, but you've been so close to her all through her trouble I know how much that means to her. I'm leaving this very minute doctor this very minute I'm afraid we're not going anywhere and what's that? Well the highway department is stopping all cars Looks like we're snowed in Mr. Harrington. You will return to our play in just a moment But first a message from your war department Can you tell what a man is just by the clothing he wears? If he's in the uniform of the United States Army, you know that he's not only a soldier, but a man of science Yes, that is our regular army today a group of technically trained and skilled men Who are every day pushing the growth of scientific progress to heights of accomplishment believed impossible only a few years ago You've all heard of atomic energy and the infinite possibilities of its utilization You've all heard of jet propulsion Electronics the development of which in years to come will play an important part in your everyday life Machines which hurdle through space at inconceivable speeds faster than that of sound Radar which is already being used to accurately forecast weather and push button airplanes These and many more are the accomplishments of the army today So you see this is the type of work your regular army soldier is doing a man The uniform of that army has selected a career of advancement both personal and scientific Besides training himself in a particular branch of knowledge He is a part of a great organization whose contributions to science are an integral part of civilization See your local army recruiting station now for further information Here's the second act of one for the record starring Barry Sullivan as Don Harrington Snowed in a great pines Unable to get the bedside of his injured wife Radio producer Don Harrington puts in a frantic phone call to dr. Reynolds His assistant Barry stands anxiously beside him. No answer yet. Mr. Harrington. Oh nothing How is it outside? Well, it stops knowing sons even come out. That may be the break We've been waiting for we can't drive down the canyon will fly down They say they can get those little hedge hopper planes in anywhere and if anyone can get one of them up to us Dr. Reynolds can Hello Dr. Reynolds thank the Lord. I was afraid I wasn't gonna be able to get through to you doctor I'm snowed in up here. There's nothing going down the canyon. How's my wife? Well, there's a chance doctor if you'll help me if you just hello Hello, doctor doctor Hello, dr. Reynolds. Don't tell me the telephone lines are down Your attention, please your attention, please this is W. G. P. The great pines station We're interrupting our regular schedule broadcast for this urgent announcement Anyone now listening to W. G. P. In the metropolitan area, please contact dr. Frederick Reynolds at Holmby Hospital Immediately have dr. Reynolds listened to W. G. P. At 3 o'clock this afternoon. This is urgent We repeat anyone now listening to W. G. P. They've just made the announcement of W. G. P. Mr. Harrington. That's good. That'll get the plane up here Dr. Reynolds will tell him how important it is. I've got to get through to us somehow Barry. I've got to get to the hospital Here's your husband mrs. Harrington Please now you aren't supposed to talk Please listen to me. I want you to be very quiet. I want you to know how close I am to you Think of London and the wonderful summer we spent there and Wimple Street And these words written there by another who loved almost as deeply as I love you. How do I love thee? Let me count the ways. I Love thee to the depth and breath and heist my soul can reach when feeling out of sight For the ends of being an ideal grace I love thee to the level of every day's most quiet need by sun and candlelight I Love thee freely as men strive for right. I Love thee purely as they turn from praise. I Love thee with a passion put to use in my old griefs and with my childhoods faith. I Love thee with a love. I seem to lose with my lost Saints. I Love thee with a breath smiles tears of all my life. I shall but love thee better After death come now dawn. I think your wife should rest dr. Reynolds There's a telephone call for you from great pines. Thank you Hello Don hello dr. Reynolds. How is she dr. Don? You're still the best medicine in the world for your wife She's resting comfortably just as you planned it on of course I couldn't get the plane, but I followed your directions on the other to the letter We recorded the broadcast played the record in the room. It turned the trick quite a production Don But right now dr. I'm gonna trade the earphones for earmuffs I've got a date with a snow plow and it's bringing me home The curtain falls on one for the record starring Barry Sullivan before leaving you. There's an important message from your war department Though the war is over. There's still much urgent and necessary work for our army to do today As always the army is continuing research and development in scientific fields medicine electronics atomics engineering aviation Our army is an organization of technically educated men skilled in the various tasks for which they are trained Recently Air Force technicians completed a cooperative study of cosmic rays in the most extensive series of Experiments ever made in the upper-air regions just as recently they disclosed the production of GAPA a Pilotless projectile the principle of which should have far-reaching effects on the design of future passenger and cargo aircraft The use of penicillin DDT new surgery methods the adapting of radar techniques to forecast weather Perfecting of machines that fly faster than the speed of sound the development of EN IAC a machine that makes split second Scientific calculations that ordinarily would require thousands of man-hours to complete These are but the forerunners of almost unbelievable army accomplishments to come To an ambitious young man interested in modern progress and development an army career offers any number of opportunities For individual advancement he can partake of many personal benefits from this career such as education Liberal retirement privileges a chance to travel the opportunity to learn a trade or skill use of army facilities and conveniences at reduced rates Frequent promotions an unprecedented new pay scale offers him a financial return well above the starting average in industry These are but a few of the inducements for an intelligent young man to choose a career in our new regular army If you're a young man between 17 and 34 Go to your nearest army recruiting station and ask about the benefits to you of a worthwhile career in our new regular army Thank you, mr. Barry Sullivan for appearing on our show This is CP McGregor reminding you that another proudly we hail program will come to you over this station next week listen in


Hey guys, welcome back to Come Again TV, the only place on YouTube where all geek culture collides. If you're new to the channel, welcome. Don't forget to subscribe and click on the notification bell so you don't miss out on that single video. Before we get started on today's video, I want to announce that Come Again has two new channels for you guys to enjoy. If you're into collectible and toy reviews, then head on over to Come Again Collectibles, where all of our new and previously uploaded collectible review videos will be published from now on. Also, if you're into Funko Pops and Action Vinyls, head on over to Come Again Vinyls, where all new and previously uploaded pop review videos will be uploaded. We will no longer be publishing these videos onto the main channel, due to the success of our shows like History and Origins. We don't want to upset the algorithm or the subscribers, so if that's what you're interested in, the links will be in the description below. Now on to our video. Earth is dead. Those who once might have called it home are long-scattered to the endless stars. But in that scattering, on a thousand different worlds, by a thousand different ways, Earth's greatest legends live on. Legends of the Dead Earth was a large crossover spanning through all of DC's annuals in the year 1996. It featured stories about a possible future of the universe, in which although the planet Earth itself had long since died out and its heroes gone with it, the heroes still left an impression and their stories and legends were passed down in various ways. Many, if not all of these legends, were spread around the universe by Martian Manhunter, as his way of honoring the lives of his departed friends upon the death of his adopted planet. Something you guys should know is Legends of the Dead Earth wasn't an Elseworlds title per se. It wasn't branded as Elseworlds, it was branded as Legends of the Dead Earth, mainly because most Legends of the Dead Earth revolve around an alternate reality, an alternate dimension within the DC universe, an alternate Earth, as you will. Whereas Legends of the Dead Earth is a possible future in continuity for the 1990s DC era. The comics this event took place in were Action Comics annual number eight, Adventures of Superman annual number eight, Aquaman annual volume five number two, Azrael annual number two, Batman annual number 20, Batman Shadow of the Bat annual number four, Catwoman annual volume two number three, Detective Comics annual number nine, The Flash annual volume two number nine, Green Lantern annual volume three number five, Guy Gardner-Warrior annual number two, Impulse annual number one, Justice League America annual number ten, Batman Legends of the Dark Knight annual number six, Legion of Superheroes annual number seven volume four, Legionnaires annual number three, The Power of Shazam annual number one, Robin annual volume four number five, Sovereign seven annual number two, Starman annual volume two number one, Superboy annual volume four number three, Supergirl annual volume four number one, Superman annual volume two number eight, Superman the Man of Steel annual number five, and Wonder Woman annual volume two number five. Some of you may remember a video I did a while back on Robin's Legends of the Dead Earth which I said was kind of like a Batman and Robin version of Logan's run. The synopsis for the story is that Batman was once a kind of police officer on a spaceship called Gotham. He learned that the ship wasn't actually going anywhere due to a malfunction in the navigation system. He then took on the identity of a character from Old Earth folklore and tried to find a way into the ship's main computer. He eventually happens upon Tris Plover and takes her to his hideout telling her of the universe beyond the ship and of the birth and death cycle. He eventually makes Tris the new Robin and allows her to aid him on his quest to find the main computer. They break into police headquarters and begin to fight the swarms of police he calls jokers that are inside. He calls them this because the ships are machines that resemble Joker from the main continuity universe. Batman fights them and sends Tris to the computer after which Batman is shot and killed by police. Tris eventually manages to get the computer back up and running. However, she realizes that by the time they get to a new planet she's going to be long gone. It's several generations later most of the people who are on the ship will be long gone. So she has no choice but to respect the life cycle on the ship in order to prevent overpopulation and like I said it's very similar to Logan's Run whereas if you guys have seen the movie in in there once the characters reach a certain age they are gone to uh it's been a while since I've seen it but they're gone for what they call something like recycling or whatever uh they go and their bodies are destroyed essentially but they're supposed to be reborn in new younger bodies very complicated. This story is very reminiscent of that. In the Batman number 20 annual a future set in the domed city ruled by a government that mind controls its citizens on an unnamed planet an old man spends tails for a group of children who are unwittingly being groomed for re-education. The fables revolve around the mythological Batman who resided on the once thriving planet earth each story coming with a special moral imparted by the old man to the children as a way of subtly warning them against their own government sinister plans in the first story the majester or the magister as he was referred to a techno wizard crossed between the joker and the mad hatter who uses the populace's hologram entertainment to brainwash people into hysterical laughter leaving them open to being robbed and murdered the moral the worst crimes may be the crimes against the mind and don't let anyone force you to think their way. After the children are sent to the re-education center the old man reveals himself as a batman cyborg working with a resistance movement and he saves the children while the nature of this batman is never explained the message is clear as long as people like the old man tell stories about the batman then legends like the batman will never truly die. Each of the stories in this annual followed along this path which other annuals showed different possible futures such as batman and catwoman being criminals who were being chased and eventually killed by a commissioner joker that that was one of my favorites growing up in the super boy annual a sun worshiping medieval society chooses a flying teenage to become the new super boy but when he learns that the superman of the world is corrupt it falls on to him to take down his superior an act which in and of itself is a terrible crime. In superman number eight annual from 1996 superman's mind has been contained within a computer and he gives one of superman's powers to a group of heroes each one is given superman strength one his speed one flight and so on superman is meant to send this team of superman where they're needed but it's discovered that superman himself is causing the disasters which means the team had to go up against the original however there at the end it's learned that superman is ready to rest in peace he caused these disasters knowing that his superman would stop them knowing that no one was really in danger and he did it so that he could rest in peace so that they would shut him down so that he could finally be with lois because he couldn't really shut himself down and realize the only way he would be allowed to die is if people thought he had turned evil this was a really interesting group of stories at the time and i personally really enjoyed them i haven't read them all but the ones i have read really stuck in my mind even over 20 years later i managed to attain a few of them off the rack in 1996 like superboy number three superman number eight batman number 20 catwoman number three and robin number five then a few years ago i managed to pick up man of steel number five adventures of superman number eight and green lantern number five from the legends of dead earthland of course my original issues were lost to time and i had to repurchase them a few years ago but again i really enjoyed them especially catwoman number three really stuck in my mind over the years just talking about them with you guys right now makes me want to break out my issues and reread them as well as buy the rest of the collection if you have a chance pick yourself up a set and give them a read if you enjoyed that video make sure you hit the subscribe button right there so you stay up to date on all thanks geek culture also go ahead and check out one of these two playlists on the side for more videos just like the one you just watched i'm shanner for comic n tv the only place on youtube where all geek culture collides take care geeks


Greetings and welcome to the Introduction to Astronomy. In this lecture we are going to talk about dark energy and inflation and finish up our discussion on how the universe was formed. So what is the universe made of? Well, we've looked a little bit about this before. Only about one percent of the universe is visible matter that we've studied. So less than one percent of that is stars, which we see as stars in galaxies. That's the ordinary matter. About four percent hydrogen and helium. So this is the ordinary matter that we see, which constitutes about five percent of the material in the universe. But one percent of it is in the visible form that we can see. Dark matter makes up about twenty-seven percent of the universe and dark energy sixty-eight percent of the universe. So what we've studied in astronomy and what we've looked at over the course of these lectures, the planets, the stars, the nebulae, the galaxies, is only a tiny portion of the content of the universe. So we've only looked at that very little portion. Now how has our understanding of this changed over time? Well, here are a couple of charts showing what we looked at from the 1970s through 1990s. And our understanding of the composition of the universe has changed over the decades. Of course the universe's composition has not changed, we're just starting to learn more about it. And that ordinary visible matter has become less and less important over time. So here we see the 1970s, we had our ordinary visible matter, and we had some kind of dark or missing matter that we didn't know about. That was ordinary material, much like what everything else was made up of. By the 80s we did have that ordinary dark matter, and we had some ordinary visible matter is now a much smaller portion, an exotic dark matter, some kind of unusual particle made up a large portion of the universe. By the 1990s we learned about dark energy, and dark energy now consumes most of this chart, and we see only a little bit, tiny bit left for ordinary visible matter. Now what is the dark matter? Well, it cannot be ordinary matter, we've been able to rule that out because the deuterium abundance limits what the amount of ordinary matter could be. That tells us about what formed in the early history of the universe during the Big Bang, and that means no more than 5% of the matter can be the ordinary type of matter. So what is it? Well, we looked at previously, weakly interacting massive particles, or so-called wimps. They are very hard to detect because they interact through the weak nuclear force. So we don't see them otherwise, except through that and gravity, they don't emit any electromagnetic light that we can see. They've been proposed to exist, and we are still looking to try to detect some type of massive particle that exists out there. Dark matter is needed. We have to have it. It is a requirement in order to form galaxies and structures on the time scales that they formed in our universe. We know that dark matter does not interact, except through the weak nuclear force and gravity. So it could have started to form structures before ordinary matter. That allows us to form these structures. So it would start to form some gravity wells, and the ordinary matter would then gather into these gravity wells and form the structures that we see that would form the filaments and voids that we see today. So let's look at a brief history of the universe here, and we start off with quantum fluctuations. That's the big bang. What happened early on? Maybe you tend to put in there some kind of quantum fluctuations within the very tiniest scales that actually could have helped with the creation of the universe. Then inflation kicked in and caused the universe to expand very rapidly in a tiny fraction of a second, going from atomic size to universe size in just a very short period of time. Matter started to form and nuclear fusion now begins at just a fraction of a second, and by three to four minutes the nuclear fusion has ended, and the cosmic background radiation is produced and released at about 400,000 years, and then there's the dark ages where not much goes on, and then the universe, stars and galaxies begin to form, and then at the very end dark energy accelerates this expansion. So what was a slower expansion is now going at a far more rapid rate. Now with any model there are going to be problems. So what are some of the problems with the big bang model? Well we're going to look at two of these. One of these is the flatness problem. That is the density equals the critical density. Why does the universe look so flat? If it did not, nothing would have formed. No structures would have formed. So in order for us to be here we had to have been incredibly close to a value of one for this variable. So incredibly close to one, to many decimal places, otherwise the universe would have either immediately collapsed or would have immediately accelerated out to nothing. So this is a difficulty as to why. Why is the universe so flat? The horizon problem is in the uniformity of the background radiation. Why is it so uniform no matter where you look in the universe? And that is a difficulty because you have areas that have never been in contact, but they have the same temperatures. So it would take time. There's no reason that they would know what the other temperatures were because they are so far apart. But we have to look at some way that they may have been able to be in contact in the past. So what do we use to solve this? Well we do what we call the inflationary hypothesis, which says that in a fraction of an instant of time the universe grew by a factor of 10 to the 50th power. So it went from being atomic size, subatomic size, to all of a sudden being standard size, galaxy size, universe sized here. So the standard model, which would trace back at the red line, wouldn't account for things. It wouldn't work because it wouldn't get things small enough at a quick enough time period. This very small era of inflation that could have taken place could have explained then the two problems that we had and can solve these two problems with the flatness and the horizon problem. But by zipping up in that tiny fraction of time, the universe expanded. And what we're seeing now, let's take a look at a couple examples here. What are we looking at for the image here? Why does it look so flat? Why are the distant regions are in contact? What about the horizon problem? Well now we know that these regions that are now distant were actually in contact prior to inflation occurring. So inflation re-anked them apart and shoved them at great distances across the universe, but they used to be in contact, and therefore they would know and would all be the same temperature. With the flatness problem, we are only seeing a small portion of the inflated universe. So we use the example of the ant on the balloon here. When the balloon is not blown up very much, the ant can see curvature around either side. However, when the ant is on a much more inflated balloon, then everything looks flat. And if you could imagine this balloon being inflated 10 times, 50 times more, the ant would only be seeing a very tiny portion of the entire universe. We are not seeing the whole universe, therefore, when we look out into space. We're only seeing that tiny portion around us that is our part of the universe. Now what could have caused the inflation? Well let's take a look at, first of all, let's take a look at what we have for the four forces of nature, because this is one of the things that we think could have happened to cause the inflation. The four forces of nature are gravity, which is the weakest. The electromagnetic force, the strong nuclear force, and the weak nuclear force. So those are the three, and they will unify under conditions of high temperature and pressure. And yes, we've been able to unify these. In supercolliders, we can unify the electromagnetic and the weak force. They become one and the same at high temperatures. So we have what we call the electro-weak force. If we could get to even higher values, we theory say that we can include the strong force in this as well. And we then have just two forces, one that combines the strong weak and electromagnetic and gravity. But gravity splits out here. This is way beyond our ability to create these kinds of temperatures to really be able to see and test these other versions. So we can get up to the level for electro-weak. The other ones are really beyond what we can do at this point. But perhaps one thing that is thought is that when gravity separated out, when these two forces then diverged, that that could have caused this massive inflation of the universe. So our current theories can unify all of the forces except for gravity. Now, what do we get when we unify these? Well, we have, again, that we call the grand unified theories, which looks at the forces are really just different manifestations of the same force. And one way of thinking about this is what is used as string theory. In this, points of matter are instead replaced by one-dimensional strings. So the one-dimensional strings down here then can become other things. They exist in an 11-dimensional space. So we don't use all of the, we only see a few of those dimensions. They exist in a much higher dimensional space. And the way these strings vibrate and move will then make mean that they can appear in our universe as matter or light or gravity. And they make up everything in the universe so that everything is just a different manifestation of something else. So the string then, depending on how it vibrates, may become one of the quarks within one of the protons within the nucleus. Another spring vibrating in a different way may become an electron. And though that will then be part of an atom, which in this case we see comes up as part of a diamond. So it's all going down to even deeper levels within the subatomic sphere. Now how do we get all of the forces together? And that's where a lot of trouble exists. General relativity and quantum mechanics are difficult to combine. In fact, they're incompatible. General relativity describes things exactly. Quantum mechanics is based on probabilities. So things have probabilities of doing something. It's not precise in that sense. So what we do as we look at here is trying to get some kind of theory of quantum gravity. And that's where we have not gotten yet. And that would combine quantum field theory with general relativity to really be able to then combine them together and better understand what might have happened in that very early history of the universe. String theory attempts to resolve this, but we're not there yet. What is the answer? I can't tell you. We're not there. This is current research. Maybe someday we will have the answer. Could it be in a decade or a century or a millennium? How long will it take us to be able to better understand how to merge quantum mechanics and general relativity? So the last thing we want to talk about here is what we call the anthropic principle, which really suggests that we are really just a lucky accident. The anthropic principle says that physical laws are what they are because we wouldn't be here otherwise. Could there be other universes with different physical laws? Well, there could be. But if it is a universe where gravity is repulsive instead of attractive, then no material will ever combine together. You might have atoms that could combine under other forces if they work as they do in this universe, but they would not be able to form larger objects as we do under gravity. So what are physical laws like? There could be completely different physical laws. So, they could collapse immediately, or they could expand too fast for any kind of structures to form. And you hear about this sometimes. We talk about the multiverse. Could there be other universes out there? Now, of course, could there be other universes with similar physical laws where life could be possible? Well, that's his possibility as well. However, the whole thing is conjecture since we know of no way to ever visit these universes. So, let's go ahead and finish up with our summary. And what we looked at is that only a tiny fraction of the universe is the ordinary matter that we have studied in most of this course. The standard Big Bang model has difficulty explaining the horizon and the flatness problems. The inflationary model helps us to resolve these issues. So put the inflationary model with the Big Bang, and we're able to resolve these issues. And unified theories continue work on trying to combine the four forces of nature. So that concludes this lecture on dark energy and inflation. We'll be back again next time for another topic in astronomy. So until then, have a great day, everyone. And I will see you in class.