The event of this week is very important to ASEAN because ASEAN will become the one community and it will be really helpful for the program to improve our ASEAN border management. Working with Interpol is one of the reasons that our ASEAN network, I mean, we can interconnected with other agencies, for example the Interpol, because the ASEAN could not just work in one group together. We also have to work outside the group as well. So Interpol is one of the partners that could help our border management.


Welcome to Toffy TV, it is the Everton News Daily. Carlo Anciolotti is due in Naples tomorrow to seal his release from his Napoli contract. He's expected to be named the Everton manager by the end of the week. That's according to a lot of journalists today, Sky Sports as well reporting that. Reports also state that his son, David Anciolotti and Duncan Ferguson will be Carlo Anciolotti's assistant at Everton. There's other Italian backroom staff as well that have been linked with the move to Godderson Park. But big news and good positive news if Duncan Ferguson is to be named as one of the assistant managers at Everton. I think it's a natural step up for Duncan. He's proved over the last couple of games that he's got the skillset to do it and hopefully and possibly this will be a path to him becoming an Everton manager in the future. Being able to work alongside Anciolotti and learn from him and use the knowledge there to help him become a better coach. Duncan will still be in charge for Leicester City game tomorrow. But reports state today that Anciolotti's first game as Everton manager could be Burnley on Boxing Day. That would mean that Duncan Ferguson is in charge for the Arsenal game at the weekend as well. So we'll have to wait and see but developments certainly look as though they've moved on with reports that Anciolotti has met Alicia Uzmanov to discuss the Everton job as well. So we'll wait and see but apparently Anciolotti to be named Everton manager later on this week. So big news there. Today Sky Italia are reporting a link between Everton and Zlatan Ibrahimovic again. Reports saying that he's not going to return to Milan and that he wants to play for Anciolotti again who he played for of course at PSG. And Sky Italia saying that it seems as though a move to Everton is on the cards for the Swedish striker. Obviously Ibrahimovic's agent is Mina Riola who has close links with Everton. Now of course he's Marcel Brands' adviser and he's also very close to Farad Mishiri as well and helped get Moise Keane to the club in the summer. So we'll have to wait and see whether anything comes of those Zlatan Ibrahimovic links but big news today. I mean Anciolotti and Ibrahimovic in the same day. Mad, mad man. Duncan Ferguson has confirmed that Leucadine will miss the Leicester City game and probably the Arsenal game this week. He's got a groin injury at the moment. Still not sure how long it's going to keep him out. Four but fingers crossed it isn't too long. He's also said that Fabian Delph is expected to miss the game as well. So the despite training this game has probably come a little bit too early for him but he may be in contention for the Arsenal game at the weekend. So we'll have to wait and see on that one. Also Duncan also reported that Guilfee Sigarton and Gibral Siddabi. It'll be a late one on both of them. Both still doubtful after having illness but they may be late fitness test for the pair of them who missed the one-one draw at Old Trafford at the weekend. Fingers crossed they have fit enough to be in the squad. I think we need legs. We need some more better choice really for the manager going into this one. Big game against Brendan Rodgersman. Quarter-final, chance to get into the semi-final of course. So, you know, let's see what happens. Hopefully goodness will be Bampson. I'm sure it will be and we can get through and get into that semi-final. Everton today also linked with a move for Hull Wingett, Jared Bowen. He's out of contract in the summer although there is the option for Hull to give him a 12-month extension. He was offered a new three-year deal in the summer but has so far not signed it. He scored 22 goals last season for Hull. He scored 16 so far this season. Newcastle are also interested in the Winger as well but apparently Josh Bowlett may be used as part of the deal to bring Bowen to Gooderson Park. We'll have to see on that one. Bowlett, who apparently is available for five million at the end of the season, has been on loan a Hull so far this season. Martin Stechlenberg has been named as one of the Netherlands assistants for the 2020 European Championships. Rufan Nisterwyd confirmed today, said Stechlenberg will bring vital experience to the group when he looks forward to welcoming Stechlenberg. He's delighted to be included as a coach for the finals. Finally, Ellis Sim scored two goals last night for the Everton under 23s as they beat Wolves 3-2 at Hague Avenue. David Underett delighted with the victory, said it was a proper Everton performance and he was glad to get back to winning ways. Sim's doing quite well at 23 levels so hopefully that will continue as well as his development. That is it. Make sure you subscribe. Give the video a thumbs up. You want more videos, get over and join us on Patreon. Thanks for watching. See you later.


So this is about a preliminary study about how to use network models to analyze old Chinese rhyme data, and the idea was somehow, I mean, I think it's an obvious idea to use network models, but I never had time to actually look into this, but recently for this workshop I then realized that I had some pressure, so I would just code the data and make some first applications and write some stuff, and I hope I can show especially that computers can be useful for our research in historical linguistics in general, but also for these specific cases, even if we do not believe in what computational methods what they give us, so we do not believe in any of them, but they can be useful to assist hypothesis finding or hypothesis checking, and I want to basically focus on that. So, but okay, network models, this is all about rhymes and networks, and let's start with rhymes, and I take the opportunity to take my favorite rhyme. Lucio said in the music, the moment you own it, you better never let it go, you probably get one shot, do not miss your chance to blow this opportunity comes once in a lifetime. So why do I take this? Because it's interesting regarding the rhyme analysis, if I was now given an exam and a teacher would ask me, like, how do you give me the rhymes in this poem or in this whatever we call it, then I want to give the following analysis. I would say that music rhymes was on it, go with blow, shut with nut. The questions of course maybe teachers would criticize it at a rhyme with it, but Germans would rhyme employ and deny. The question is what is better, I don't know, but this is what I would give here. Now, what about networks? Like this is the rhymes, and I just wanted to take the opportunity to bring this up. And networks is a simple data structure, we can think of that as a data structure which has a node which represents an object and an edge which represents relations between objects. We can tag or label nodes, as shown here by using different colors, so we can say this is the red node, the blue node, we give them names or we do something with the edge. We can do similar things, we can label them and rate them. So this is bigger or thicker than the other one, so we say like this is stronger connection, a stronger relation between the objects. We can also direct them, but directed networks won't be used in this application because we don't have direct networks of rhymes as you would see later, but this is just to illustrate it. It's actually really simple, but the good thing about networks is that there are many applications, both visually and visually, that we can use in order to get more once we have the network data. Now, how do we get from rhymes to networks? If we take a stanza from a shifting and we mark the rhyme patterns as here and red, and we say this character rhymes with this, with this, then we can just create simply a character as a node and the connections are just when the words are right. So if they rhyme in a poem, if we say that they're right, then we make a first connection in the network. If we add more stanzas of the shijin to this and again like identify what rhymes and what not, then we can make connections because in this text, we have both the character for si and si, si, si, si, and we would then just say like this also, like this occurs twice here and here, and then we can connect them, oh, so this is the simple idea how to use the shijin, how to make a network of the shijin rhymes. So how to construct such a network? First, I had to prepare the data. The starting point was to construct other rhyme annotations given in the techniques of Bexter92. The data was not digitally available, so I transferred the annotations by Bexter to a digital version of the shijin. I took project Gutenberg, we can have all problems, but I couldn't crawl the data from C-tex off because they would block me, and so I would just take this as a starting point, then I would go through the Bexter's book and always annotate whenever something rhymed. The digital version was corrected during the process where, so I would find certain things where project Gutenberg doesn't give the right character, not always. I was a bit under time pressure, so I was working every day half an hour in order to not get too bored of this, but after one month, then I would correct certain cases there, and furthermore, I had also a digital collection of most of the old Chinese reconstructions given in the new OCBS system, and this is what I had. Now, I organized the data in saturated, as you can see here, so first we have the poem, and this is something that we know, we have the stanza, something that we also know, 112 and something, and then I annotated something which I call a section. This is actually the things that are followed by a comma or a dot in the old Chinese text. For the simple reason that these are the potential locations, so the end of a section, if we strike off things like prefix or the things like the affixes where they sometimes add to the poems, if we strike them off, then these are the potential locations where we would find the rhymer's. So we could also use this to automatically try and detect what rhymed, but I wouldn't do that because I took the annotations. So if a section contained a rhyme word according to Bexter's annotation, this was noted as such, and if I detected further rhymer words, I had reasons to disagree with Bexter's annotation, this was noted in an alternative annotation. For each section, I tried to identify the old Chinese readings of the OCBS system, but this was not possible in all cases. There are some 400 readings I'm missing, and I still did not have time to check them. So the first step I then made was making a little app, because nowadays everybody makes apps, and I also wanted to make an app, and I made this app, which I called, actually I didn't give it a real name, but you can access this here by this link and I will just show how it looks. So as you can see here, we have all the sections, like for each word, like where they occur, like for the words we have them sorted here, you can go for the hanze, and then we have the pinyin, and then we have a gloss, then we have middle Chinese, where I had it, I mean, there are some things missing, old Chinese backstairs are gone, then I have can't view, and what I got from the metadata. Now, the cool thing about this whole stuff is the following. If I go for, for example, you can search, I can search for a character, like, I need to switch to Chinese, I want to see all the instances of war in the data, and I back them here. And now we can actually look in the columns where it occurs by clicking here, and then you see the rhyme words are annotated here, you see like here it occurs in this position, it rhymes with, and here are the reconstructions, and here is the next stanza, and I have this color schema in order to make it easier for the people to detect the rhymes. I think this is already really useful at least for beginners. So for me, it was useful after watching to see what happened because when looking at the whole, usually it is difficult for the people who do not really know all the classic text, neither words or something to identify the rhymes. But this was the first step just to illustrate this. Now getting back to the, now, the network I was talking about, how did I reconstruct it? I took all characters which occur in the shitting in a position that was annotated as rhyming, a country of access annotation, they are the notes, and the links between two characters are drawn whenever they are annotated as being rhyming in a given poem. And the number of instances in which two characters rhyme in a separate stanza were pounded and assigned as the edge rates of the network. And note rates were derived from the number of times the rhyme words occur in the shitting in a potential rhyming position. The data was then further normalized, we need to normalize when working with this kind of data by counting every pair of identical lines only once, identical sections only once in order to avoid phrases via too much rate. We know that there are many phrases in the shitting which are repeated across poems, and we shouldn't count them two times or three, because then we think that these words are really strong connected, but maybe it's just because the people would imitate the people who started to make them. So in order to, this is easy to do by just counting it once, so we count them once. But with less, when I was thinking that later, I should further normalize this because if we have a poem or a stanza in which three words rhyme, or with each other, then I would make three links between A, B, A, C, and B, C. This may be a problem because we could assume that people who write a long stanza and want to have all words to rhyme, they get sloppy. They get tired and then they think, okay, this doesn't really rhyme, but I still add it here because it makes sense for this case. And we can see this also in hip-hop. So in order, so we should, in order to account for that one should maybe divide by the number of the group, by the size of the group, but I didn't do that because it was only recently that I detected this error. But I think it is still useful. So we have this certain bias, but we can work with it. And now, regarding the analysis of the shooting at work, let's first look at the birds I drew. This is quite interesting in my opinion, because we have almost a small world graph. A small world graph is one where you can get from any note to any other note. So we have this disconnected component. Many characters are completely, but we have this large cluster of things that are all interrelated. We could now, what do we do with such a network? Actually, it's, okay, we could say, okay, let's look, let's zoom in, zoom in, zoom in, then we can see whether we see something. But it's not really interesting, actually. I realize that it's not really, it's rather difficult to find anything here in structure. So we need something more. Possibility, since we have the labels, and we can visualize them by using certain labels and giving them colors, we could say, let's take the five balls of our Chinese, or the six. This wasn't intended, so. And let's color it accordingly. And what you can see is that we see some structure emerge. We see that usually it's, so when we see something that this network has an internal structure. So it is not that this network is something, it's complete nonsense what we see here. And once we have something like that, the small and the world network almost, and which we would cover, we have a large, we will also identify clusters. And this are actually the things we are interested in, because these are the groups where we might then have a reconstruction of a rhyme group. And clusters are then actually which I will talk in a minute about that, are what we can then try to identify here. So I looked at transitions between the rhyme groups, because I was interested in that. So how many cases of R and up do we have on something else? But as you see here, this doesn't give us anything in this way. So what I was doing was maybe probably there was some bias in the coding, or I was, the approach like that, that doesn't work by just looking for the same rhyme, agglomerating all nodes into run rhyme group and then seeing how much they interfere. It's getting really messy here. What we can also do, and this is maybe more interesting, you will see if you look at a smaller set of the data that's making computing how often a certain rhyme group rhymes inside and how often it rhymes with other runs. So rhyme group here meaning Chinese Vexes, the Garret Instruction. And if you look at that, without tones here, though, but tones should be, I mean, blotter stop and S suffix, which is not ideal, but it's just a first step. You can then see like how often do they rhyme and whenever they have a really highly red color, then it would mean that they rhyme in themselves. So it's a really established group. We see some spots here where it is almost they rhyme more often with other than with themselves. So in these cases, actually, we might start looking for whether we find some patterns that we should revise, maybe, or we can find an explanation in the approach that I use. But even better, it's searching for communities. Community is actually the most interesting thing, in my opinion, when we're doing network analysis. And just to explain quickly what a community is, I mean, you may know what a community is, but it comes from social network theory and the idea. So people are interconnected. So we have some people here and the people, they know each other, X knows Y and Y knows Z. And if we look at the connection now, we can actually identify certain connections that are more important, that are more inside the group than outside. And we can show this, for example, like this. In this case, I would say that this is a group and this is a group, but these nodes are less important. Maybe they just know each other, like coincidentally. By this, we can then split a network into two communities, in this case, and label them accordingly. We can also give them labels like Chelsea and Liverpool, or we can assign numbers to them, like 1 and 3. And this was last Saturday. By using this, I was then applying this community algorithm to the network. So I was using InfoMap, which is, in my opinion, a really nice algorithm, but also one and best from 2008. And it is a fast community detection algorithm with very good performance. So in my opinion, my experience also working with other data, it always leads really nice results. It handles weighted nodes and weighted structures. We have most of them here in the network and uses random logs to the network in order to determine the best partitioning to communities. The results can be again expected in another app, and I will show this now. I can actually make it a bit bigger. So I will just plot all the results. The whole application, I will just show this later. Because now, let's look at the big picture of the... So we make this analysis of the network and split it into communities, split it into groups. The question is, what do we get? And if you look at this, then this is what we get. So you can see we have large clusters, but actually we have almost 400 different clusters. So the things are, this is actually only showing the connection from one cluster to the other, and they are all still interconnected. So search infrastructure here is still difficult. What do I find here? It's just maybe it looks impressive or something like looking at a network like that, having a nice visualization, but it doesn't really have... So I also looked into what they actually show. They are not necessarily overlapping directly with the OCBS reconstruction of the RIME. So that necessarily means the same RIME in the OCBS system could be split into two communities, just because these rules, which also make sense because we know that not all words will be used in the same context in order to RIME. So this is why interpreting the data is difficult, because a community, as I said, so a community identified by informat is not necessarily homogenous, since RIME is also not homogenous. We have cases, especially when a character, of course, only once in the shooting, then it will be maybe assigned to some place where we do not want to see it. A split of words with the same RIME to two communities does not imply that they do not RIME, and we always need to get back to the real data and see what is going on there. Now this is why the... This is why I think that the app is useful, because here we can search for certain parts, so it is really preliminary. So I can, for example, I will just show that I can, for example, say, like, give me RIMES, not in Chinese, RIMES equals R and I, and then I press OK, and it fits all the instances where we have any of these, like in the data. And we can see here, for example, here is a group community 16, and now we can click and see all the characters, where they are here, we can see the stanza where they occur, and we can check this with the other app. So if I click on this and open the link in the new tab, then I see in which poem it occurs. I think this is also useful just for checking the specific instances. Okay, now getting back to... So what I was then doing is just breaking it down. So I was looking at only certain cases, and what I wanted to look at was the R code, because this is something that is new compared to 1992, and this is something which may be worth looking from this perspective, because the RIMES may give us some evidence here. And here's again, like the same what we had before, like inside the group, outside the group, how did they RIME, and we find that we have certain valence established cases, like AI, AN, and AN seem to be rather clear here, but we have also cases where it is less clear. So R seems to rhyme more often with N than with itself. These are our cases we need to look in detail. So this is also what I... So I'm not claiming that we just use these things and show, like, look at this, but when those back in detail look at the cases, what is going on there. But now an interesting case, just to illustrate it, this can be useful to advertise it a little bit, because looking for example at RI and AN at this split, and we look at the network here, then you can actually see that it seems to have some structure. So we have a cluster here, we have a cluster here, and we have a cluster here. And here I use the annotation of AN-RI in old Chinese backster saga, as Laurent provided me with, and this is only the first one where I was ignoring the fact that in the book, actually, they have this nice practice of showing uncertainties. I was then, here I do not, I just ignore all uncertainties and say I take them as right, but if we add the uncertainties, the picture changes somewhat, and we see that the structure we have with IRI's being over here, the greenRI's being potentially over here, the blueRI's are, which should be a transition group, occur here, makes much more sense. So with the uncertainties added to the uncertainties, and the uncertainty are actually cases where we can now use this analysis in order to provide additional evidence in order to resolve them. So having something like this potential split, but of course it doesn't mean that, for example, this green character over here that it isn't really known on or something, it may be, it is, because it only occurs once, it's isolated, so we need to be careful when looking at the data. But now, again the same view, but now we use the community detection algorithm, and how it splits off this, and it splits it off into separate cases, as you see here again, and here again I don't show the unclear cases, and if you look at this cluster, for example, and I now go to the unclear view, then you can see that all the green cases which were annotated as potentially uncertainties are getting yellow, and we have them only surrounded by blue runs. If you look at it for closer, then we have these characters here, and now provided that we are really sure that the reconstruct is really sure about whether Shan should really have an R quota, and we had the uncertainties, we could make the conclusion that we say, okay maybe the whole cluster is R, should be reconstructed as R, and here is a point where the detailed analysis of course, and I'm only showing the preliminary stuff, could then potentially yield an improvement of the system by resolving the uncertainties. This is all I wanted to show, only a short outlook, and where are we with this? Well, right analysis based on the network approaches is still strictly experimental, we need to enhance the data, missing readings, drop lines in the shifting text, where I have all kinds of stuff, like the version I was using was not particularly good, and we need to enhance the models, better normalization, as I mentioned before, but already at this stage it turns out to be useful to inspect the automatically identified clusters in times of doubt regarding the reading of a certain character. I think it's generally useful to make use of interactive visualization techniques when dealing with huge amounts of data, and tools like the Shijing Ryan Rouser I especially used before beginners, but probably also for experts, impression. And where could we be? Imagine a world in which we have large collections of writing networks on all kinds of poetry, ranging from Shakespeare via Bob Dylan up to Eminem. Imagine we could gather important, we could then gather important information on writing behavior, both cross-culture and culture specific. We could track the emergence of hip-hop or the degradation of writing patterns in modern poetry, or we could even, we could even try to test the influence of the Judas call on Bob Dylan's rhyming practice. Imagine seriously that we could carry out large-scale comparisons on rhyming practice in different stages of Chinese, that we could propose transparently our individual assessments of what we think rhyme and pieces of all Chinese poetry, and that we could trace the history of Chinese and poetry networks. And I think, doesn't that sound like it could be interesting? Okay, and thanks to Laurent Sagan, William Becker perhaps, for discussion tips, ideas and data. Thanks to Bob Dylan, Eminem Shakespeare and all the other poets out there. Thanks to you for your attention.


Hello, this is Professor Farhad. In financial accounting, you'd learn everything you need to learn from the basics. So this course teach you accounting 101 right from scratch and you will build up your knowledge step by step. Now remember, once you sign up for my subscription, you will not only have access to this course, but to all the other courses. Good luck, and I hope to see you as a subscriber.


Welcome to today's Wednesday webinar. This is video two covering details about CESA. And as in the last video, I explained that in this video, we're going to be talking about adding students to your CESA account, getting them signed into CESA, what to do before inviting parents and then how to invite parents to the CESA account and then any frequently asked questions, a few frequently asked questions that you might have about using CESA. So let's get started by showing you how to get CESA and get your students onto CESA. Okay, let's talk about the different ways there are to get your students signed into your CESA account. This screen is actually from the CESA Help Center and it talks about the different ways that you can share your CESA class with your students. The first way is via class code and that's if you have maybe one or two iPads for your kids to use within your classroom and those devices are shared. So what you can do is you can have the student sign and using a QR code that you get directly from CESA or a text code that again comes directly from CESA and basically they either scan the QR code or type the class code in and then they are connected directly to your journal. The second way is recommended more so if you are in a one-to-one environment where a student has their own device and they can sign in the same way you could give them the class code or give them a text code and then they choose their name from the list but in the one-to-one setting if you give them that they can actually stay in signed into their journal for up to one year. So if they though would need to sign in with a different student account basically student one would have to sign out and then student two would be able to sign in. And the last possible way to get your students to sign in is through using email or a Google account sign in and this is only recommended for kids who are older because it requires them to have a Google account or a email address to sign into CESA and basically CESA is then connected to their Google account and password and they sign in that way and you have to enter that into your CESA account. Okay, first to get students signed in I wanna show you where to go in your account to find either the text code, the QR code or the email addresses to get students signed in. So if you click up here in your account once you're logged in by your name you get this menu and so you're gonna come down here and you can click where it says get class code and that screen that pops up is the, first of all you give the QR code it tells them where to go for an URL to sign in if you're using a browser. If you're using a mobile device it will just ask for the QR code. Here's where you can get the text code if you wish to have them sign in. Notice that the text code's only valid for a certain amount of time so each time you go in here that may change so just be aware of that. If you want to print a poster you just click here and it'll print that poster for the QR code and you can change how you manage the class to send the email right down here where it says manage class and you can change how they sign in. This will allow you to change it so that they can sign in via email if you choose. In this next part we're gonna talk about getting your students signed into your CSaw account and in the beginning part of this we talked about that there was two different ways to allow them to join. The one way that it talked about is sending as having your students sign up via email if you choose to do that of course they have to know their own email addresses and passwords but then what they're gonna do is they're gonna go to CSaw.me and they're gonna choose that they're a student and then they use their email address that they have to sign in and then they choose a new student account and once they do that and they create their account within CSaw then you give them the class code and if I click here it'll show you my class code right there, it'll give you the class code and once they type that in then they're finished creating that account within their email address. So for those kids to get back into their account they would have to sign into their email address. Now the other way is to have them join via code and if you are via QR code so if I click here on my screen on my screen I get the QR code that I could print out for the students to join and then they can join by going to a browser and typing in just CSaw.me and it'll bring them to this screen and then they're gonna choose that they're a student and then it's gonna bring up their screen where they can scan the QR code or they couldn't enter the class code and I'm just gonna code here. So if I do that and then I go back into my student account and then I put in the class code I'm gonna say student sign in and then it's gonna take me into that class. Now this is the student. I'm in here as the student and it'll show you the class name up here and then it'll show you only the feed for the class. So that's how they can join via a browser and I'm gonna close out of that and then I'm gonna take you next into how they can join via an iPad or a mobile device. Okay, now to get your kids logged in via a mobile device with a QR code, first of all you'll have to load the CSaw class app which you see over here on the left and when you open that app it's going to ask if they're a teacher or a student so we are assigning in as a student I'm gonna select student and then it's gonna bring up a screen and the screen allows you to use an email to use the text code like I showed you earlier or to scan a QR code. So if I tap where it says scan a QR code and enable the camera and access the camera then I have printed off the QR code for my class and so the student can just use that code and then it takes them right into your class and so as you can see this would be a student view for the class and this is where they can add any of their artifacts to begin and that is how you get students to join your class. You have your account created and you know how to invite your students to your class. It's time to start thinking about inviting your parents and this is one of the most powerful pieces of CSaw because your parents now get to take part in their child's education on a daily feed depending on how you decide to set it up but the first thing you gotta do is you need to make sure that your parent access isn't enabled and the best way to do that is you click on your class name up here in the upper left, come down to manage class and then you scroll down to where you see parents and right here as long as this is green your parent access isn't enabled if it's not just click on this circle over here to switch it to green. Now once that's done you are ready to start inviting parents. Now a good rule of thumb before inviting parents is to create a little welcome note for the parents so as soon as they join they see this note at the top. So what I'm gonna do is I'm gonna go to the plus sign over here in the upper right hand corner. A couple options for you here is you could actually record yourself giving this welcome message and the details behind it. You could also add a note and I'm gonna choose to add a note here. A couple things that you wanna add in this first of all welcome to the class and then a kind of a detail about how you're going to use this class and a couple specific things for your parents to know about using the class. And so mine reads welcome to our CESA class. I am so excited to be able to communicate your child's learning through this class. A few things to remember about our CESA class. One all comments should be constructive. Learning something new takes time and we need your help to make it successful. And that is in relation to using CESA and how you're going to make it function for your parents and students. There's always great ideas that can come from parents and so for them to make that suggestion is a good idea. And number two, specific comments are best. How can you add to the conversation? You wanna put that in there to make the point that they can post comments but you want them to be specific and to the point so that your students are encouraged to read those and parents are encouraged to be insightful. And three, in an everyone post, please remember your comment is shared with everyone, students and parents. And this is an important part to put on the welcome note because parents don't necessarily understand that if a feed is shared with everyone when they make the comment, it is also shared with everyone. Of course, that is also up to you because you can accept or deny the comment as well. In this last sentence, this is a great way to encourage and lift up our students. You wanna put that positive note at the end because you want the comments and the use of this app to be encouraging for your students and you want them to want to share with their parents. So once the welcome letter is complete and you might say, put your name at the end and sign it. And then once your message is complete, you're going to click on the screen check mark and it's gonna give you the option that you could add more text or you could record your voice reading your letter if you choose. And then once that's done, go ahead and click on the check mark again. And once that's done, you get the selection of your students. If you click everyone, then you're gonna see that it's gonna go to all the students and the parents as they sign it. So I'm going to check mark that. And then I have folders set up and so I have messages from the teacher. So I'm just gonna add that to that folder and then click the check mark again. And then it's going to upload that message, that welcome message to the feed. So after that, you want to, so you have your welcome letter for your parents. Now you wanna send home the parent invite or the parent handout. And the way that you could do that is you go over here and you click on your class and you're going to go to invite parents. And when you click on invite parents, it's gonna give you a few details there, but you have the option to print the parent invite handout or send via email. I like to do both just to make sure we get our parents connected. But if I click here where it says print parent invite handout, what it's gonna do is it's gonna bring up a PDF. And I'm going to want to uncheck the two-sided because this PDF is gonna print out one for each student. So if you look here, this print and this QR code is specific to this student. And so when you send it home, you send the specific student note home to that specific parent. And then as you can see, it gives some instructions, some details about the tool itself. And then it gives the parent instructions on how to sign up. It tells them how to sign up via a mobile device or how to sign up via a browser on a computer. So it gives them the steps for both. And once they complete those steps, then they will have access to only their student's portfolio. So that's how to invite them via the printout. If I send a parent invite email, what I do is I copy this detail and then I paste it into the specific parent's email. And it gives a, again, it gives a little bit of information. And then you can go back and tie that parent to the student account. But again, if you choose to, I maybe would start with the QR codes first. And then if you have trouble getting a parent invited, then you can go back and send an email or you could do them both right away. But those are very easy ways to get parents involved and to get them signed up for their student CSock. Okay. And finally, for some frequently asked questions when using CSock. The first question is are there, is the parent invite come in any other languages? And actually it does. It comes in Spanish or French. And so I'll show you how to get those. If you click on the name of your class, go down to invite parents. When you click on that parent invite handout, let it load here. If you scroll down towards the bottom, here are the list of the frequently asked questions. And so this first link, if you click on it, it'll take you to the Spanish version. The French version is right here. So once you click on it, you get another PDF to print that version of the parent invite. The next question is why do I need to approve some parents and not others? Well, the parents that you send an invite to through email, they have to be approved because that email link gives them access to the entire class, which then you have to go and set them up with only their student feed. So the ones that you invite or accept via email will have to be accepted as parents and then given their student, only their student access. The ones that you send an invite to through the QR codes, that is a specific QR code tied specifically to their student. And so the acceptance for those is actually giving them that letter. So when they have the QR code, they are automatically approved. And then another question and a concern is what can parents see? And I'm gonna log into my parent account here. Your parents are only allowed to see their student feed password right here. So I actually can only see my child's artifacts and then what the teacher posts as everyone. So earlier in the video, I showed you this welcome letter I posted to everyone. So I as a parent have access to that and can also like or comment based on that feed, which is also has to be approved by the teacher. But then I can see only my student items. If you look up here though, another frequently asked question is can parents have access to more than one child's account? And the answer is yes. So under my name, I show that I have two children. I have ES and SG as my two child feed. And so I can switch between the two over here and see their artifacts. And then I can also go back and add another child to my journal. So I can click here and then I could scan an additional QR code or use a link. So I could have all my children in my one CISA account. The only thing that parents wanna be cautious of is when they, to load another child, they should follow the sign in instructions. But when they choose sign in, instead of creating an account, they use their already created a parent account. And then they just click here. So they sign in with their email address that they've already used, and then they just add the journal. So they don't wanna create a second account, but they do, they can invite or they can sign into another child. So those are some of the common frequently asked questions. If you go to the CISA website, there is lots of them listed there for you as well. If you have any additional questions. Thanks for watching. And for our next CISA video, which would be CISA three, we're gonna focus on how to use CISA in the classroom. Some of the different tools that CISA offers and what that might look like with your students for you. And so I look forward to seeing you next time. Thanks for watching.


The members of a feminist group turn into pigs. The office of a political party occupied by screaming apes. All the participants in a religious ceremony lobotomized without a single drop of blood being spilled. Faced with the horror encountered on each occasion, Maher couldn't stop wondering what the point of what he was witnessing was, what the culprit of these insane acts was up to, and what was the meaning of the flyers found at each site, sometimes stained and partially destroyed, but always filled with meaningless scribbles. And even more, what could be the next step of that guy? Because even though he was one of the best detectives in the world, he had to admit with regret that he was always one step ahead. Back noon on a Sunday, Baptist Church of, well, its name and location are not relevant. Besides, they should take care of cleaning up the place later. Once I conclude my investigation, thought Maher. It had all happened during the morning, during which time the entire congregation was missing. On that occasion, Maher was lucky to arrive even before the police. The front door of the building was slightly open, so he was able to enter without any problems. Being immediately his nose punished with a stench similar to a farmyard.  Apparently, Maher talking to him was not the best idea, since the surprise ended up overcoming the man, causing him to faint. It was at that moment when he noticed for the first time that guy, laughing loudly from the entrance of the building. I can't believe it, who has been my stalker in aspiring foe as a cat. I cat and even more with a hat. In the name of Darwin, this is incredible, sublime, and unheard of.  Because his interlocutor was not a person but an ape, specifically a chimpanzee. Apparently the specimen had nothing exceptional about him, except that he spoke and wore a pair of sunglasses. After taking a deep breath and still smiling, the monkey continued. Now, kitten, tell me what you think of my art. Is it true that the message conveyed by each piece is powerful and unique? Although sadly I can't consider myself an original artist, I just help others to express what's inside them. Maher pulled back his ears and hissed with anger.   All I see is a crude joke and lousy taste. You're no better than a monkey throwing its dung at zoo visitors. Clearly offended, the monkey replied.   If it bothers you so much what I do, why don't you stop me? Before he could finish saying those words, Maher jumped right into the space, hurting him. The struggle was brief, although he clung fiercely to his rival, the ape ended up grabbing him, throwing him violently towards the benches, towards where the grip of sheep was, after which he fled. My name is Pan, pussy, was the last thing Maher heard before he was knocked unconscious. The next few days were a time of depression for Maher. He stopped grooming and eating and used catnip to excess, even more than the doctor would have tolerated.  At least the monkey, Pan, he corrected himself, had not acted up again. Perhaps he feared being discovered again, although he doubted it. In the past, he had managed to take down teams of well-trained men with conceptual traps and worse things. He wouldn't stop for a couple of scratches from a simple cat. The monkey only believed in what he called art, and what he took as a personal mission, and after meeting him personally, he understood that nothing would stop him. It was during a furry convention that some of their attendees began to behave strangely, emitting disjointed vocalizations and moving around on four legs, as well as trying to mate with domestic animals present at the venue. When other assistants managed to immobilize him and tried to remove their costumes, they discovered that the costumes refused to their tissues and that the fantasy features were now functional. According to witnesses, all of those affected have received flyers from a short guy in a very realistic Champagne Z costume. They came and took the transformed subjects away, making the witnesses forget what they had seen. Again, he was one step ahead. It's just a hunch, Marr told himself. The monkey bragged about his creativity. He never repeated himself in his plays, but that was the closest public event. Besides, he couldn't help thinking that the last performance he had done was directed at him and that it was a direct challenge. That was why he had left without the knowledge of his superiors. On his way to what he hoped would be his final confrontation. Early in the days that a Japanese animation fan's convention, when arrived, he found the monkey in a ridiculous costume, consisting of a turban and a cape, in addition to the ever-present sunglasses, taking a picture with a girl about 15 years old, dressed as the character of a popular series. The girl, after thanking him for the photo, accepted a flyer that the monkey was handing out. It was only a few seconds after reading a document that the girl began to scream and her body proportions altered, her eyes embraced enlarging, and her waist narrowing in front of the horrified gaze of her friends. Hello, kitty. I see you're a little early for the show. I must congratulate you for following the clues correctly and finding me. It shows that no matter how much you deny it, you are a real fan of my work. Before he finished saying those words, Marjora Smith and Wesson M642 from a holster strapped to his side and shot him five times, taking him down.


Hey, it's Anfa and you're watching AnfaVlog. In the previous episode, I've been talking about compression, the basics of compression, what is threshold, what is ratio, what is attack and release and what is knee and makeup gain. So today I'm going to do advanced compression. I'm going to talk about different techniques of using compression and different variations of compression. Follow me! So, I assume that you have watched the previous video and you know what the compressor is doing, basically. So today we're gonna make some advanced techniques. There are basically two kinds of categories for dividing compression, I would say. One is what you can do with the center compressor. So this is kind of different techniques of using compression and the other thing is different variations of the whole process. So you need a different processor, so you need a different plugin. I think that technically, well, you could have a plugin that has all the features that you would ever need for any variant of compression, but I don't know of a single one, but before, before I talk about all these different types of compression and compressors, I want to talk about one parameter that I didn't talk about in the previous video, which is kind of like, it's useful if you're doing advanced stuff and this video is for advanced stuff. So, I just have this my order session. I've got three helm instances, so we're gonna synthesize some sounds that we're gonna use for compression. I also have an audio track so I can record my voice and show you something else. I'm gonna just add a cough compressor. Come on, where are you? There you go. So, I haven't told you what detection is. So detection by default is set to RMS. You can set it to peak. Difference is, this is the function that the compressor uses to measure the input level, so the input loudness or volume. Peak level is extremely fast in response. It basically takes the highest value of any peak of the signal and takes that. RMS, however, is a more gentle, smoothed-out algorithm. It stands for root mean square and it's a way of calculating the effective power of an electric signal. And this, like, comes from the electric world where you just measure the effective power of an electric signal, just electric current going back and forth, alternating current, which is exactly what sound is in an analog circuit. In our speakers, in the microphones, the sound is just alternating current going back and forth. And here I have a program called JKmeter, which stands for jackmeter. And this program is currently wired, so my voice is running through it. So when I go, whoo, yeah! You can see there are two things happening in this meter. It measures RMS, which is effective power of the signal, root mean square, and peak level at the same time. The RMS level is denoted by the colorful bars lighting up, and you can see that it's reacting rather slowly. It's slowly rising up and then slowly falling down. You can also see that it is way lower from these white bars floating above it right there. And the white bars are the peak levels. However, the peak levels have some time that they stay in place after being incremented and then fall down. Because if this meter showed us the peak level without any decay time, it would be unreadable because it would change so fast. It would be going up and down, up and down. So we really care about the peak level in a time window. So the highest value of our signal in any given time window. And this is why it has some hold and decay. So when I just make a sound, push! You see it goes up or rather goes right. And then it stays there for a while and then it starts falling. This is decay. So it's going up. This is like measuring the top peak level. Then it's holding and then it's starting to decay. And that is made so it's easier to read the value because we don't really care about the intermediate peaks values. Because that doesn't tell us anything. We need the highest peak value in a time window, right? But the RMS constantly and it's falling constantly. And that's the nature of RMS. Of course it has some extra decay. So it's falling down a bit slower. It's falling down a bit slower than maybe it would for the sake of being more readable. But this is how RMS behaves. So when you use RMS measure measurements in your compressor, they are more smoothed out in time and basically slower than if you would use peak level metering. So there's a mathematical fall in formula. But what you need to know is that RMS basically smooths out the measurement. It has some time averaging, right? It's not instantaneous. So the basic rule of thumb is if you're using RMS and you feel your compressor isn't snapping enough, isn't reacting fast enough, you just switch this to peak and then you can catch the peaks much faster. However, that can lead to some maybe some distortion. So be careful to not have too short of an attack or release. Usually if you have too short release, it's a problem. All right, let's talk about different types of compression. You probably heard about limiting. And basically limiting is compression with a higher ratio. There is a definition that compression with a ratio higher than 10 to 1. So you see, we have this function, I'm going to turn down the knee so we can easily see the threshold which is here. If we make the ratio 10 to 1, something like that is considered limiting already. If you turn this 20 to 1, actually it goes to infinity after 20 to 1, but if you turn this to 20 to 1, this is considered brick wall limiting. The thing is you can actually use a compressor as a limiter if it has low enough attack and high enough ratio. However, limiters have some extra features. And this is where we branch out to like specialized types of compressor units as opposed to just using what you have, the basic compressor unit, in a different way. So I'm going to open up at a limiter called limiter. I'm going to make them stay on top so we can have both of these windows and we can compare them. So on the bottom, we have the compressor. On the top, we have the limiter. They have quite a different layout and you can see that the limiter doesn't have the graph and it doesn't have as much control as the compressor. However, it has some functions that the compressor doesn't have, which are very useful just for limiting. So we could use this compressor as a limiter. However, the limiter has few functions extra. One is look ahead. And look ahead is allowing the limiter to cut the peaks and not let them through. However, to do it more smoothly because the look ahead option is delaying the signal that goes through the compressor, so for the limiter. So if you delay it by 10 milliseconds, it's going to also have the attack 10 milliseconds. But it's going to start turning things down before the transient hits. So basically, like you have a transient here, right? And our regular compressor with attack at 10 milliseconds would start compressing after the transient and the transient will go through. With the limiter, when it has 10 milliseconds of look ahead, it would actually delay the whole thing by the 10 milliseconds start compressing here, right? And it would compress or rather it would turn the thing down. So the transient would be fully turned down. There would be no transient going through, but it would start compressing before the transient starts. The problem with this is that it delays the signal. So if you then want to mix back the limited signal with the non limited signal, you have phase shifting because the two signals are not aligned in time and the phasing issues occur. However, it's nice to make the limiting a little bit less noticeable when you can afford a bit of delay. And usually for mastering, this is not a big deal. This is also why in mastering, people are using lineier phase EQs because they also have to delay the whole signal to be able to line up the phases. So the total delay is the same for all frequencies, but well, they are mixed out. So you have delay. For mixing, this is a no go because if you have a delay and you mix this back to with something or for example, a different copy of the signal process differently, you're going to have phasing issues, which is going to destroy your mix. But in mastering, when you're just doing it on the stereo mix, you're not mixing it with anything else. You're applying 100% of the processing. It doesn't do anything. All right. So that's look ahead. It's delaying the signal and starting to compress before the transient hits because can delay it. So it's listening. Oh, click. Let's start the delay. Let's start a compression. It's lowering the gain. And then it's buffering the signal for whatever you tell it, like 10 milliseconds and then letting it out already limited. But it started fading it down before. Kind of weird. I'm not sure if I can really hear the results of look ahead. I didn't do any specific tests, like comparing the same settings of limiting on the same music, turning look ahead on and off or setting it to minimum and maximum comparing it to. I didn't do that. So it's not a crucial thing. The crucial thing is how much you limit to me. There is another great thing that the limiter has that the compressor doesn't, which is over sampling. Here it is. We can have two times three times and four times over sampling. What this does is help us prevent inter sample peaks go through the limiter. Because what are inter sample peaks where basically if you have two samples touching zero decibels to consecutive samples, like you have many samples in this digital signal, but two of them right to each other touch the zero decibels. The thing is the samples around that probably are below zero decibels. So the signal that will go through the thing is going to cross the zero decibel level. So actually we are clipping even though the samples don't exceed zero decibels. This is inter sample peaks with over sampling. The limiter internally is converting the sound to a higher sample rate. So if you have 48 kilohertz and you turn over sampling to four, it's going to actually make the signal 192 kilohertz. So it's going to insert additional samples at the function. And then it's going to see, oh, these are actually above zero decibels. We have to limit that. Without the over sampling, it would just see, okay, these samples didn't cross zero decibels. We have nothing to do there, right? If you're limiting at zero decibel threshold. So yeah, this is to catch the inter sample peaks. And from my experience with extremely loud signals, extremely like extremely high transients, you can still have the signal go above the limit. So for some applications, I actually use two limiters with over sampling and a bit of look ahead, one after the other. So when the first one didn't catch the peaks quite well, the other one will. And that's to ensure that we don't cause any clipping after the export. So that's over sampling. It's increasing the sound, the sampling ratio, the sampling rate within the compressor to make sure we really can accurately measure the loudness of this thing before we limit it. So we don't let the peaks through even if they are not detectable, if you just measure the peak level of the samples at the current sampling rate. The big difference also between the compressor and the limiter is that the limiter doesn't have the ratio control, because the ratio is just infinity. It's limiting as much as it cast to to make sure nothing crosses the limit. And the thing is with limiter, if you turn this thing down, it's not only lowering the threshold, it's actually not. It's it's arising the input gain. So the signal is going to still be limited at zero decibels, but you're going to add six decibels to it before the limiting happens. So this turning this down makes it louder.  And then you have to use the makeup gain to actually make it louder. There is no function graph in the limiter so it's not obvious what it's doing. But basically turning this knob down makes turning this knob down and this knob up at the same time, which is not obvious. And this is the compressor and the limiter operate in vastly different ways. Another difference between limiter and the compressor is that the compressor has many more features that the limiter doesn't. For example, you can change the attack time and release time. Well, you can change the release time, it's of course you can, but you can change the attack time other than affecting the look ahead. Because basically we don't want the limiter to let anything go through. If we want something to go through, we use a compressor because the compressor will allow us to let some stuff through by increasing the attack or making the ratio smaller. Limiter has to limit. It's not supposed to let anything through. Okay, so that's it. Okay, so now let's go back to the techniques. There is something called parallel compression, also called New York style compression. The thing is we are compressing the signal hard and then we're mixing it back with the uncompressed signal. So it's sad to have kind of best of both worlds that you have the punch from compression, but also you have the air and natural dynamics from the non-compressed signal. I often use that on a drum bus. So I mix all my drum instruments, kick, snare, hi-hat, crash everything into a single submix bus, and then I apply parallel compression on that. Sometimes I do this to individual drum sounds to fill them in, but mostly on the drum bus to make the drums feel bigger, feel heavier, feel more powerful. I know that it's rare for a compressor plugin to have a dry wet control like the cough compressor does, which is very handy because you can do parallel compression without using external buses. However, I know that many people are using plugins that don't have a dry wet control and they just create a separate bus called like parallel compression bus and they put a compressor there, make it crash it hard, make the output quieter so it doesn't overshadow the main sound, and then they just make aux sends. So they have their main kick sound and they send a copy of that to the parallel compression bus.  Another thing that we need a specialized variant of the compressor unit is sidechain compression. So I'm going to add a sidechain compressor and you can see compared to the regular compressor this one has more stuff. So we basically have some extra controls like the detection part is moved from here to here. We have our graph which is okay. I'm going to reset the settings on this one so we have the same thing so we can compare this easier. We have a sidechain thingy here which is we can use the internal signal path so when I go to pin out settings you can see that the sidechain compressor has four inputs. So the regular compressor has only two inputs because it's a stereo processor so we have left and right channel. The sidechain compressor has four inputs left right and then it has sidechain left and sidechain right which are called sidechain and sidechain two and because of great features of Ardor we can very easily plug something in. We can enable a sidechain input and then we have this thing that we can plug here and we can have any signal routed in here and the compressor can use a different unrelated signal to evaluate the level of the sound and compress things. This is famously used for example duck your pad synth when the kick hits or duck your bass when the kick hits. I'm going to do this today we'll synthesize some sounds and play around with compression using different techniques and see what can we do what sounds can we get and how fun it can be. However there's more to sidechain compressor because we don't have to use the external input and the cool thing is I'm going to disable this the cool thing is the sidechain compressor also has a filter module so right now we have the internals input internally split in two paths and the path one is unmodified it's only being compressed and the path two is going through the filter section so we can for example cut off the lows no bass and use that to evaluate our loudness to determine how much to compress stuff we can do interesting things because we can for example compress a kick drum ignoring the bass or ignoring the highs or compress a vocal ignoring the lows do weird stuff we have some configurations for two filters white band is no filtering the answer is a bell filter so this is the bell no so this is the bell filter yeah and we can like fertile filter one we can increase the gain and change the frequency so we have a peak we can make a fro or a peak we can move this around and we have a hypers filter here we can also increase the level of everything with it I have split which is just just the hypers filter the rumbler which is the opposite it has a low pass filter and a peak so these are different variations of filtering that you can apply to the sidechain signal without using it an external input we could do the same thing just setting up and another bus doing the filtering or equalizing and then rooting it through the sidechain input but a lot of things can be done right here so we don't have to so this is using the internal sidechaining and this is using the external sidechain so we have the second input and only after you so enable this thing you can actually hear the effects of rooting something external into these inputs otherwise this is going to be ignored right so you have to enable the sidechain input otherwise this is going to take effect and with this we are using these inputs right cool every special variant of compressor is the dsr which is basically a less feature for sidechain compressor which is using similar processing you can see we have a dsr configuration for the filtering and it's basically using that dsr is used to remove the sibilance from the voice signal or rather reduce the level sibilance are these sounds right they can be loud and annoying and i'm using dsr in my internal processing as i'm recording this video let me show you yeah this is my carla set up for the vocal processing and i'm using compressor then dsr and i'm using equalization and a gate all kinds of stuff because sibilance are a problem they are loud they are obnoxious and we don't need them we need to cut them down i hear so many professionally done mixes commercial release music that didn't use the dsr on the vocal and it just hurts because every time the vocalist goes ash your ears just explode once you hear this you cannot hear it but please remember to use a dsr on any vocal track and then decide how much you need to ds don't ever think that you can go without a dsr don't you dare however i sometimes use dsr for aggressive leads synthesizers or special effects synthesizers to cut down the highs when they are getting painful which is very useful also you can use them on snares to make interesting stuff with snares or hi-hats so i'm gonna insert a dsr cough dsr there we go this is a dsr it has a threshold like a compressor it has a ratio like a compressor makeup gain two has the detection and it has two modes wide band and split so the wide mode will process the whole signal the whole spectrum of the signal would just duck everything when the sibilance are loud the split signal is splitting the signal at this split frequency so it's basically a crossover it's then processing separately the low frequencies and the high frequencies and it will duck only the high frequencies when the sibilance occur and leave the low frequencies unaffected this might sound better in some circumstances but usually i just go with the wide band because it's changing the frequency balance of the signal and it usually doesn't sound natural when i use it so i i just go with the wide band here's a dsr demo i'm speaking saying stuff as you can hear my s's are exciting the dsr i'm gonna bypass it right now sick sack of kangaroo shoes now let's ds so we are currently in the wide band mode if i crash my voice with dsr ramping up the ratio up to 11 and going down of the threshold threshold it will cut down the whole thing so let's um not make it so brutal and when we just try to make the sr enhance our sound you can hear that it actually does if i disable it the sibilance are painful and when i enable it it's they are not as as big of a problem so we can oh what they do oh crap all right no not as much all right we can also demonstrate the split and wide sick sacks of sugar super soft super soft and splendid she there's also the laxity parameter and i think this is basically the attack and release control well if we make the laxity too small it might also distort the signal especially if we make the threshold low enough to chuck chum like bite the low frequency stuff it's gonna just act distortion especially if i make it wide band just you can use this you can you can abuse the dsr as another distortion unit which is always a good idea to have in your mind to distort things distortion makes things better so the laxity is basically the combined attack and release control and we can listen to what it does if i just make the ratio high the threshold low and then let's just change it i'm gonna do a little hi-hat can you hear the difference yeah it feels like it feels like the more laxity the slower that the sr reaction is so it lets a bit of the high frequency through and then it just ramps down the gain reduction it's not acting immediately and that would confirm why setting the laxity to minimum makes the sr distort distort the signal because the same thing happens with a compressor when we set the attack and release especially the release too short it's gonna just distort and yeah so we have a filter we can hype as the thing and do an extra peak usually about four five six kilohertz is where the sibilants are you can also listen to the sidechain signal with this one and then you will hear what the compressor underneath is using to determine the amount of gain reduction which is displayed here so yeah this is a very useful thing always put this on vocals always okay so i've put tons of different things this this is all the theory i'm gonna show you today and what about multiband compression huh well multiband compression is actually super simple once you understand compression and crossover filters oh well it's compression it's it's simple in theory it's not simple in use in the multiband compressor you basically have a crossover which is a bunch of filters that will cut your input signal into multiple signal paths based on the frequency then you have individual compressors for each band separately each band has its own threshold ratio makeup gain attack release knee and detection type each one also can be bypassed or even yeah funny so we have subband low band mid band and high band this particular multiband compression compressor calve multiband compressor is four band three band multiband compressors are more usual but four bands is whoa it's a lot i can do a lot of stuff i usually do use this to make the kick and the sub bass play better together inside a mix and i usually do that while mastering if i didn't do well enough job and mixing and i just don't want to go back to the mix but also it uh it adds specific coloration to the sound because it splits it into multiple bands and the filters have all phase shifting and such to a degree and then it's mixed back so it makes the sound feel a little bit different try it on yourself good job it's sober yeah you can also use this to have fun with automation because you could bait you know also use this tool to abuse your your very sound make it very very bad distort you don't know what to do distort the shit out of it let's do some practical things i'm gonna delete all these now i'm gonna synthesize some sounds let's make a kick here we have our kick awesome now let's play with the first with the compressor let's see what we can do without with so you can use a compressor to add transient to drums with using short attack and high ratio and then you just turn it up a lot you can also use parallel compression to make this less intrusive i think that sounds a bit better we have tons of gain reduction but this is because we're just letting through a tiny bit of the signal and then turning it down hallway but because we're turning it up 10 decibels almost 10 decibels afterwards we are really accentuating that click so that's a regular compressor okay now let's make a synth pad maybe so we're going to use the sidechain compressor to make the pad duck when the kick plays right all right that will suffice let's keep the sound simple so we can easily hear the effects of compression so i'm now going to add a sidechain compressor calve sidechain compressor and we're going to use the external input so first thing i'm going to go to pin out use sidechain input select my kick track and then root it in so now whatever the whenever the kick plays the signal the sound of the kick is going to come here now i need to enable the sidechain input and we already have sidechain compression this is sidechain compression basically let's add a bass i think my overall level might be a little bit high now let's see what we can do with a limiter so we can see when i turn down it's actually turning it up so this is what i taught you about so you're limiting but you also are making it louder i usually set up my track so the limiter hits it with the drums for mastering for putting out a mix i don't use any limiting i apply all the limiting in the mastering because i want to level balance the levels well and make use of my dynamic range the best for the whole release which is usually an album and i don't want to limit this earlier and then have to have unused headroom in my master or have to limit it again so this is it i'm going to just now record a vocal track and show you how the s-ing works it's shiny shiny shiny i'm gonna just loop this shiny shiny shiny so that's an extreme the s-ing you can listen to the sidechain that's hurt shiny so because it's compressing based on that filtered input it only reacts when the high frequencies are present shiny that's very useful for vocals we can also do the same thing with the sidechain compressor without using an additional input so i'm gonna use a dsr shiny mode shiny shiny shiny shiny shiny shiny shiny so yeah we can achieve roughly the same thing but with a sidechain compressor we usually have more control because we have separate attack release and all that stuff the dsr is kind of simplified down but it mostly does the job very well you don't usually need to reach out for a sidechain compressor to do the s-ing but you can all right that's it there's a lot of stuff in this video i hope you have wide in your wide in your perception of what compressors can do and what they are for there's a lot of stuff compression can achieve and it's very very ubiquitous in music production it's really important you can even use compressors to distort things but it's not completely frequency neutral because it doesn't react as much to high frequencies as low so that can be it can be interesting to spice up your your tones and distort them in a more weird way so that's all for today i hope you learned something if you have any questions about compression or ardor the open source digital audio workstation i'm using check out my other videos or ask the questions and comments i will punch you to videos if i have them answering your questions if not i'm gonna try to answer and if that is an idea for a separate video i'm gonna put this on my to-do list and then make a video later probably also big thanks to the patreon supporters there are two new patreon supporters so big thanks to artem ziransov ziranov and francesco ania ania also thanks to hu the case hu hu the case case i don't know thanks man because of your generous donations i can do this stuff and well life requires money to go on which is simple and i wish i can do these videos for the next five ten twenty years and teach you everything about music production and help the open source community grow because i see that there is not much like this and i think it's needed there is a community but we need to see what the tools we have can do see who we are so i guess more interviews with open source audio developers and musicians will come to life as the first interview i did with mark mac curry the developer of ziransov effects and the creator of zinfusion which is awesome this video is a bit longer than i thought it's gonna be but well this is what you got i am working on a dedicated course for ardor because i see there is a need for a solid guide to teach basics and the fundamentals and then also not the fundamentals but do it in the organized way because people are coming and say well how can i use ardor well i have videos where i use ardor like this one but just diving in is is hard because this program is is big and it's complicated so i'm going to be working on videos to explain that to you in a separate series because i want this to also be you know just focused only on ardor no synthesizers just clear it so so it's just ardor so anyway if you like what i do and you think this is important and you want to help me out with this you can support me on patreon for as little as one dollar a month also you can support me by buying my newest album and bandcamp which is available for free dollars or if you become a patron you get a code to get this album for free as a bonus i will upload this session there's not super much fancy stuff but you can play around with it i guess and that's it well i'm set talking to for way too long right now okay see you in the next video bye