Okay, what is your most favorite TikTok live that I have ever done? He has it. Johnny eating his watermelon and watching The Office at night. That's your favorite TikTok live? Yes, it's so funny. You're just mowing that watermelon down. What do you call it with the spice? Tahin. Tahin. Tahin. Tahin. Here's what's going on.  We're doing it. So I hopped in my car, going down the street, I'm going to smoke these kids. And here they are. You guys ready to get smoked? Yeah. All right. Let me park right here then. The bougie. Yeah. It's freaking LaCroix. But bougie. And just hanging out. All right, quickly. Say your name. Landon. Milo. Milo. Camden. Camden. The three boys in the neighborhood. All right. We're going to play some B-ball. What are we playing? Are we just playing like fourth? First one to five. One to B-one. But like how are we all going to play? Just one to B-one and then. Yeah. All right. All right. Okay. Let's do it then. What's up, Johnny Loi? We're getting smoked. Well, it's one-one, but I think we're going to play now a 2B2, 3B3 and see what happens. Oh, to be on Johnny's team. That's 100%. Yo, I'm bad. You don't want me.  The live. That's not cool, man. Are we going to keep playing or what, boys? All right. So you guys have been on my TikTok following me for a while, right? Oh, yeah. All right. Get in here. 100K. That's a lot. Okay.  He has. Eating his watermelon and watching the office at night. Classic, man. That's your favorite TikTok live? Yes. Yes. It's so funny. You're just mowing. What do you call it with the spice? What's that? Tahin. Tahin. Yeah. I had the tahin. Yeah, I remember that. My favorite live. It was just recently. No. Was it a TikTok? Yeah, it was a TikTok. What is my favorite TikTok? Slap in the salmon. Slap in that salmon. So what are you guys doing right now? 420. Oh, yeah. What are you guys doing? Putting in the Snapchat in my TikTok live. All right. Right on. Right on. Trying to get them ladies. Well, boys, it was a good evening. Playing the B-ball with you guys. Pooping. Pooping. Pooping. Pooping. You guys are awesome. Stay cool. See you guys later. Adios. Are you going to grab your phone? Oh, I probably should grab my phone. See you later, dudes. That was pretty fun. That's fun with your friends. Did I have fun with my friends? Yes, I had fun with my friends. Why are you making fun of me? No, I just, I think it's the whole thing of funny. Say, Mom, I'm done. Or babe, I'm done. I'm done playing with my friends. Do you want me to bring anything? Or like, I think I might get a Sprite from McDonald's. No, I think we're good. All right. Sounds good. So I'm in the McDonald's drive through getting a Sprite. I meet, she's one of my biggest fans. She's like, I see you on TikTok. You follow me on TikTok, right? Yes, I do. Isn't that awesome, though? Great to meet you. Thank you. You can put the change in the Ronald McDonald thing. Awesome. See ya. Bye. That was awesome.


Aaron this offense has been struggling to find its way the past couple days tonight you put up seven runs What do you think allowed you guys to break out? You know we came out swinging, you know in the first inning, you know been attending the two hole You know just a couple pitches in you know solo Homer to kind of get us on the board I think just getting that run early kind of out everybody to relax and go out there and you know stick their approach And you know try to drop something Anthony Rizzo homered for the second time in as many games What could a healthy and productive Rizzo mean for this lineup down the stretch? Oh, and he's healthy He's one of the best first baseman in the game, you know, he works to count He's got a great two-strike approach if he gets there and you know early in the count, you know He can you know leave like you did tonight You know when he's helping he's on you know, it's fun to have him in the middle order That's for sure you hit the ball hard three times tonight including that three-run shot in the fourth You've been dialed in all season long, but did you feel like tonight in particular? You were really seeing the ball well. Oh just another night, you know trying to stick to my game plan I didn't start off the night, you know too hot with the strikeout, but You know the guys picked us up and you know got us some early runs and a lot of salt I kind of relax and go out there and stick to our approach Yankees fans always travel Well, but have you been impressed with the way they've represented here in California? Wow, it's this is amazing. There's still thousands of people sitting right here watching this so it's You know, there's some of the best fans in the world and you know makes these games fun in the West Coast That's pretty sure you're a big reason why I congrats on 51 Aaron. Thanks, buddy


So, today I'm going to be explaining how you can lucid dream tonight. So this won't take long. I'm going to just explain very briefly in this video the things you need to do in order to have a lucid dream tonight. So hopefully this will sort of skip past the need to practice for weeks on end, go through different techniques. It's just I'm just going to very clearly explain how you can lucid dream tonight. Almost without fail obviously it will be different for everyone but this is what you should do. So number one, spend the rest of today, depending on what time you're watching this, if you're watching this in the morning then that's ideal, but spend the rest of today learning about lucid dreaming and reading as much as you can. So read articles, read my blog howtolucid.com, watch my videos here, read some online books, I have some books available on Kindle, read articles, just read as much information as you can to get your mind in the right mindset to have a lucid dream. You want to immerse yourself in the subject. Absolutely as much as you can. Read stories, get inspiration from forums, learn about how other people have experienced lucid dreams and what it's been like for them, but basically what I'm saying is immerse your mind in lucid dreaming, make it all you think about for the rest of today. Step two, when you wake up in the morning you're going to need to write down what happened. So hopefully you will have a lucid dream but even if you don't and you just have normal dreams you're going to want to write them down in a diary, in a notepad it can be a book, it can even be a note on your phone, you want to write them down. The reason for that is that going forward you're going to want to have obviously more lucid dreams, right? You're not just going to want to do it tonight, you're going to want to control your dreams every night. So well as close to every night as you can get, three to four times a week maybe.  Step three, you're going to want to do what's called the wake back to bed technique but you're going to slightly modify it. Now let me explain. So as I said, you're going to learn about lucid dreaming tonight by learning as much as you can about it, reading articles, stories before tonight so that you can increase your chances. Then when you actually go to bed, here's what I want you to do. I want you to relax as deeply as you can. So just don't think about lucid dreaming and I know this is easier said than done but just try and relax and get ready for bed in a way that you're not stressing about anything, you're not worried about it, you're not too concerned whether it happens or not because a lot of people will think, oh I have to do this tonight, if I don't I'm a failure or like it's annoying, I've got to do it. Try again the next night, it doesn't work, all this nonsense, it doesn't really help you. So just don't stress about it. It probably will happen but if it doesn't, it doesn't matter, you've got countless other nights to try it.  So set the alarm, make it something soothing, don't make it like a really annoying beeping sound, just make it something that will wake you up in a relaxed way, some sort of soothing ocean sounds or something that will definitely wake you up but won't startle you. Hopefully you know what I mean by that, it's not going to annoy you in the morning. A lot of people have these annoying alarm tones and it just sets you up for the day completely wrong, you're all stressed and yeah, anyway. So set a soothing alarm, when you wake up after five hours, okay, turn the alarm off and then lay back down and don't move any muscles. Now this is quite important and I'm going to make another video about this going into more detail later but what you're going to do is you're going to go back to sleep. Now this is basically the wake back to bed technique which as the name suggests involving going to bed, waking up and then going back to bed. The idea behind that is that when you wake up in the early morning between four and six a.m. you're in what's known as the deepest period of your sleep where you're more likely to have a lucid dream because your REM sleep, rapid eye movement is the biggest then. So hopefully that makes sense. It's basically the sweet spot for lucid dreams and OBEs. You want to make sure that you try to have a lucid dream then, not when you go to sleep because you won't or it's very unlikely. Okay, this is where a lot of people go wrong. They lay down to go to bed at sort of 10 p.m. And they focus on having a lucid dream then but you haven't had any sleep yet. Your body needs to have that deep restorative sleep for a good four to five hours before you can healthily try and have a lucid dream. Otherwise you're just going to be making yourself tired. It's very unlikely to happen and you're just going to get discouraged.  Now this is the important part. You will get strong urges. So when you lay down ready to go back to sleep, you're going to get really strong urges to turn over, to roll over. The rollover signal you may have heard this before. Now what you want to do is completely ignore those urges. So the idea is you're going to keep your mind awake while your body goes into sleep paralysis and shuts down ready for sleep. The body sends what's known as a rollover signal to your mind to test whether you're actually conscious and awake. Before it puts you into sleep paralysis.  And if you awake in the middle of sleep paralysis, it can be scary because you're not going to be able to move but your mind is aware and active. You want that as a lucid dream. You want to go through sleep paralysis and into a lucid dream. However firstly you need to get into sleep paralysis without being asleep. I know it sounds a bit confusing but here's what you're going to do. When you get the urge, so you've set your alarm, you've woken up at say 4am and you've laid down to go back to sleep. Now when you do that, you're going to get an urge to rollover at some point between the first five minutes and the first 20 minutes. You're going to get the urge to rollover. Ignore it. Don't move. Don't even move your legs. Don't cross your ankles. Don't touch your stomach. Don't do anything. Just lay there and just relax.  If you relax too much and you rollover and move, you'll fall asleep. You have to keep yourself in the middle of the two states, awake and asleep and you do that by ignoring the rollover signal, the rollover urge and what's going to happen after that, after about three to four minutes of you ignoring the rollover signal and staying where you are, not moving, you're going to enter sleep paralysis fairly quickly and what that's going to feel like is there might be some sort of pressure that makes it hard to breathe on your chest and it can be a bit scary but just bear in mind that it's natural. It happens to everyone every night. We just normally aren't aware of it. So it might feel like there's sort of a heavy blanket on you. Don't panic. Lots of people panic. It can be scary. Just ignore it. It will pass in a few minutes and then you'll be able to enter a lucid dream. From there pretty much it does sort of follow naturally. You enter the sleep paralysis. You might see some colours, shapes. You've probably experienced before where you're halfway between a dream and being awake and you might see flashes of different scenes, different things that you've experienced other days, memories. It will all sort of blur into one and it will be like you're entering the dream slowly and all you need to do during the stage is to relax, let it happen. Don't try and interact with anything straight away. Just sort of watch it and observe it. You might see some colours, shapes, let it happen and after a few minutes you'll be in a lucid dream directly. And this is probably the best way to have a lucid dream tonight, like really fast right now. Because it doesn't involve having to practice reality checks because you're going directly into a lucid dream. You're actually bypassing the need to spontaneously become lucid by just not actually falling asleep in the first place. I mean obviously you fall asleep at the start but then you wake up and go back to bed. So hopefully this has made sense. Tips and tricks would be if you...  If you find it doesn't work or if it's not working quite right for tomorrow then do the same thing but obviously do reality checks throughout the day. So what a reality check is is where you test whether you're awake or asleep. A good quick reality check is to try and push your finger through your palm. In the dream it will go through in a waking life it won't. So as you're doing this ask yourself am I dreaming? And that's a reality check in a nutshell. Do those 10 to 20 times per day and you're much more likely to have a lucid dream. So that's it guys. Please leave a like, subscribe, leave a comment and I'll see you next time.


So the next speaker is Christian Garbus who's going to be talking about the genode infrastructure services, safe, efficient and seamless data management for neuroscience. First I want to thank the organizers for giving me the chance to give this talk here. As you said, I'm Christian Garbus. I'm currently working at the genode at the Ludwig-Maximilians University in Munich and I'm here to talk to you about our ideas on data management and data sharing and I'd like to say that while there has been tremendous progress over the last years in data sharing and data management, still a lot of data, if not most of it, is kind of managed in this way that we can illustrate here. A data owner or data manager is kind of sitting on a large pile of data where nobody else is allowed to attach to it, touch it or do anything with it. This is bad for many reasons. The main reason is that neither the guy sitting on top of it nor anybody else can actually make use of this data at all. Maybe not even the guy sitting on top of this has a good idea on how to use it because the dwarves who made all this stuff have long gone and vanished. Yeah, we need to change our culture. Maybe it's a good idea to look for other places where this is actually working quite well. And one example is sites that look like this. It's places where you can share recipes about cooking and that's where people go to, they upload protocols, they report about the results of those protocols and actually some other people might go there, replicate those results, report about what they got and might even improve the protocols. To a degree, that's what we kind of teach to undergraduates how science is supposed to work. Take it with a little grain of salt. Another place that is great for sharing and where software people hackers go to to share anything from small scripts up to complete operating systems is GitHub, which has been popularized in the sciences over the last years quite a lot. And it's a great place for sharing code, it's a great place for sharing software. However, it's not really good for sharing data because big data is a real problem for Git. And that's where our inspiration comes from because our motto is inspired by GitHub flavored for science and that's basically what Git, what JIN tries to be, some sort of GitHub Git for the neurosciences or for sciences in general. Most users of JIN are currently just using the service as kind of a website where they can go to upload some data through the web interface and share it with the community, with everybody or with some chosen collaborators. However, JIN can do way more because JIN actually is a version repository store, meaning in this case with versioning that old data is not lost. If you change it, it's actually just not visible anymore. And it's a version repository store for data, for code and for whatever you can basically get in there. JIN is based on Git, Git Annex and for the website on Gox, which is a nice project. And with saying it's based on this, there come quite some nice features. JIN is open, JIN is free, JIN is accessible. And the interesting part and that makes it a bit different from some other approaches is that JIN repositories do not need to be created on the website. They can actually come into existence locally on your laptop, on your data acquisition machine wherever you want. However, they can always go global directly from this. So the world and the sharing is always just a click or just the call of a function away. And as it is versions, you can always time travel. So you can back to the version of the data and your repository. In the state it was when you made this nice paper. Also, JIN is fairly modular, meaning that we have our web server. But you can actually create a second instance of the same thing in your laboratory, in your department, in your university, wherever you want. Also, without any of these tools, you can just use our command line client to do data management locally. You can also use the underlying tools like Git and Git Annex. You can access the data using HTTP, HTTPS, WebDov. You can create web hooks and you can use our own or continuous integration, continuous deployment skills. And you can do like ETL tasks, whatever you want. And this is why JIN is actually perfect for integrating into existing data pipelines, starting maybe from the data acquisition to moving data over to some analysis machines, sharing locally with some people in the lab, while keeping everything synchronized and nicely organized. Also, because of this, it's fairly easy to share data with JIN, either with some remote collaborators or people next door. And what makes JIN maybe interesting because of the underlying tools is it also takes care of data integrity, meaning you get a warning if your data suddenly changes. And as I said before, you can always go back to the state it was before. JIN separates files into big files and small files, and that is why it can actually deal with rather smallish text files in Git, but also with big files that can get to like terabytes of size if you want. That is not only nice because you can get the nice version control this way. It's also nice because you can actually download complete repositories without the necessity to download all the binary blocks together all the time. So you can actually demand like big files on demand only if you need this explicit files. This might save your bandwidth time and space, and all of these things are actually valuable most of the time. JIN also remembers quite well because anything you upload into the big JIN web server is actually if JIN knows the file format, which is true for most text formats, for example, and some other examples. It actually indexes and gives you the ability to search through those files, as a content of those files, using either simple term-based search, fuzzy searching, or like complex search grammars. Also, since recently, we added the ability to do like semantic searching on some file types, on which we have a poster here this afternoon. It's number 110 and it will be presented by Michi who is sitting behind there in the audience. And with that, I'm nearly at the end already, because JIN remembers even more. You can get for each repository a doye if you want. You just need to add some additional metadata in a standard form, and you thereby have a data repository which is uniquely identified and can directly be cited in some publications if you want. And with that, I would like to motivate all of you to come to our website, which is jinn.gino.org, where you can register and look to the details on how all this is working. And also to joining me at my poster, which is poster 74, also presented this afternoon. Thank you for your attention. So thanks for finishing up a few minutes ahead of the belated schedule. So we have time for a few questions. Nice presentation. Do you support use cases where different users may have access to different sets of metadata stored in Gitanex? Like not all the metadata is accessible to everyone. And if yes, how do you do that? So currently the access model is like limited to repository access directly. If you would like to share different parts of the metadata with different people, you would need to split up those metadata sets into different repositories. So the honest answer to the question is probably no. Do I have a question? My fear with all of these things is that they may stop working sometime in the future. I mean, what's the sustainability model? Okay, worst case, jinn is not working anymore. You can still use the stuff because the underlying tools will still be there, right? There is nothing that we add that cannot be used with any other tools, like either Git, Git, NX, DataNet, you name it. Yeah, I guess that's the... So as long as Git is going to work and Git, NX, I think the data is fairly safe. And even if not, if you get a doi, we actually take the data out of the Git world and create additionally also like a complete archive of the repository put on a simple web server that has basically nothing fancy around it. And the stuff will still be around. What is the relationship to DataNet? The short answer is we are both using Git NX. And I mean, I'm not the DataNet expert. I think there's kind of sitting there, or Michael is sitting there, and Jaustaf is sitting there. I think from the technological perspective, the two things are, or at least like going from, like using JIN stuff in DataNet should be fairly straightforward to a degree. But yeah, that's, maybe I'm too positive on this. But yeah. If there are no more questions, and I think we should thank the speaker again.


International experience is really an important part of my job, accessing technologies from around the world and also learning how we can do a better job of designing our products to match the wide variety of environments that we encounter in many applications around the world. Basically, we're looking for engineers that are bright, who are curious, who are well founded in the basics, which they can certainly get at Purdue and we count on Purdue delivering, but also have the ability to work in teams, the ability to communicate, and as the topic of the conversation today goes along, I really have international experience and the ability to value and engage people from different cultures from around the world. A couple things that have changed in engineering is we're certainly more international in scope. We're more interdisciplinary in scope. Both of those require communication skills that are different than in the past. People have to be able to accept ideas from other folks to understand the context that they're coming from. One thing that has not changed about engineering is engineering is still a social exercise, so we have to be able to work in teams. We have to understand our customers so that we can deliver products to them that they can use very effectively and will value in all their applications. I think in the context of international experience, there are several things students can do. One is just take a foreign language, any foreign language. It will expose them to different cultures. It will also expose them to some of the issues other people have as they're trying to communicate with us in English, so it develops that sensitivity and the ability to communicate with people in their own language. I think just getting out there, taking the opportunity to travel abroad and taking opportunities that Purdue will offer for study abroad. One of those programs that they could take advantage of is the gear program in mechanical engineering that has connections with Carlsruhe, Germany, with Shanghai and China, and Mumbai and India, so that students can go there to teach and to do projects and to meet students in those locations. So anything that they can do to broaden their exposure, even learning from international students at Purdue, which is a wonderful environment to meet people from other countries and to really learn about their experiences and how they view life differently in their countries compared to the U.S.


s, I'm a hunter I'm from a hunting tradition family I'm a draper so committees receive these same things maybe I've received more because I've got several other fish and wildlife bills on the board here but I haven't found one yet who is against this this bill other than the commissioner and aka the administration so to sort of answer that that query I find that astounding in my years as a legislator to have it that strong certainly COW has done a good job on this I've been studying the materials that Michael agreed together and put together the hunting laws in other states and the impression that I have looking through this is that every the states listed here are states with hunting as being a really important traditional use of our landscape which is a good thing it gave me the impression that each one is trying to also solve some issues I mean if you're trying to manage a deer herd you want to manage that deer herd in a sustainable way possible so it's there for tomorrow's hunt next year's hunt and it looks like in some states they've been dealing with abandonment of carcasses even abandonment of carcasses at butcher facilities which I thought was interesting but I found that that there was a real just from reading these a real effort for these states to ensure two things one is that sustainable management of species the other is and I think it gets to it a lot of these states are out west where you have more species whether it be baldigals or others that are scavengers so it's in the interest of states to ensure that there's no impact on the viability of scavenger related species and this year we are having populations recovering from being non-existent so I would I think we did receive a number of comments obviously it would be helpful for me to hear more from the hunting community to get a sense for what we're trying to achieve here and I think this was a start but I think we already identified some loopholes and the hunting community come and help us address this inherent problem whether it was 2009 or this year there's obviously a need there I think together with users may be helpful in how we move forward that was good carry I thought it was a lot of carry to the point but I think there's even a number of you mentioned but maybe there's a lot of people coming first I was I'm coming but we can certainly we had emails emails that is before the talk we heard the commissioner saying that where a bear was taken but the parts of the bear that were supposed to be used were used and the bear carcass was put in place that was supposed to be put so in that instance it's not being wasted do people always take the bullets out of the the community I think this is a problem either we shouldn't use the bullets that are let in them or people can use whatever bullets they want they should always take the bullets out and not leave them out there because if we're going to go further with this what kinds of bullets are what happens to the bullets that's a problem I think I can help you with that so my go to gun is my 30-odd sex lead bullet, lead core the whole thing pass through my gun has pass through shots so that means it goes entirely through the end there's if it hits the gun generally it just smashes right through so you'll never see your bullet so I never see it ever when I process my animals I never see it so what's the cost between that and a bullet that would do no harm to other but there are some bullets that people use that do kind of fragment in lower caliber guns they will use 22 caliber guns are notorious for fragmenting so when they hit a bullet they tumble and fragment lower caliber guns are noted for that so that is a true statement that they do fragment so how much are the less expensive out of the bullet so right now really all ammunition is expensive no matter what because the federal government has stepped in and most bullet self then you're paying a high dollar for all ammunition whether it's trap loads to 30 out of 6 shells to 9mm they're all very expensive that's a pretty simple question to answer that we can go online and look at so let's keep the conversation going Representative McCullough I'm thinking that for myself I would like to see this bill actually make it through which would mean we voted out by the afternoon and make it clear having said that I think it is important that we we find some number we can get 6 6 we can come in here at the commissioners behest who are hunters to say whatever it is they've got to say in a time period that we can allot to this so this committee can hear hunters who have been absent either in email or in person to tell us I'm a I'm a hunter and I'm from a hunting traditions family and I think this one bill is not important the other and if anybody can find these people maybe Representative Bates could maybe the commissioner could but I would like to get them in here and if we have an opportunity on our schedule to do that on Thursday or Friday and then consider what they've got to say and then make our decision based on all the evidence I would like to do that if we can't do that this week then oh well it doesn't make the crossover but we still probably no, we still should if they're available here they will be those people's testing and so then the commissioner would be reasonable from the chair Representative Bates just heard my request if you might be able to find it or even if you could get one that would be good I'd like to make one statement I find it utterly amazing that we so readily condone aborting babies and voted on it and passed it out and yet we don't want to kill a goddamn coyote amazes me what I've heard is that we would like to take more testimony from some hunters hunters who might help us with the language hunters who might not be supportive of it and how do others feel about trying to make crossover I know I'm not, I won't care one way the other way we make whether we make a crossover I just think that there may have to be some changes in this bill maybe we won't find maybe there's nobody out there that's opposed to this bill I don't know if there is someone we should at least listen to them if we don't make crossover we don't make crossover you have a couple names I think there were two probably I can probably get one too can you send those along to me please okay thank you all we are adjourned until tomorrow morning


Course backup. Save and reuse your course. As a teacher it's useful to have a copy of our course that we can keep safe outside of Moodle or perhaps reuse it in a different Moodle site or give it to a colleague in a different Moodle site or even have another version of our course in the same Moodle site. Moodle courses copy a backup and to make a backup of our course we need to go to the administration block and to click the link backup. This is how you would backup the course that you will have created for the teaching with Moodle course. When we click the link backup we need to follow the instructions to decide what exactly we want to bring over with our copy of our course and not. If you're an experienced Moodler you can jump to the final step if you know what you're doing. But for us beginners first of all note that there are Xs next to enrolled users and user information. That means that because we are teachers and for security reasons we can only backup the actual course content, the resources and activities. We can't backup the information the data that our learners have included.  We basically want to include everything else activities, blocks, filters and so we scroll down and click next. On the next screen we're presented with a list of all of our activities and resources and we need to decide which ones we want to include. By default all of them are selected so for example if I didn't want to include an item I could untick or uncheck that box and again we scroll down and once we've decided which activities we want to include and leave out we click the next button. Then we're prompted to check all of our settings. Our backup course has been given a file name which we can rename if we want to or leave it as it is and we scroll down to make sure that all of the settings and included activities are the ones we want. If we made a mistake we can simply go back to the previous screen and change them. Now it's time to click the button to perform the backup and we get a message that the backup file was successfully created and clicking the continue button will take us to where we can get a copy of the backup file to download it and save it offline and if we scroll down we see our user private backup area which tells us the course and the size of it and the time that we actually backed it up so if you want to get this out of Moodle to say for example on a CD or a USB drive you click the download button. We aren't in this video or this course going to look at how you can then put your course into a separate Moodle site but if you look in the administration block again and you look at the link restore you simply reverse the process by clicking the restore link uploading your file and following the screen instructions in that.


Hello!  Today we're going to tell you about the intricacies of cutting plywood on CO2 laser machines, the material characteristics, and how to achieve the best and cleanest cut. Follow the tips and you will definitely succeed. The first thing to consider is the material. The important thing is that some kinds of plywood are not suitable for laser cutting. This is why. Choosing plywood you should consider the following points. One. Plywood kind. The quality and complexity of the cutting process depends on the kind of plywood. The disadvantages of low-grade plywood include cracks, strong flexure, bubbles between veneer layers, and uneven thickness of a sheet. The following kinds of plywood are suitable for cutting. 1.1 and 2.2. 3.3 and 4.4 types have many disadvantages that can result in product failures. 2. Plywood thickness. Plywood up to 6 millimeters thick is the most suitable for laser cutting. When cutting plywood up to 8 to 10 millimeters thick there is fouling at the product edges and the speed of operation is quite low. 3. Wood veneer type. Birch veneer is the most suitable type of wood veneer for laser treatment. Once the desired material has been selected we can start working. First of all we need to check power and speed settings. Power and speed settings should be selected liberally in case a laser beam hits a knot or an area with a thick layer of glue. Another important component of clean cutting is good air blowing. With a good airflow there is no soot and fouling on the product which saves you time on post-processing. For this reason we recommend choosing a more powerful air compressor. For example 1.5 to 2 atmospheres would be quite enough. Here are some recommendations for engraving on plywood. It is advisable to minimize blowing and engrave an image cross grain. For a better result you can use masking tape which saves the area outside the image from fouling. The use of masking tape is reasonable for small amounts of cutting and for products without small fragments otherwise it will be quite difficult to clean the product from the remnants of the tape. Watson machines have a rigid frame design 3M belts and belt gearboxes which allows for perfect results without blurring when cutting or engraving a pattern. When cutting plywood up to 6 to 10 millimeters thick it is important to consider the following. 1. Blowing has to be strong. The stronger the blowing the cleaner the cut. 2. You should use a media 3 inches or 76.2 millimeters or long focal 4 inches or 101.6 millimeter lens. 3. Speed and power are set liberally. 4. Good alignment is very important as it allows you to avoid a sloping cut. If your tasks require using plywood over 8 millimeters thick you should choose a 100 watt laser tube or even a 130 watt laser tube. Follow the rule of 10 watts per 1 millimeters of plywood but use the laser tube at 80 percent of its wattage in order to extend its surface life. Our specialists are always ready to help you with choosing the most optimal equipment for your tasks. In order to avoid rifled curves you should monitor the belt tension. Belts should not sag or be overstretched. We are constantly making modifications based on our customers feedback and improving the quality of our machine tools. Follow our recommendations and you will achieve good results. If you still have questions feel free to share them in the comments. We will be glad to answer them. Please like it and subscribe to the channel. This is Watson. See you in the next video.


How's it going everyone Caleb here with late in sports cards next night? We're gonna be working on a case of national treasures basketball hobby four-box full case break number 23 pick your team style Gonna read off the teams you do have here. Thanks again for joining everyone full case break here and GM Mab's magic Baden Art Nuggets Bojaya be nets Brian s Rockets Brian T bucks Chew E with the Pelicans Shun me W thunder spurs Gretchen T warriors Hank K T wolves Harper B Hornets and Sixers and calves Jeffrey H with the Celtics John K jazz Jordan K Lakers Kaizo a with the heat Lerzak Y Clippers mark W Raptors Matthew W Hawks Noah B Kings Patrick Z Grizzlies and trailblazers Pachette P bulls Shelley L with the Sun's Shigen or you wizards Ting Y Pacers Wayne S. Nix and Wizzy OB pistons. Thank you again everyone best of luck here. This is a full Piece and she basketball here we go. All right there. They are the beautiful green and white boxes Thank you again. Good luck all See something really fancy 75th anniversary card somewhere in this case Empty Starting out here base card three of five is gonna be Darius Basin three of five on the base We have one-of-one printing plate here.  I Start here patch for the Rockets four of 99 Jalen Green dual patch You go Rockets nice To 99 Sun's here. We've got to 25 Devin Booker Jersey Treasures patch. There you go Suns. Our second year Horizontal patch autograph Anthony Edwards Numbered to 49 boom What a start there T Wolves Congrats Ant-Man That's a six starts Little second year Ant-Man action very nice T Wolves there Your horizontal are very excuse me second-year patch auto still very very sick All right, we have Red to 75 rookie patch auto Charles Bassie Sixers We go to 75 it's gonna be spurs Joshua Primo to 99 triple patch Joshua Primo rookie jumbo patch here Grizzlies is gonna be Zaire Williams and another one for the Grizzlies this time it is gonna be a lasting legacies patch autographed jaren Jackson jr Here he is that action of jaren Jackson jr to 25 Grizzlies again And Celtics Robert Parrish to 99 patch autograph game gear autos You go Celtics to 99 That closes out the first box. Good luck next up. Let's see something nuts Right here we go. We've got a Damian billard base to 99 blazers Printing plate here one-of-one printing plate thunder. Let's say Pokashevsky Where you go thunder does not look like poke is that poke Yeah, that's Denny I was gonna say isn't this Denny Avdia? Yeah Okay, so we I've seen this happen already we go by what is on the back of the card And that is Alexey Pokashevsky thunder the front of this is Denny Avdia though So this is already the second time that this has happened this will go to the thunder on Pokashevsky there That is what the card says But yeah, that's why I kept staring at it. I was like that is not So thunder there you go We'll also send an empty box and raptor rapper to the Thunder if they want to do try to get that replaced I guess Yeah, I've seen it quite a few times as well KJ. I've seen it quite a few times So luckily I have seen it in the past already, so I know what to do Yeah, we'll send you an empty box as well if you want to try to Go at panini with that one there. We have a 10 of 99 deer and fox Jersey treasures there tab 99 Ego Kings Yeah, it's a strange one Century materials Jersey to 25 jaren Jackson jr. It's it's strange It's strange How do you personals work if you order anything on the website with the rip it option? It goes into the queue Tonight we are already full so if you do order it right now It will go into the queue for tomorrow morning, and it would rip at about 11 a.m. Eastern 10 a.m. Eastern But yeah, anything you order on the website with the rip it option We have a validating marks deer and fox 31 of 49. I saw though their kings That is the last team purchased Well done nice deer and fox Ego Kings Redemption for the Raptors rookie material autograph dual prime Scotty Barnes boom big card Raptors Congrats Big card Mac W. There you go Big Scotty dual prime Rookie material autograph.  That is really nice Congrats on the hit there Autograph for the magic Wendell Carter jr. Got a Kassie Russell autograph Lakers It's the 25 Jared Butler jumbo colossal patch jazz And Goran's logic by agri-materials to 99 That's what I Scotty in there congrats Wish you was live still a big hit That will be sick Mac Here we go. Good luck All right, good luck here Jamarant to 75 Grizzlies That's gonna be a Julius Randall on the printing plate Julius Randall Go Nick's printing plate Julius Randall That's kawaii Leonard clippers to 99 on the century materials patch nice kawaii patch You go clippers to 99 awesome patch LeBron James one of 99 Nice one on the LeBron patch There you go Very nice hit there Congrats on the LeBron patch All right, hold on.   Yes.  Oh, that's tough. I'll probably take Cole Anthony, but Suggs still has like loads of potential here we go Weren't sure if they wanted to seal this one Sticker wasn't on there all the way She got for us mr. Panini These card are Jay Barrett's 99 Nicks Four to go on the first flawless left side serial number four to go That's gonna be Kelly ubré jr. There on the printing plate Second card is just a printing plate. So yeah, it doesn't matter really those are always kind of sketchy on condition Jumbo patch Jamal Crawford there to 99 retro materials Jamal Crawford There's just a few spots remaining on the flawless football left side serial number. That's linked above everything else is full though Yep The left side serial number flawless does have some spots. It's linked above like I said to 25 pascal siacum material treasures Raptors Autograph here Vince Carter to 49 you go Raptors very sick Raptors it well, we'll mag up the Vince actually that's fire Very cool. It's gonna be a quad material patch autograph eight of 99 James book nights Hornets there you go Awesome book night rookie patch auto there There's sickle mag that as well Patch card James Weisman to 99 Raptors did have a break there. Yep hatch card here is gonna be a Daryl Armstrong magic Daryl Armstrong to 99 Hatch autograph here this time Mike Bibi for the Hawks to 49 Mike Bibi there to 49 patch auto and NBA greats for the Cavs 41 of 49 autograph mark price There you go Cavs And that will do it. Thank you again everyone. Let's do a recap here of the hits. Thank you all for joining I do appreciate it greatly Here is a hit recap for you All right printing plates here patch cards Kelly Ubre that's Julius Randall remember this one is the Denny Opti on the front the back of it is one more time Alex say poker chef's he will go to the back. That's what it says on the card. Let's go to okay. See We're also sending you an empty box. Okay, see Donovan Mitchell And then we've got the patches Daryl Armstrong James Weisman Pascal Siakam Jamal Crawford Laurie Markin and Rudy Gay LeBron Kauai Androgyk Jared Butler jaren Jackson jr. Deer and Fox desire Williams Joshua Primo Devin Booker and Jaylen Green Yes, just make sure you can find the box first Let me know if you don't find it loose it might be a sealed case and if it is then I'll help you Because it's not labeled clearly for Sun and Moon sets Autograph Vince Carter Charles Bassie Ant-Man the Suggs to 49 and the Scotty redemption then there was also Autographs here that are not magged Mark Price Mike, baby Kobe white Wally Zeryak Jason kid Casey Russell Wendell Carter jr. Deer and Fox Robert Parrish jaren Jackson jr. And James Book Nights. Thanks again. I appreciate it. We'll have them all well protected and right out to you. Thanks again so much


Holy moly this story. I'm about to share with you guys. I could not have dropped I think on a better day because earlier today We released an episode of the Nintendo Prime podcast featuring wolf den and one of our patreon backers That talked heavily about Nintendo's new policies for review copies of games due to game leaks Specifically at the time a leak of like Mario and Luigi's banner saga, but it doesn't stop there You know in that episode we talked about some other ways it that were affected by Nintendo and YouTube and how you Yes, you could get started as a youtuber and a little bit of advice for that. However Nintendo did something here, then I'm going to applaud them for So I don't know you guys probably haven't heard about it because I maybe you have I don't know You guys probably pay attention to more than just me, but I haven't talked about it Super Mario Odyssey leaked in fact Super Mario Odyssey leaked I don't even know like a few a handful of days after we initially reported that Nintendo was cracking down on review copies and one YouTuber so far. I don't know if more are going to be effective But one youtuber in Hong Kong was banned for three months From YouTube for streaming Mario Odyssey before street date Also the videos that contain the stream have been deleted This was obviously initiated by Nintendo Nintendo of you know China or whatever Nintendo of Asia. I'm not really sure which Nintendo Institute over there heck it could have came straight from Nintendo Japan at that point because there are a lot closer to Nintendo Japan than we are over here Man that is some harsh harsh stuff, but deserved For all the flack, you know, how I think Nintendo could have handled this situation if review copies of games better The like immediately after doing that having Super Mario Odyssey leaked almost justified their stance And I still don't know. I don't know if Nintendo knows who leaked the game I don't know if they at that point had inserted anything into the game to let them know Oh, which switch or which copy of the game is this that we sent out I did this so we could track down who we sent it to and Take care of that person. That's what we hope Nintendo is going to do moving forward But we don't know for sure but Super Mario Odyssey would they be in leaked I've been really avoiding talking about Super Mario Odyssey much because the whole games out there You can go find an illegal copy of the game right now. You can play it right now You can find out everything you need to you need or want to see about the game the spoilers and the leaks are everywhere And it's just terrible. It's a terrible situation. I mean the game comes out in you know a day and a half two days here and Yeah, people just can't we can't wait. I understand. I understand the drive I wish I was playing Super Mario Odyssey right now instead of making this video, but this is he feels like an appropriate action For all this is this is the action I wish Nintendo would have taken if possible against the person who leaked Super Mario and now granted this person might not Have been the leaker Because it says he was bad for streaming the game It doesn't say that he was banned for leaking the game But if Nintendo knows that someone's streaming the game or leaking the game or this or that you got to come down hard There's a reason that I don't download any of these leaks one I don't support the notion of media members leaking games or even fans if safe fans got a copy of Super Mario Odyssey I don't support the notion of them leaking games We did do one video on Super Mario Odyssey leaks, but it was just screenshots We were never gonna show you any video. It was more so to just talk about the fact that leaks are out there Here's some some mild ones. Enjoy. We're not gonna talk about them pretty much until launch, but this case here is Very interesting. I mean, I don't know who this youtuber is. I there's a link to To his Twitter account, I guess and to Chinese Nintendo who did the translating Because Chinese Nintendo covers info about Nintendo in China. It's man. I Don't even feel bad for the guy Even if he's not the one who leaked it you have to know you can't be so Stupid to think that if you are streaming an illegal copy of the game Even if you had a legal copy, let's say he for some reason as a youtuber was given a legal copy of the game There are NDA restrictions and when you download an illegal copy of the game, even though you're not bound to an NDA per se You still can't be doing illegal things with that game streaming the entire game before release is Well against Nintendo's rules It's against the law even because it means that you're openly if you don't have a media if you a media copy of the game You broke your NDA so you broke the law in that way If you don't have a media copy and you're doing it You're openly admitting that you have an illegal copy of Super Mario Odyssey, which well, I mean that's illegal. So This This feels like sweet justice This is what I wanted Nintendo to do to the person who leaked the Game that caused him to change the policies.  It really can. I don't know if this particular Chinese youtuber has a very very big channel I don't know. I don't care I don't care if this was PewDiePie if you are leaking stuff like this You need to be taken care of and I'm glad that Nintendo and YouTube can come together to put a kibosh on this now Has this affected any of the channels that might be leaking stuff in North America? No in fact, while I was making this video, I decided to look up Super Mario Odyssey leaks on YouTube just to see how bad the situation is here in North America and Sure enough, there are actually leaked versions of the game being played on YouTube now obviously Livestreams are easier to catch because those get promoted by YouTube and when they get promoted Nintendo's gonna catch on to it and that's probably how they caught this guy in China But even when I look at some of these people who have leaked Videos out here, you know, not just news about it But like actual leaked footage from a copy of the game. They've clearly attained illegally in fact I'm gonna call out this one youtuber RIT one two three dude I hope Nintendo comes after you and bans your channel not only is it very obvious you're playing in a legal copy of the game You're playing it on your computer through an emulator that your computer clearly cannot handle as the game is running at like three to five FPS I applaud you for your dedication to continuing to play the game at that FPS But yeah, I hope Nintendo comes down on you. It just gets rid of your channel entirely. In fact, heck while we're at it Why don't we call it some other people? How about qqs q ui q ues space colon d 151 views three days ago leaked exclusive gameplay Super Mario Odyssey I checked out that video as well and yep again. It's being recorded by Bandai cam played on an emulator on your PC Bye-bye. I hope Nintendo comes after you in fact each person I see on the first couple pages here I'm gonna send off to golin Harris as a little present.  Please contact YouTube and do something about it That's how excited I am that they went after hard after this guy in China Obviously the leaks here on YouTube are not as bad There's 56 filter results when I look for Super Mario Odyssey leaked gameplay There might be some other searches out there that could draw up some more, but yeah, this is not good I Mean look, there's even this other youtuber our crafty masters Super Odyssey heaven and hell kingdom leaked footage contains spoilers like I what like Goodbye, get out of here. All the all these people that I'm shown here in the screenshot. Goodbye Any of you guys leaking footage done I'm not that this stuff frustrates me. This is why I can't get review copies of games This is why people who should be trusted can't get review copies of games because of not only the people Not just the people that are leaking the game, which is bad enough But the people that have the audacity to download that illegal copy of the game and then put footage of it online before launch. Oh It's so frustrating you're ruining it for people who don't want to see this stuff yet And on top of that you're ruining it for media members I did this is just a really frustrating situation, but thank you Nintendo for coming down hard on that person in China I hope to help you here go hard down on some of these people in North America and or Europe This is just ridiculous to me guys. I don't care if you personally right now are playing a leaked copy of Super Mario Odyssey I don't care.   I don't care. Keep it to yourself. I I think it's wrong that you're doing it But you know what I'm not I can't stop you just like I couldn't stop people who played the leaked version of Pokemon Moon last year It's fine. Play the game. Just don't do everyone a favor people who are waiting for the retail copy Do not put videos of it online at least until the game launches And I mean for people with Super Mario Odyssey like really if your computer can't handle it Definitely don't put those videos online because it's very obvious that you're playing an illegal copy of it And especially one that has the Bandai cam logo Watermark on there, which Newton. Oh man. Anyways, folks Let me know what you think about this in the comments below you happy Nintendo went on hard on China on this Chinese YouTuber, I hope and that they go hard down on these people that I've screen shot it now And I'm going to be sending off to Nintendo. Please let me know down in the comments below I am Nathaniel Rufflejans from Nintendo Prime and if you like this video You know what to do and if you dislike this video hit that dislike button subscribe for more content just like this and hey You know what? I might as well mention it There's about 24 hours or so a little bit less to enter our Super Mario Odyssey giveaway if you haven't done it yet There's a link down in the description below you literally have you know a little bit less than one day left to get Your entry in I will be drawing entries for the game Tomorrow, I'm either going to do it live on the live stream or I might do it before the live stream. I know whoever wins that means you're not going to get your copy of Super Mario Odyssey on day of release I understand in fact you probably won't even get it over the weekend because that's just the way shipping works But hey, it's a free copy of the game. I don't think anyone can complain too much. I understand The logistics of this giveaway so in the future when I do do giveaways for games that haven't released yet I'm going to make sure that I draw a winner Maybe about a week before the game comes out to give me time to exchange details and get that copy shipped out So you can have it on release day, but yeah learning learning pains growing pains, right? Thank you so much though for everyone who has entered. I wish you guys all luck in becoming the winner of this giveaway We are going to have a new giveaway, but as well coming out next month I'm not going to tell you what the giveaway is yet until we're done with this one But thank you so much for all of your support here at Nintendo Prime and you know what folks I will catch you in the next one


Guitar and Excel, C major, A minor, scale fret five, intervals. Get ready because it's time for our guitar skills to... Excel. Here we are in Excel. If you don't have access to this workbook, that's okay because we basically built this from a blank worksheet, but did so in prior presentations. So if you want to build this from a blank worksheet, you may want to begin back there. However, you don't necessarily need access to this workbook if looking at this from a music theory standpoint, because we'll simply use it as a tool to map out the fretboard. Give us the scale, the notes, the chords that we're focused in on. If you do have access to this workbook though, there's currently like 10 tabs down below. We've got a bunch of these example tabs. We've got an OG Orange tab and we have the practice tab on the right. The OG Orange tab representing the original worksheet we put together in a prior section. It now acting as the starting point, going forward, mapping out the entire fretboard two times over. Giving us our entire musical alphabet in letter format, number format, and letter and number format. Giving us a key that can change the scale that we're in with this green cell that will populate our worksheets on the right hand side. Providing us the key that we are in, the notes in that key, as well as the chord constructions for the notes in that key. We then wanted to look at the key of C, go through each of the chord constructions in open position from it starting with the one chord. So we did that over here. First three frets is what I'm going to define as open position chords. We mapped out the one chord, the C major chord. Then we went to the four chord, jumping down to the four chord because it's going to be a major as opposed to minor chord. Then we went to the five chord constructed from the C scale again. Then we went to, and that's going to be the G chord. Then we went back up to the minors, the D minor chord, the two chord, the chord construction off of the two note. And then we went to the three chord and we built that one out, which is going to be the E minor. Then we went down to the six, which is going to be the A minor. And then we looked at that diminished the chord built off of the seven note. Now, as we did that, we basically mapped out the entire scale in open position. So now what we want to do is move up the fretboard, but instead of learning up the fretboard in terms of actual chords, we are now learning it in terms of scale positions. And then we'll learn the chords when we talk about the caged system, which will basically push all of these chords that we created up the neck. So that's what we did here. Now we were looking at the pentatonic scale. We're going to start in position five right in the middle of the fretboard because that's just a logical place to start. We look at the five note pentatonic first because it's going to be easier to finger and the quickest thing to play around with and then map out to the open position chords that we looked at. And now we're putting the major notes on top of it. So last time we talked about this on more of an intuitive basis looking at now fret five, but we have one note that's grabbed over here on fret four. And then we mapped this out and talked about how we might add those extra notes intuitively so that we can finger those positions. Now we want to think about it more in terms of the intervals and look at the scale relationships related to it. This is similar to what we did when we did the intervals with the chord constructions over here, where I said it might be good in the morning. I would do this kind of like the morning work when your mind is still working. If you got 15 minutes to a half an hour to basically just walk through the scale and a little bit more rigor in your mind and map out exactly what is happening within it. But before you can do that, I just have to give a recap of these numbering systems which give an idea as to why we need to do this kind of thing. So remember all the different numbering systems we have to keep straight in our mind is one, we've got to at least name each of the notes over here. We can name each of the notes by letter, but we can also do it by number. So that's one numbering system. We have to number the notes that are in each position in the scale that we're picking to use. That's going to be this numbering system. We might use a Roman numeral system which will give us more information about the chords constructed off of those scales. The uppercase being the major, the lowercase being the minor, the dot representing the diminished with a minor third because it's lowercase. And then we could have these interval numbering system which is giving us an idea of where it is in relation to the first note of the chord that we are constructing. And then we can basically talk about the absolute intervals as well. So these are a bunch of different numbering systems that we have to kind of keep straight in our mind. So first let's go back to the OG tab over here. Let's actually do it in here this time.  So we're going to unhide here. And then I'm also going to have to unhide some cells between the 51 to 60. I'm going to select those two cells, right click in there and unhide. So we'll unhide that as well. And then if I go to the right, I can see this column representing the entire musical alphabet. So we have the entire musical alphabet A. And then if I'm going up, it's going to be A, A sharp B, C, C sharp D, D sharp E, F, F sharp G. G sharp starts over again if you're going back. Then it's going to be A flat, G, G flat, F, E, E flat, D, D flat, C, A. B flat A, right? But that's a little bit confusing to say. If you number them, which we'll do here, then it's pretty easy to go 1, 2, 3, 4, 5, 6, 7, 8, 9, 11, 12, 12, 11, 10, 9, 8, 7, 6, down to 1, right? That's going to be easier to do. It's also easier to see the intervals. So I recommend first, you don't have to do this. You can get the benefit from this presentation without knowing the numbering system because we'll put the letters there too. But I think it's something useful to memorize that A is a 1 and then A sharp or B flat, the same note tone-wise as a 2. A B is a 3. A C is a 4. C sharp or D flat is a 5. A D is a 6. D sharp or E flat is a 7. E is an 8. F is a 9. F sharp or G flat is a 10. G is an 11. G sharp or A flat is going to be a 12. That's a nice, simple system for us to look at these intervals very easily. The next numbering system that's useful to note is that with a major chord, we have just this formula of it's going to go two steps up, two, whole, whole, half, whole, whole, half, right? So if we start on a C then it's going to be a 4. If we know that C is a 4, 4 plus 2 is 6. 6 is going to be a D. 6 plus 2 is 8. Whole step up to 8. 8 is an E. 8 plus 1 is 9. Half step up, that's going to be an F. 9 plus 2 is 11. That's going to be a G. 11 plus 2 takes us to 12 and then around the horn back to 1 because there's only 12 notes. 1 is an A. 1 plus 2 is 3. That's going to be a B. And then we go back home, one note back home to get to 4 and that's going to be the C. So now we're back home. This formula, we're not going to get into why the formula is that wave right now. We're just going to accept that A priori and now we're just going to say, okay, that's everything's being built off of that formula. That's basically what is happening at this point in time. So what we want to do then is when we go over to our positions, I'm going to delete these ones. We want to be able to map out the scale on our fretboard. Now the natural thing to do is to map it out on one string. So I'm going to make this a little bit smaller here and let's actually hide these from Z to A. I'm going to hide those right now, right click and hide so that I can just see this formula whole step, whole step, half step, whole step, half step and I can see my fretboard. And it might be a little bit easier actually if I hide this again, if I go from 52 down to 64, right click, right click and hide and now I'm just going to look at when this formula basically repeats. So it's going to be right here. So if I go from here down to here, we'll just look at that piece of the formula and so we'll say, so that's a little bit more in our range. So if I was going to build this out, we could say, okay, that's going to be a C and then we're, and so that was going, now we're going to go a whole step up, right to a D. So we want whole step up to a D and then we're going to go a whole step or two notes up to the F, right? We want a whole step to the F. I'm sorry, I'm getting confused while I'm trying to pull these boxes over here. We want a whole step from a D to an E and then we're going to go from this E and we're going to go a whole step up. I mean, it's our half step up to the F. So then we're going to go a half step up to the F if I map this out on one string and then we're going to go a whole step up to the G. So I'm going to say there's my G. I'm going to copy this and paste this down again and then we're going to go a whole step up to an A and then we're going to go a whole step up to a B and then we go a half step back home to a C. So that's kind of like if we mapped it out similar to what would happen on a piano, right? So one string on the guitar is similar to what happens on the piano.  It just makes sense that you would say, okay, look, if I'm mapping this thing out on the guitar, what I would like to do is make this scale playable not on one string but in one hand position. And you could see that's basically the idea of what has happened here. Now, how would you do that if you were designing the guitar? Well, you're going to say, well, the interval between these two strings, I want to make it such that when I get to my pinky finger, if I'm playing this note with my pointer finger, when I get to my pinky finger, then I would like to come back on over here because I only have four fingers. So I can basically as much as I can play all the notes on four frets. That's going to be the idea. Well, how would you do that? Well, then you would have the interval between the strings be five notes about, right? And that's why we have this interval of the five notes. I want to return to the idea of this interval basically being five notes. Let's pull out the trusty calculator to just check that out. Remember that people will say that the interval is like a major fourth or a perfect fourth and they're talking, I believe, as if we're talking about these kind of intervals over here, even though we don't really see a fourth most of the time. Sorry, my voice is going. Don't go, voice. You're all I've got. I need you. Don't go. Okay, any case. So we have the first, we have the third, which means if it was a major third, it would be four steps away. We've got the fifth, which is seven steps away. And then the fourth is one that we don't usually map out because we usually skip it, but it's kind of equivalent to the 11th, which is five notes away from the original note, right? But that's difficult to to envision. You just it's easier when we're trying to figure this out to say, okay, what does that mean? Well, it means it's five notes away. That's what it means, right? Because and we could test that we could say, okay, well, if I have from e to a a is a one minus the eight negative seven, there's only 12 notes plus 12, it's five notes away. It's easier to see down here because we don't. So if I go from an a to a D, six minus one is five. If I go from a D to a G, we've got 11 minus six is five. And then the funny one, if I go from the G to a B, we're going three minus 11 is eight plus 12. There's four. It's four. That's the kink in the in the in the guitar. And then if we go to the to the E minus the B, which is an eight minus three, then we get to the five again. Now one thing I pointed out last time and I want to try to make it a little bit more clear possibly this time, the five interval is the important interval that we're usually going to be looking at because because we're usually going up and down the guitar in that direction. But we can imagine this. Let's go to the OG tab to see this so I can see two fretboards out. If if I imagine this fretboard and these notes as a circle, all of these notes are like a circle. Oh, no, what did I do? Undo and I put all these notes into into a circle and they repeat each other. Then then they're going to be repeating, right? So if I go down here and say, well, this string, let's start in the middle. If I go, if I go five frets up from that string, then I'm going to go one, two, three, four, five. And I get to the same note as the string below it, right? Or you can start at the string below it and say, how far do I have to go to get equivalent to the string above it? One, two, three, four, five. Boom. Okay, so if I started, but if it's five notes forward and there's 12 notes in the musical alphabet, 12 minus five is seven. So you would think you would also be able to go seven notes backwards, right? So that would be here. One, two, three, four, five, six, seven also gets you to a D. Now from a practical standpoint, we're usually going up, up and down the guitar using the five note interval. So if I have time, maybe I'll dive into a little bit more of the, of the, of what might happen if we use the seven note interval and we did, we did things kind of like backwards because usually what is happening is we're going to be counting up the guitar this way, right? We're going to be going, do, do, do, do, do. When I get to the fourth finger, I want to go back on over here before I'm starting from my A. I'm going to go one, two, three, four, and then I'm going to be back over here and the strings are from the heavy string or the low end pitch and going up. And that's what it's designed to be in a five, in a five note type of interval. So, so in any case, if you were going to a seven note interval then that would be like saying you're going to go backwards. I'm going to go backwards this way, seven notes to get, let's start from the E, go one, two, three, four, five, six, seven to get back to the A over here. So you, you would basically be building a scale as though you're going down musically, pitch wise, you're going from an E down, but then you're trying to get to the next note down by going up the strings and the strings are designed to be in pitch, to be going up in pitch and you're trying to go to the next note down. So it actually could end up with an interesting pattern, but I don't want to dive into that right now. I just kind of, I wanted to try to explain that a little bit better than maybe I did last time. I don't, not sure I did a good job of that, but maybe we'll dive into that later because it's kind of interesting. But in any case, if we go back on over here, I'm going to hide now from A to D and just look at the frets that are involved, right click and hide those. And then I'll try to hide everything past fret number 12. So this is one round of the fret board, right click and hide that. And then let's see if we can zoom in a bit to see what we have here. So you can see, because this is the major scale, we can see it as of course C major, that's what we're in, or any of the modes, including the minor. It just depends on where you're going to start. So this is what I would kind of practice doing. We're finally to the point where I'd say if you had the five minutes in the morning, you practice through the scale and just name what you're doing in a similar fashion that we did with the chords over here. Now most people are going to want to start on this A, but it might be easier first to think of it as the major scale and then kind of adjust it to the minor. So if I go over it, so if I was to say, okay, if this is a major scale and we could use this worksheet or you could use this worksheet over here. Sometimes it might actually be good to look at this worksheet because it gives you the intervals. Although it's a little bit messy of a worksheet, you've got to find where you want to be in it. So right, this is the starting note right here. But I can say, okay, if I'm right here, I'm going to put my pinky there because I want to have my fingers on four frets. So I'm on the pinky and then I'm going to go from that note up to two strings up to get to the six. Now if I was on the same string, I would go boom, boom up here, two notes up to get to the D, but that's outside. So I want to go on this side and get to the D here. So notice when I'm going from pinky to pointer, then that's a perfect fingering position. That's why whoever designed the guitar, if I'm just going to reverse engineer it, I'm going to guess that's why he did it, right? He's saying, look, I'm trying to get so when I have four fingers, four frets, one, two, three, four frets out and then usually most of the steps are whole steps, right? In our musical formula here. Therefore, I would like to get from pinky to pointer and a whole step. How would I do that? Well, I'm going to make the difference between the strings five notes, right? So now that makes it so when I go from pinky to pointer, then that'll be the next string right in position. So you can see it looks to me like the design of the guitar is to try to play the scale, not just up on one string, but down within a four to five fret fingering position because that's the shape of your hand, right? So then I would actually say out loud I'm going to be on relative position one of the C major chord, which is note four and a numbering system, absolute numbering system, number four C. And then I'm moving from relative position one to relative position number two. That's going to be a whole step. And so I can see the numbers here of the relative positions on this worksheet and I can see the interval here. You can also see the interval on this worksheet if you number it, right? Because then you can clearly see it's going from four to six and you can see it's a two interval. But if you're just using letters and you're not using the numbers, then you might want to have a worksheet that shows you that this is a whole step or two notes up. So then I would say, okay, I'm going from here to here. So instead of going out to here, I'm going pinky to pointer and that's going to be a whole step. So I'm going to go from relative position one to relative position two, which is a whole step or two notes away from note number four, which is a C, plus two for five, six to note number six, which is a D. Now, I know that's a lot to say, but again, if you repeat that like in the morning when your mind is still thinking you'll start to get into a routine and what that does is to me, it solidifies both the intervals as well as the numbering system for the keys if you want to learn that as well as the positions in terms of what position you're looking at in relation to the key that you're in. So if you can get all that in just by repeating and just repeating that as you go through the scale, I find that useful to do, although it's kind of tedious, but it's good just morning work just to get a little bit of a routine in per day to do that I think is useful. So then we're going to go from this one to this one. So now we're going from, I would call it relative position two, because it's relative position two to the C major scale and we're then going to be going up to relative position three and that's going to be a whole step because you could see here it's defined by this right there. So let's actually make it this way. It's going to be a whole step up or two notes going from note six, which is a D plus two, which is six, seven, eight and note eight is an E. So then we're going to repeat this and we go down again. So we're going to say now we have the half step that's rolling in here. This is the note that's not in the pentatonic scale because the half steps have been removed from the pentatonic scale. So now we're going to go here and I'll make this is the long one now and this is going to be the short one. And so then we're going to be going from, I would say relative position, we're going from relative position three, which is note number eight or E up one half step because there's a half step when you go up from three to four or one note away to relative position four, which is going to be eight plus one or nine and note number nine is an F. So now we're on the F here and then we're going to say, okay, and then if I'm going from that F, I'm going to go to the G. So let's bring this down here. This is going to be the long one now and this is going to be the short one. So then we'd go up to the G. Now this is going to be a whole step away, two notes away. If I was going up this way, then of course that would take me outside of my shape. I can go up to, there would be a G right there. But what I want to do is go from pinky to pointer, which is perfectly situated because one more whole step from here is down here. So now I'm going to go whole step up from relative, I'll call that relative position four, which is note number nine or an F, to relative position five, which is a whole step away or two notes away and therefore I'm going to take the nine plus two gets me to an 11. Note number 11 is a G. And so then we're going to say, okay, then I'm going to go from there to here and so that's going to be here to here and then we're going to go from here to here. So now we're going to say that we're on relative position five, which is this G or note number 11 G and we're going to go up to relative position six, which is a whole step or two notes away. So we're going to take 11 plus two, which takes me to 12, and then around the horn back to one. So now we're on note number one, note number one is an A. And then I'm going to go, okay, so let's do it again. This is going to be the short and this is going to wait. No, I didn't do the short that time. So now we're going to go from here to the seven. So now we're going to go, okay, now I'm on relative position six of the C major scale, which is note one or an A going up to relative position seven. Now relative position seven is a whole step away. And if I went a whole step here, it would be out to here, right? It would be outside of our position. Why is that an illegal maneuver? Because if I was to do that, I would have three notes on one string and I would be expanding one, two, three, four, five, one, two, three, four, five frets on one fingering position. We don't do that on the pentatonics. So we're going to say instead of going here, we're going to bring it back. We're going to bring it back and we have to do that little kink to do that and bring it back to this one. So you still have that interval of one, two, three, four, five and up one, but it's not usually the way most people finger it going to be going from pinky to pointer. It would if you fingered it that way, but most people are probably going to be fingering it this way, so they're going to go from the ring finger and then be reaching back an added fret than they normally would. But it's the same idea fret-wise because if you were fingering it this way, it would be going from pinky to pointer. A whole step up is, you know, the same rationale or same down one and back and back the same idea. So five, right? So one, two, three, four, five and up one or down one and back five. Okay. So we're going to say then, let's get this out of the way so it doesn't mess me up. So we went from relative position six, which is an A to relative position seven, which is a whole step. So we went from a one, which is plus two notes or two steps up, one, two, three, and note number three is a B. So it gets a little tedious, but then we're going to go down here. And so now we're on note number three and now it goes back up to the top, right? So we were here. Now we're actually going around because it's really a circle. So now I'm going, okay, now it's going to the C and did, did, did, did. And so now we're going, okay, we're going from relative position six, seven, which is, which is a B or three note three, which is a B up a half step, which is one note to relative position one, or you can think about it as relative position eight. If you want to think about it as the end, you might think of it as eight, but it's resolving back to one. So one and eight are the same thing. Sometimes it's useful to call it an eight. And then you're going to say, which is a half step. So I'm going up from three note three, which is a B up one note to note four, which is a C and that's back home. That's that nice half step. You always have that half step when you go back home. So then, so then I could keep on going down here, but I'm going to go bring it back up to the top. And so did to do and so do to do. And then this will be the long and the short. And then now we're back up top. And then again, you can keep going on the higher string. So now we're starting over again, but we're in this position down here.  So now I've got the relative position one, which is note four C up to notes or a whole step, which would get me to four, five, six, which is relative position, which is a D, a six, which is a D, which is relative position two to our scale. Right. And then we're going to go. Okay. So then I'm going to go here. I'll keep on going here. We're going to go from here to here. And notice that this one, although it shifted, still only has the three notes on the string. And I'm still not stretching further than just the four frets. Okay. So even though this is five frets long total, there's no position within it that stretches more than four frets on the finger. And so it's pretty comfy. All right. So then we're going to go. So where was I was on a D, which is two. So then I'm going to go from the D down here. So, so once again, you would say the D is, we're going to go a, a whole step up to the three from the two to the three. But if I went up a whole step from the D position here, I would be outside of the range. So that would bring me out here. Why is that an illegal move? Because we started over over here and that would be, you know, three strings out. So I'm going to say, okay, instead of going out there, we're going to bring that E back inside and that's going to be in here. Now here's, we have that kink in the system down here because of the interval between these two strings. So now you've got, you know, that different, that different interval. So if I go one, two, three, four notes up and up one, then that's the interval we have here between these two strings because of that, that difference in the intervals right there, which is only a four string difference instead of a five string difference. So now we went to note number eight, which is an E. I don't think I said that exactly properly, but let's do it. Let's just keep rolling here. So then we're going to go then here.  This was supposed to be a 15 minute exercise we do in the mornings. Been doing this for hours already. I don't even, so this is going to be a relative position. Three, which is note eight on E. And we're then going to go up to relative position four, which is a half step here. So we're going eight up one note to note number nine. And note number nine is going to be on F, right? And then we're going to go, okay, we're going from here to here. So now I'm going, okay, relative position nine. This is relative position four, which is a nine note nine or F up to relative position five is going to be a whole step. So we're going to go from note nine up to notes nine, 10, 11. And so, and then note number 11 is a G, right? And then I'm on that one. So let's keep it rolling. We're almost there. And then instead of going from G up to A out here, that's going to be outside of our range again, of course, that's a whole step difference. So we're going classic pinky to pointer position this time back to the basics pinky to pointer. So we're going boom, boom here, here, out like that. And this one's over here. So now we're going relative position five, which is note number 11 G up to relative position six. Is going to be a whole step. So we go 11, which plus two 11, 12, one, because we went around the horn to 12 and then back to one. And note number one is an A, right? And then I'm going to go from here to here. So now we're on relative position to do to do to do to do to do now we're on relative position six to seven. Relative position six is note number one or an A to relative position seven, which is a a whole step or two notes. So we go from one plus two to note three note number three is a B. And then finally, I can go from note number three back to note number one, or you can call it note number eight if you want. So we're going to go from here to here, and then it goes back to the to the one. And, and so now we're going to go it's going to go from note from relative position seven, which is note number three, plus one, because it's one interval takes us from three note three, which is a B to note four, which is a C. Wow, that was tedious, right? But if you do that a few times, maybe you can only do that through like half, like going from here to here. And that's going to be a lot if you if you do that and then do it on the bottom go from here to here just 15 minutes in the morning. And that'll kind of start to solidify these intervals and and it'll help you to memorize the numbering system if you want to do that and the fingering position. And then, of course, it would be great if we could go backwards, which we probably don't have time for, but I'll see what I can do here. I should do a whole another presentation to go backwards. But if we went backwards, we're going to say now we're starting on, you might want to call that an eight now, right? You might want to say, okay, that's the end, which I don't want to think of as a one, but I still want to start there. So I might say that's going to be relative position eight, which is equivalent to relative position one of the C major, which is note number four or SC. And then I'm going to go back from relative position one or eight back to relative position seven, which I know is a half step. So that's going to be a half step back. So now I'm going, I'm emphasizing this one to go back up to the three. So I'm going to go, that's four minus one, which is going to be three and three is a B, right? And then if I go back up this way, we can go, okay, now we're going the other way. Here we go again. So now I'm emphasizing this one. And now we're going from the C to here. And now we're going from that B to here. So now we're going from relative position seven to relative position six, which is going from note seven, which is a three or a B. Down two notes because it's a whole step down, three minus two is one and note number one is an A. So now we're down to the A, right? And then we're going to go, okay. And now I'm on the A and I'm going to go here up to the next one. And say, okay. And then the next one is going to be going to the G. So now we're going to say we're on relative position six, which is an A down to relative position five, which is a whole step to go from six to five. And A is a one. So if I go down to, I have to go around the horn because there's only 12 notes. So I go down to 12 and down to 11. And so now I'm on note number 11. Note number 11 is a G. Now note, if I went back this way, you have the same kind of concept. If I was going backwards, I see how this is a G sharp. If I went one more back, I would be to a G. So we end up with that same interval, meaning the G would be back here. There's one, two, three, four, five, and then up one. So we end up with the same interval that we're working with of five note differences when we go down and then we kind of go back up. So now we're going from this one back to this one. So now we're on a G. So we're going to go and make this one smaller and then this one larger and then up to here. So now we're going from relative position five, which is note number 11 or a G down to note to start to relative position four, which is going to be a whole step. So we're going to say it's going to be G 11 minus two is nine, right? 11 minus two brings me back to nine. So this is note number nine, which is an F. And then we'll go back here and we'll say, okay, bring this up. This is going to be the whole and so now we're going from note number nine. Let's bring this one up. This is going to be relative position four, which is note number nine or an F down to relative position number three, which is going to be a half step going from a nine to an eight, nine to an eight, and note number eight is an E, right? And then we can go. Okay. So I see how this is working. This isn't, I'm starting to get faster at this. This is not, this is not difficult. So then we're going to say, okay. So now we're going to go down from note relative position number three is going to go is going to then go down relative number position number three, which is an eight or an E is going to go down a whole step to relative position number two. So if I go down a whole step from eight minus two, we get to a D. So there's going to be my D and I can see once again that if I went a whole step backwards, that would take me outside of my position. It would be an illegal position because why? Because now I've got, I would have four of these notes on one string and I would be expanding beyond beyond the four fret interval at a time. And so I can also see that if I went back two strings, you can see this is the D sharp that D would be right behind it. It's still got the same pattern one, two, three, four, and then up one, not exactly the same pattern. It's the different pattern because it's between these two strings, but it was the same pattern as when we went down, of course, because it's the same interval which is going back up. It's a four unit interval because of the difference between these two strings. So then we're on, we're on that one and then we're going to go back again and we're going to say now we're going to go from the six is going to be the long. This will be the short and then we're going to go to the C. So now we're going to go from relative position two, which is a D, down to relative position one, and that's going to be a whole step. And so six minus two gets us back to a four and note number four is a C. Now you could continue, we can continue, I'm going to stop here because I know this is getting very long and tedious, but we can continue on back down and whatever you can do, if you can only do that for like half of this. You know, just the first two strings and you start to really, really kind of do that in a rigorous way in your mind. Then again, you'll be solidifying little by little the names of the notes, the interval of the notes, the positions, the difference between the pentatonic, the majors, you'll be able to start to identify the half steps versus the whole steps and you'll start to be able to name what's the relative position of each of these. Now, I might look at this again because we could also do this the same idea with all of the modes, right? Because the modes, if I go to the right here, are just the same thing. So the next thing would go to the A minor, which is just a related mode. So I can just say, well, I'm just taking the six, making it number one. So I can look at the same pattern over here that we used, but then I would be starting on the six, which is going to be the A. So we can use these same notes to map out any of the other modes. And the next mode to do that with would be the minor mode, just starting on the A, and then just changing these relative positions here instead of calling it A1 of the C major. We would be starting on the one of the A minor scale, which has the same formula. It's just starting from a different point, right? And then that would be the A. And then we could do that for all of the modes. I won't do it for all of the modes, but you could do the same thing and say, I could just start on the D for D Dorian. And then say I'm going to start on the D and use the same scale to map out the scale, but I'm just changing the relative positions in my mind so I can then see what the one, two, three, four, and what not is. And again, you could do that for all of the modes. You may not want to do it for all of the modes to start off with, but it would be a useful exercise clearly for your major key mode, which is the C major, and then be able to visualize in your mind that all of these, the same structure, the same shape, can be used for all of the related modes to the C major, including the A minor. And because the A minor or the related minor, in this case the A minor, and because the A minor is so important, you might want to actually work it out within the A minor relative position so you can kind of learn these positions resorted for relative position one through seven in the minor mode. Okay, that was a lot to deal with, but I just want to try to get the record straight here, because as an accountant, I deal with a lot of handwritten records that aren't straight, even as a musician, we get all these records that people write them by hand with these, these tablatures and they're not straight and they're all crooked. And so what I like to do here is put that stuff into Excel so that we can get the record straight, right? Resulting the records that are really just like a pleasure and a delight for record connoisseurs to deal with, because like, now of course the records are straight, records are straight. Thank you for watching.


So I just wanted to provide a quick video to show you guys what the KO2 265 17s look like What type of clearance you guys look for a lot of the videos I saw on YouTube? Had these and I just got done taking them from the actual From the install from the tire store with absolutely zero rubbing and that was the key is what I was looking for on YouTube is to Really understand how much clearance I have and as you can see here. There's absolutely There's plenty. I did a full range of motion test for you guys And I just think that this is absolutely the best look to have on a 2019 Tacoma with zero lift this was factory to take the 265 16s off of the Tacoma and replace them with the KO2's now Yes, you can see I did replace them with the FJ cruiser Toyota 4Runner TRD Mat black wheels and I'll place a link in the description for you guys But look at the amount of clearance I was really looking through YouTube to try to find the amount of actual clearance that I have and trust me guys I just got back from taking a full range of motion test on this and there was absolutely zero rubbing I was not into cutting my wheel wells. I was not into removing the factory mud flaps I didn't want to do any modifications whatsoever and based on some of the comment forums on some of the YouTube videos out there That were provided for informational. I think a lot of people were trying to stuff way too big I saw a lot of people trying to stuff 285s into these wheel wells and quite frankly I'm just gonna save you a lot of time and heartache. They do not fit these 265 BF Goodrich KO2s work just fine on these 17s With absolutely no rubbing no modification full range of motion Absolutely fantastic, and I absolutely do feel the one inch of lift as I drive the truck It certainly does give it a much leaner profile. That's for sure when I replaced I've still got the stock rims actually in the back of my truck But I wanted to throw this down really really quick give you guys the down and dirty what you actually need is to understand that these 265 KO2 BF Goodrich on a 17 inch rim absolutely works and it works Exactly the way that I expected it to work and no more again I was not interested in doing any type of lift or modification and I especially was not in the camp to justify trimming away at what is a $45,000 truck and I think a lot of you guys will appreciate me posting this to YouTube and giving you the update and Actually showing you what the real talk is here On the new 17s and the KO2 BF Goodrich guys take it easy and be well