Live from Madrid, Spain. It's theCUBE covering HPE Discover Madrid 2017. Brought to you by Hewlett Packard Enterprise. Welcome back to Madrid, Spain, everybody. This is theCUBE, the leader in live tech coverage. And this is day two of our exclusive coverage of HPE Discover 2017. I'm Dave Vellante with my co-host, Peter Burris. Last night was a great night of customer meetings. We stumbled into the CIO meeting. We were at the- And we're quickly ushered out. We were at the analyst event, and of course we met our good friend, Dr. Tom Bradichitz, at the analyst meeting. This is the man who brought a lot of the IoT initiative into HPE, the general manager of the IoT and systems division. Great to see you again, Dr. Tom. Thanks so much for coming on. Well, thank you, Dave, and Peter. It's great to be here at theCUBE. Great to be here at HPE Discover Madrid. Lots of great things happen in it. I can't wait to tell you about them. So we're very excited to have you on. John Furrier and I interviewed you in the very early days after you came over from your previous company, and you had this sort of vision of bringing the HPE into the intelligent edge. And we're like, okay, this sounds really complicated. You got ecosystem, you got all kinds of technologies that you got to develop, hardware, software, and you're making it happen. It's become a meaningful portion of HPE's business. I know you got a long way to go, but congratulations on the progress so far. Give us the update on where you're at. Well, first of all, thank you for that. I appreciate it. I must give credit to my team. I tell them all the time, if you don't execute and do the work, I'm just a science fiction writer. And the vision has come about and we have real customer deployments. Of course, that's the proof of it. At first, we had no products and no customers. Now we have these products that we'll talk about. We have the customer deployments and we're changing things for businesses at the edge. And again, the edge is just not the data center. And the manufacturing floor, we'll talk about refineries, oil rigs, those type of edges. We're doing a lot of work there. And it's been exciting to see the ideas that we have get adopted by not only customers, but the industry. So we're seeing other analysts pick up on two dimensions, computing at the edge, and a little more complicated one and a little more difficult to grasp is converged OT and IT at the edge, the two worlds of operational technology converging with IT. We were on theCUBE talking with an OT partner, National Instruments, a long while ago. And now we literally have those products in the market, in the hands of customers. National Instruments is reselling the Edge Line 1000, the Edge Line 4000 products, as well as of course us selling it. And it's pretty exciting to see this happening. Well, what I love about that conversation is when we first started to talk to you, we said, okay, let's play the skeptic, analysts are skeptic.  They're just different worlds, oil and water.  And then subsequent to that conversation, you bring on National Instrument, right? And we have that conversation. Okay, so we said, I checked that box, at least they're having conversations. Can you talk about how that convergence is actually occurring and what's in it for the customer? Well, great. To talk about this convergence, the best thing to do is say it can happen at several levels. It can happen at a solutions level, it can happen at a software level and a hardware physical level. Let's talk about a physical level, it's a little more tangible, understand. Let me use the smartphone, which everybody has. Peter, you have one there. If you hold that up, you will notice inside the manufacturer of that phone converged or integrated those asynonyms, many consumer devices, such as what? A music player, of course, the phone, of course, but also many other things. A GPS system, a camera, the list goes on, right? We can go on the flashlight.  My wallet, too. My wallet, too. Venmo, baby. That's right. My kid's wallet's in there, too. Yeah. Oh, that's great. You've done that switch, so what is happening there, obviously, is the notion of software defining and we're converging. Now, the benefits of that are irrefutable. One thing you buy, it's less energy. One thing to manage, the convenience of carrying around. Let's take that metaphor and impute it at, let me see, a manufacturing floor edge. There's lots of edges out there. We go to a manufacturing floor edge. We see several devices. Just like the early pioneers of the smartphone saw a consumer with a camera around his neck, a GPS on the bell, text, right? A flashlight, a wallet, and all this. We see all these devices out there. And what are they? Some of them are OT, as you mentioned, operational technology devices, such as control systems, such as data acquisition systems. Real-time systems. Real-time systems. Industrial networks. CAN, Profibus, SCADA solutions and networks. The second thing we see is some IT. Most of it's closed, though. This is important. It's good IT, computing and storage, but a lot of it is closed systems. It's not the open X86 architecture that we so enjoy in the data center. So those things are out there. We looked at them and we put them all in one box, just like the smartphone is one device. What are the benefits? Lower space, there's not a lot of space at the edge. Lower energy, there's not a lot of energy right at the edge. But the more profound benefits that we're seeing, and we have a large auto manufacturer who has deployed this on their manufacturing line, is it keeps up time higher. In other words, it reduces downtime. So if the manufacturing line stops, there's nothing worse than a manufacturing line stopped, except perhaps an empty one. But the point is, when a manufacturing line stops, you can't put out product. You can't put out product. You can't recognize revenue you get in the consumer's hands. It's very obvious. It's an airtight business case, actually. So we're able to reduce any downtime. Why? Because first of all, everything's together. And secondly, we're able to manage it just like we're managing the data center, because it's an OpenX86 architect. So you're converging tasks as well as hardware. As well as hardware. And then the next step is software, as well. We just launched a new class of software called the Edge Line Services Platform. And this is OT software. So we're taking OT functions like aggregators and things that do OT technologies and some IT. But because we have so much compute power, and it's open, it's x86, it can run software like VMware, Microsoft products, even database products as well. But because we have that, we're able to software define. When you software define, and I'll use the wallet again, you don't have a billfold with your license anymore, plastic and leather has been software defined, and therefore it's less to deal with. It's much more efficient. So that announcement of our software strategy along now with our hardware strategies is very exciting for us and customers are very much interested in it. So do you have some examples, some real world examples, customers that you can talk about where you're bringing together OT and IT disciplines? Yeah, you bet. Let me talk about a large global beverage and snack company. And they make snacks, and in this case, potato chips.  So we took an Edge Line System, the EO1000, and we put it at the edge, and we were able to software define several of their IT and OT components and get into a consolidation, an integration in one box. Now what that did is it allowed the, and will do, is allowed the foods to move faster. So if they move across the conveyor faster, you can bag them faster, get them out to consumer. The second thing is because it's so powerful, this is interesting. Now they can use video cameras to inspect the quality. Now think about that. That's not necessarily a new idea, but what is new is the notion that you can take video, which I think you'd agree is the largest data. Is that right? Video is big, big data. We know that well. Especially if it's high resolution, and your hosting costs are telling you that as well, of all these videos. But if it's high resolution, and because you're looking for defects, indeed one has to process that, not only in high resolution, massive data, number one, number two, quickly, because the thing is moving, and you want to know to knock it off or stop, or whatever the case may be. So what has happened there is, my team and I did not think of that. Our customers thought that well, because you gave us this platform, we can now enhance it with a new type of sensor called a camera, with a new type of data called video to enhance our quality and keep our process moving faster. So keeping this converged notion going, you're converging the hardware, which is important. You're converging a lot of the administrative tasks, which reduces the likelihood of any single human failure bringing the whole system down. But now you're talking about, in the whole sense, infer and act loop that typifies what happens at the edge, you're converging new technologies into that loop by being able to add new data types, bring modeling, machine learning, analytics in the infer, and then being able to act right there, which allows you to think about new invention, new innovation very, very rapidly, because you have the processing power to converge all that new function as it becomes better understood. Have I got that right? You've got it right. I serve as an adjunct professor at a university, so let me position it in an easy way to learn. You said sense infer and act. Let's call them the three A's. Acquire, analyze, and act. It's just easy to remember. And let me talk to it to that, but it's actually a synonyms. So the acquisition of the data is through sensors in D to A conversion, or let me say A to D, analog to digital. Because most of these phenomenon video, for example, has to be, is a light phenomenon. Moisture, pressure, at Duke Energy, for example, the second largest energy provider I worked on that, industrial internet of things solution, and vibration was the thing that needed to be acquired, and then analog to digital. Now the analysis test takes place. There are seven reasons to analyze at the edge. There are seven reasons not to send the data to the cloud. In the past we have talked about it. One of them is latency, one of them is cost, one of them is bandwidth, another one is security, another one is reliability, another one is geofencing and policy, another one is duplication, and security of hostile or just reliability drop packets. There's a lot of issues to do that analysis there. But because we have a non-compromised, full x86, in fact 64 in one box, 64 Zeon, Intel Zeon product, in a one box, we don't have to compromise the stack. We can take it directly out of the data center and run things like artificial intelligence, machine learning algorithms. We can virtualize, we can containerize, we can run Citrix applications at the edge to have better access to the data and of course the application. So but you're absolutely right. And then the second thing in this point is we move from the middle A analysis to the action. The reason, I've learned this, doing many IoT deployments, the reason people do an IoT deployment is to act. Yes, it's exciting to collect data. It's also exciting to analyze it.   Many of us have been in that. That's the idea here. You can't stop at the analysis even though artificial intelligence, deep algorithms, moving averages, signatures that we can compare are very powerful. Well, what do you do when you do that? Because we have control and actuation systems built in the edge line, we literally in a physical space as well as a logical process, as you pointed out, close that loop, acquire, analyze, act, acquire, analyze, act, yes, connect to the cloud or the data center if we need to, but the issue is you don't have to. Now here's what's profound about that. This system at the edge can be managed and run the same stacks as in a cloud or data center. I'm going to use those as symptoms because a cloud is just a data center that nobody's supposed to know where it is. So a data center far away on the corporate campus or in a public or private cloud somewhere is managed the same way. When that happens, we are revolutionizing workload management. Now, I spent a lot of years in my former time in IT and building data centers and building some of the first clouds. Workload management's a big deal. How do you shift the workload to the free server or to the free resources, right? To optimize, obviously. It's a packing problem many times in a data center. Well, now we've introduced another place to workload management. It's called the edge. It's far away. So where we workload manage in the data center, then the cloud was invented. That's the first off-premises. The next off-premises is now the edge. So the other off-premises is the edge. So now we have a workload management capability. Do you want to do 100% processing at the edge where the action is and where the acquisition is? Do you want to do 100% in the cloud? That's still possible. Do you want to do 50-50? Would you like to do 10-90? Would you like to do 30-70? You get my point. I can shift this and depending on the season, depending on issues like disaster recovery, depending on your workloads, you can now do that. And again, you can do this with the edge line 1,000, the edge line 4,000 because of the processing power and the converged OT inside it. Well, our observation is that it's not about bringing your business to the cloud. It's about bringing the cloud to your business. So bringing that sense of workload management. You might say the cloud is just a virtualized data center when you come right down to it. So bringing all those capabilities and bringing them to wherever the data requires it. And there's going to be a lot of instances where the data is going to be at the edge, stay at the edge, but that doesn't mean you don't want all the benefits of how you run computing down at the edge where that data is. Yeah, we're not obviating, we're offering choice. But again, there are seven reasons I want to know why you do it here, but I've had a customer say none of those seven matters, okay, we send everything to the cloud and we have great cloud hybrid IT products that do that. And we've envisioned a three tiered data model, real time at the edge, maybe you don't persist everything, but like you said, a lot of reasons not to move all the data back, but there is maybe a spot where you aggregate some of that data from discrete devices. And sure, if you want to do some deep modeling in the cloud, go for it. And that cloud might be the public cloud, it might be your on-prem cloud. Does that seem reasonable to you? Very reasonable. And another reason for a cloud is it's an aggregation point for other, in this case, manufacturing lines or other smart cities to come together because you're not going to connect every city, every plant, you know, any to any, you'll have a hub and spoke cons model where the cloud serves as that hub. So there are always reasons and that's why, you know, if you look at our company, the pillars of our company, point next services, the second pillar is hybrid IT, primarily focused on cloud and data centers, and the third is the intelligent edge. And those all play very, very closely together. In fact, we have edge-to-core strategies, we have edge-to-core offerings with partners like NVIDIA, with partners like SAP, with partners like SAS, we have edge-to-core, for example, Schneider as well, Schneider Electric, all of them are looking at this idea, GE, Microsoft Azure, let's go to the edge. And two years ago, that was not the case, right? Let's go there. When you go to the edge, what are you going to run it on? Well, let's not force our software partners to re-architect like they used to have to to run at the edge, which is like, I'd call that drive-by analytics, you just have to cut out everything because it only ran on a Wimpy Core somewhere or a little device. No, let's move the entire data center capability out to the edge. When I was presenting this to one of our partners, the CEO company, I was presenting this vision and he was texting during my talk because I was boring. And then I said this, this is a very powerful company, we'll miss a name, see it. Then I said, we're going to move data center class technology out to the edge. It's not going to be in compromised cores or limited memory or a little bit of storage. It's the very things in the data center will harden called edge line, will add control systems and data. We'll put it out at the edge. He stopped texting. Maybe looked at me said, wow, you're really moving a data center out to the edge. And you just said that, right? It's the cloud is coming. It's almost the reverse idea of what was happening before. Well, you wrote a blog recently about the space edge. So I wanted to ask you about that. What's going on in the space? And that's the ultimate edge. Yeah, the infinite edge. Explain what you guys are doing there and why it's important. This is exciting. Space travel for exploration and eventually colonization, if you would believe that, is happening. We have the first supercomputer technology in a NASA spaceship now. It has orbited the earth well over a thousand times and it is doing thousands of benchmarks and is doing very well, isn't failing. Now, why is that profound? Because again, that edge is so far away and the ability to push that back to earth now, which we could call the data centers in the earth, is limited. It takes minutes, sometimes even longer. There's issues with reliability as well. So we were able to do that and then we've created a new thing called Project Extreme Edge where we're going to build edge line systems that will fit better with lower energy, smaller size in spaceships, and eventually in colonization. But we're just going into space travel and exploration right now. And I'd like to mention that HPE Labs is a great participant in this because they're working on a technology. And the name of it is called the Dot Product Engine. And Dot Product is a mathematical operation needed in high performance computing in artificial intelligence. But we're able to use that technology because it's small, it's fast, faster than we believe anything else on the market. And also it has a low energy profile. And those are all for any edge, obviously. But it's also great for the space edge. And I like to quote Frank Sinatra when he said, if I can make it there, I can make it anywhere in New York, New York. Well, if we can make it in the space edge, these earth edges will benefit as well. Some of the same challenges. All right, we're out of time, but I got to ask you. Meg stopped by yesterday. And this is given great support for the intelligent edge. Yes, yes. The company's now reporting the intelligent edge is going to be one of the main areas. What about the new guy? Antonio. You know, what's your relationship with him, experience, has he been focused on this area? Support. He's been great. He's support in three ways. Let me just sum up in three ways. Number one, he supports in customer visits. He and I have been on customer visits together. It's always wonderful to have the president and now the new CEO with you affirming what we're doing. That's number one of three. Number two of three, he supports the work we're doing with our new global IoT innovation labs. In fact, our first grand opening, the first one in Houston, we will have one in Singapore opening in February and then we'll have one in Europe and perhaps one in India. We're opening these labs for innovation. But my point is, the one in Houston, our first grand opening, Antonio Neary came personally. He did the ribbon cutting and sponsored that as well. And then third, he is, of course, funding my business unit. And he's been very, very supportive and I'm really happy that he's staying with us and he'll be CEO. Excellent, Dr. Tom, thanks so much for coming on theCUBE. Congratulations, as they say. We know there's a long way to go, but looks like you're off to a great start and have some real traction. So we appreciate your time and your insights. Okay, keep it right there, buddy. We'll be back with our next guest. This is theCUBE. We're live from Madrid. Right back.


Cool, so hello everybody. I'm Vince and that's Julian. I don't know if for those Who have been last year and lack and the years before and grads and Castro I've been playing at the Linux sound night with my band. It was the cello thing with Electronic music and This year I Reset up all the the setup actually and I want to show you that First and then we will go on to the heart of the of this setup actually that's superbook. It's Written by Vaughan Pui. He's not here in France, but you run an eye we Add some really really interesting features for life and Yeah, maybe I just start Yeah, so it's the the ID now is for for playback only so we are not going to record and I don't know if you know something like this view and some hardware stuff like this so You can put some clips on it Here and you can play them and they are synced all together It's it's very similar to like what Harry I think was like before like you just bind the clips to the Pads there, right? Exactly So maybe I just start with a song and I explain what I'm doing So I think it's the best the best way So, I don't know if some music are coming Okay, so you can see what's happening so that's superbook and We will go on later and explain more on this That's the heart it's for the arranging part so you can You can change on the fly the parts and The different parts of each instrument so the bass drum the bass and and all the things so all this stuff is going to color and Color is doing the mixing So and it's look quite complicated, but it's not and Everything happens here is for color for all the live mixing and this was the live arranging so I will say so for example The drums so I arranged that like this so I've got the bass the hi-hat just near The real bass it was a kick and so on So basically the Instruments are on the columns and on the rows. There's different variations so like if you think in terms of mute groups like before Harry introduced like the rows are mute groups More less. Yeah, so and that for the live mixing I've got here. So standard stuff like Here delay reverb and so on And then with that I can arrange something I can say, okay, I want to have the next part bring the slide down Individually some special things there for difference like We're only switching on the bass on the mini clock like And you can set individually the points where each clip but usually like in a simple setup It will all be on the same thing But you don't want to be you don't want to care about the timing yourself So you have time while performing performing to take care for I don't know modulating Filters and stuff like that. I go some special effect Switching effects a lot of them. I wrote them in fast so and put them as heavy to and And into Carla so for the mixing for example each Mixer strip is one for two So Yeah, and then I've got two special things I wrote yes If I understood that correctly a scene can be basically any Sub-selection of clips. Yeah, not just the the rows or something So that's the main difference and how do you configure these? you Do it and you record it like this and that's it. Okay, you say I want to have these I want to have to say actual state Okay, record it and then you can you bring a new scene you can give a name and It's there so I go on Yeah, I got two really interesting Applications I wrote in Faust and especially with the new the brand new media sync function from Stefan and So there are two things one is a Simple beat repeater actually so it's like you can just This one so you can You can change The length of the loop and like classical stuff you can do Trilets as well. So and the nice thing is Slightening here as I want I sent straight from Faust And then the second one is the cat sequencer. I call it. It's this guy here So and Actually, it's really easy. It's on the baseline for now and it's just start with the timeline and put kind of Step sequencer on it. It's not a step sequencer, but it's eight steps and you can just mute them. So if I got the base I Can change the base on the fly So you can just You can mute sub sequences as well So that's the wall setup actually so what I'm presenting now is on me the playback part that has tons of other stuff like with your shimmy and super looper with the keyboard and there's an analog synthesizer analog delay line and analog loop station it is synced with MIDI clock and everything is Rooted in color and stored in color and Mostly if I start color all the connections out there And yeah, and it's that's great. So it's really really nice because on the stage you can Just decide what to do if you have your parts and you can you are jungling with the parts You can see what the people The people like the parts and you can to really really How to say we've had so making music so just arranging mixing changing the baseline and doing some diversity stuff So That's it for now that's so maybe How much time we do we have now? Okay Maybe we go on super book a little bit more. So it has Now we do like this so You have a matrix of clips you can load samples with dragon drops actually You can hear are the Properties of each clip you can say the amount of beats. There is the clip and You can you prepare everything for your live session? But there were a lot of Really interesting things they were missing for the real-life performance and we implement them that with Julian would just Show them one is the playlist editor It's like you can just on double-click change the song so you are on the stage You don't need to go to the menu and open and look for a file somewhere That's really really handy They are the port manager so now you can Add as many parts as you like so there are means all your outputs Yep, because the idea is like you're only doing you're not doing a lot of signal processing or filters or whatever in In this piece. You're just doing the the whole Arrangement part so you what you want to be able to do is like do like all the all the other things with other check components or whatever and So we need multiple outputs and need those to be configurable. That's yeah, but you want to have like some So in that set up I've got eight stereo outputs. They are all going to Carla and mixed after Then We implement as well the mute groups. That was very interesting before with Harry and So these are only classical mute groups in the term that it's a group of clips and With the constraint that only one has or only one is allowed to be playing at a time So if I start this one So if I start this one this one will stop and this one as well, but it's already stopped That's it. So you can have a lot of clips and If you trigger one clip All the others will be mute. So especially with baseline or whatever if you have different parts You don't want to have two baselines at the same time and That's the concept of mute groups. You can put them there and Yes, and we have the scenes and I stole before The sins are just states of Whatever you did Just right now something maybe really nice. You say, okay, I record the scene and you call it later It's just a subset of the clips like that are available and the way it's in the way right now You can like only as soon as you say you want to be in a scene the whole global set is The global state is restored like all the scenes that are all the clips that are in the scene are Activated and the other ones are turned off Exactly so the best example would be you have a chorus and a verse and Maybe you want to have different parts from the verse in the chorus or Whatever, but at one point you want the real real chorus. So you can see and it's done And to come back real quickly to your question from before like that there is no internal way that Really like it's just a set of a subset of clips and the integrity is like you can just record those and in the state where like In some state where you're playing a subset of your clips will be active and then as soon as you say You You store the scene then it will be taken from the from the state of the program at the time So there is no more to it. All right So I think we are done with You're right like it's it's in it wasn't a very basic state like one year ago when Vince discovered the the program kind of or like he felt he found the github repo and He's like, okay, we need more things to to make it practical for him on stage So we started implementing those things over the last year But it's still like in a we're thinking a lot about like I don't have any any I don't know many people in the in the scene or who are actually performing So an interesting thing for me to know would be like what are interesting features? So I like we're maintaining a fork of the original thing and pushing things upstream and the state It's in right now. We have a lot of things in the issue tracker so I was going to present a little bit like ideas for features and it would be interesting to Talk about it like what what what you think would make most sense or or just doesn't or Concept wise So, yeah, right Let me find the slides Do you have any questions? Yes. Yeah, okay What language is it written in would be one question just out of curiosity and the other question is for Vince This matrix layout. Is it something that you're accustomed to or you need that for? Performance or is it because the hardware the launch pad hardware and stuff like that. It's like this or would you rather? go away from the matrix layout because I mean right now you have already you have almost the flexibility that You don't need the matrix anymore or maybe not I mean you still have a kind of organization into different instruments which are the columns if I got that right and So Is it essential for performance or I don't know I go away from it? I would go away from it, but I don't have any idea Well, it's really convenient because you can just say in my case I put up was all my base drums there or my hi-hats there and I know okay That's just the first and just the cello and yeah, I can It's convenient and it's go through through the line and then it will be mixed as oh, I've got them like this actually and so I know one line is one instrument and It's written in Python It's Python and Qt Qt Qt Are you also thinking of implementing live sampling? You know the yeah, you're using super looper and an analog looper, but it would be nice if it's integrated right it has it actually it does It does have recording features, but Vince is not using them. So we haven't been looking into those or how good they're working We never even tested them, but theoretically it does have that already. Yeah, so the first the first idea was to bring it to live on stage capable software, so and It has the recording facilities, but I Really didn't try them really and I use super looper because I know it but It's the next step actually it's looking if it's working or not if the recording Yeah, but for now we were deciding really to focus on like the performance part and and like think of of the samples as a black box that come from somewhere and they're already there and to optimize the the ways to interact with those devices and also I think like We're pretty much tied to the layout of this device with That's also the reason that you pick the software in the first place at some point because like it's a nice device Well the main I don't watch this microphone My mind my mind point is I don't want to Do something with computer on the stage because I don't have time to take the mouse and Looking for whatever and we need to be intuitive and Got the cello player is playing and something sometimes like one second changing That's the main point and it's the only software for now. I know for Linux which is we can do that so playing sample which is free and With the lightning of the with the feedback with the media feedback there, so that's really important. Otherwise, I couldn't use it Yeah, Vince. I'm just wondering Over here. Yeah for your super dirt project now has this flow with super book a completely replaced your old one with hydrogen Yeah, completely Yeah This is a program you're talking about the super bounce or what's it called? Tied only to the launch pad or so also these archive or Yeah, there's more devices with eight times a it was designed by by the main developer for the launch pad But actually works. I think with a lot of others. It's all depends of the specifications of the Of the hardware so which how many How many colors and stuff like that so To be more technical if that's interesting like it's designed with the the Or by the original author with this thing in mind But it has theoretically the possibility to like it has a sort of we haven't shown that a Device manager and it has a very nice feature for binding those Binding the media signals to the program actions like you can just for instance for the matrix You can just press some record button and then press them in a in a row and it will bind them accordingly and also if you if you If you start a new song It will allow you to adjust the number of or the size of the matrix It doesn't have to be square. It can be like any time well two-dimensional, but any numbers you can change the size of the matrix, so As you like probably you don't want too much because it doesn't fit on a screen more than eight is Unpractical in the state that it's right now at least on the screen wise But theoretically it is possible to do it with other devices, but it's very much optimized for for this one So like for instance the feedback it's it's sending I Can recall exactly, but it's like this device has built in software blinking so it's certain encoding that that allows the blinking part and like It would it doesn't it doesn't account for that in a way that like the software assumes in a way Okay, I can I can make the stuff I can make my output device blink. Yeah So it's hardware blinking and soft if your device does not allow for that. Well, okay I mean you can say something else you have another color or whatever to distinguish the signal It doesn't have to be blinking of course, but that's just the way it was designed So like it would somebody would have to try if it really works with another device nicely, but probably works best with this one that's the reason because I bought the The launch pad because of this software. So actually It was the other way around but I would be very interesting like Yeah, if somebody tried it with some other hardware as it would be really really nice if somebody are really interested in that and Testing with other hardware and maybe or implement themselves way of using other hardware or doing more Okay, but before I think I think we should at some point get to an end. So I would start talking very shortly about a couple of ideas. So First of all like for this While I'm talking about I will I will use the term sample just for an audio file and clip will be like what what is a super book all Rapper of the autofile including made a data like As you've noticed like the length of the sample It does not depend on the at the length of the clip does not depend on the length of the sample You have to or you can set it there like you can have an audio file That is I don't know way longer or like just a short click or a drum beat and But you can determine the the beat amount. That's what it's called currently and Yeah, all the all the other settings so that is a clip the audio file the naked audio file is a sample for Terms of talking about it for right now so then like this is kind of Cute little graph like what it's doing. It's it's Or just of the states that the clips can be in so once you're Like I'm using this hand symbol for you're pushing the Button and assume you're starting in the stopped state Once you you trigger it it will be in kind of a starting state so the hardware is supposed to be or that it's blinking Signaling that the next toggle point, which is a terminology that I'm using for like that Usually it will be the start of the next bar the Clip will be actually Playing back or start playing back and we will be in the playing state and the same for the stopping so the idea is it's it's basically theoretically independent for each clip so you can do like Like a basic use case would be okay. You have a song with a lot of shorter clips and maybe some Drum clip that would be long like I don't know four times the length and you have some fills that vary or something like that And you want it. Yeah, you want to you want this variation in there, but other other other clips Maybe yeah, you want to be able to change more quickly So yeah, like consider some some clip here with beat length for What is happening is Okay, I'm in the way of this Yeah When the clip is very short right now you have silence So like the use case will be some some drum Some kick maybe But it is also possible That you might want the silence not to be silenced but like but to automatically loop it But still be independently or independently you have this Length point where where you're toggling so like that could be one idea an option like Yeah to allow for the looping and Yeah, I hope that the pictures make might get clear enough like so also you see this independence Very nicely here like the the click clip length does not have to do anything or doesn't have to do anything with the beat length so it might be that there's some Whether it's wanted or not you just have the option, but I can't I can't exactly tell you use case, but Yeah so another thing is The this toggle concept like where where the point is where you want the program to be able to switch to the next clip It's kind of tied to the length of the beat The beat length of the clip so if we go back to that example of a long drum clip where You have a lot of variation maybe or some fills in there. You may be want to be able to Still say okay I want to switch to another drum clip because I'm in part B whatever and there's double bass or I don't know what But But the whole I don't know eight bars whatever you designed your clip to be for are not still over So you might want to be able to decouple the toggle point from the actual length of the playback So if you're doing nothing it would play back for Eight bars or whatever, but when you're switching you could be able to switch Sooner like that that could be interesting to add so you can like individually Specify the the toggling point and the length of the clip Okay, it's technical, but I don't know it's still I Hope I hope you can understand it. If not, please stop me so another thing is The the nut this concept of having an independent Well or having a put point where you push and the point where the clip switch being independent and the toggling point at some to some degree being tied to the MIDI clock or well is nice, but probably you also at some point want to have some indie or some some ability to actually Playback some sample immediately at and and yeah be not restricted to have to wait for the next thing So have something like I don't know some some sample I don't know what we would be a good good use case some scratch or whatever. Yeah, that that you want to be able to just immediately play back so that would be some Some other thing and there could also be variations of that like A monophonic version where you just yeah, you push and it's played back and if you push while it's being played back of your your purses just ignored and Yeah, just like like it's displayed on the on the bottom in the graphics Then you could also have some this monophonic version with some such stop behavior Okay, I also thought some other thing like You could allow for you could you could it make it be monophonic but still allow for Interrupting if you specify this toggle point and Then you could have some start stop behavior So when you push you start the sample when you push again, you stop it immediately and then finally you could have just okay Screw it. I'm just playing back whenever you're playing whenever pushing and it's just yeah so that is another thing and Then like I don't know another thing would be like You could want to play back a sequence of triggers So you just you just record Kind of on stage Okay, I want to I want to turn this clip on and next I want to turn this clip on and then I want to turn This group off or whatever So that that could be Some sort of feature so like at some point you're saying okay I'm recording right now with some record button then I'm doing three pushes and the program is memorizing them and Actually only memorizing the order of execution and I'm playing it back to the respective toggle points if you will and then Finally and this this is maybe related to what what Harry is also been talking about like more some More general view on on the concept of a group of clips But I'm not quite sure What other things there could be but the things that we were talking about were like well mute groups classical mute mute groups Then like a scene that we've already in there Which which is a group which should be started together at the at the same time But the way we have it right now It's it's a global scene in the sense that all the other Crips that are not in a scene or turned off which I mentioned earlier and then you could also have something like okay I'm individually having I have samples for drum sets for for cake for base whatever and then I could have a small local group of kick snare Hi-hat patterns that belong together and I want to be able to turn them on but not turn anything else off So so like just some sort of sub grouping of of clips that could be also Something and then yeah, okay. Well generally. Okay, you might want to have something like be independent and in terms of like what we were thinking about a use case was okay assume you have the classical mute group like you have some bass Some bass samples and then you have some piano samples, whatever and they're both in mute groups But you have something like okay one of those bass samples and one of those piano samples really don't go along very well Yeah, like they're all and all combinations. They're sounding nice, but you don't want to have Some some combination of bass and piano together because they're just not sounding nice let alone something like AP parts or harmonics like we're not even thinking about that, but you could just have like the requirement for More constraints, but you could realize that with multiple mute groups in a sense But I'm not sure if if like really decoupling on the The clip from from the whole group would make more sense But like so so I was thinking I don't know maybe somebody else can think of it So so you could like just make some tiny API like just some some interface for what groups can react on and Then implement those standard things and allow other people to do like just with a couple of lines of codes Right, right some custom group behavior or something like that. So those are actually basically the ideas then there's How are we on the time actually? No, it's quite late Yeah 39, okay, I think we're ten minutes over. So let's let's cut that short. So actually that's it if if somebody has Probably are all hungry now. I want to go food But if at some point somebody has ideas or right now questions about those features or ideas how like Things could be or concepts that could be better Yeah, we'd be happy Yeah Yeah, one idea that I've been missing from a lot of looping and similar programs is to have the you call it the toggle point I think to have that in in the past so like usually what happens you you link your toggle points to a certain beat length and If you then trigger it Slightly before the trigger point all is good But if you're then slightly too late, then it waits for a whole new period And it would be nice if you could make that configurable like maybe if I'm just a bit over Then consider it the last bit trigger point or maybe you could say if I'm within the first half So like I don't know you're recording a loop and you in the second half you decide oh shit I'm fucking up. I just want to use the first half and then you say stop and it knows hey We're not at the full Length am I making well at least I was thinking at least it would be nice to bypass the The behavior that the clip is waiting to the next bar So if you are straight too late, maybe with the shortcut or something just Unmuted yet the big question to me seems to be here like How do you want it to behave do one like some manual override where you control that okay now? I'm late, but I still want to change it. I want to ignore the The automatic thing that the program forces upon me or you could also be like okay If I'm like only that much late then I can automatically recognize it and still do it But that might also lead to some Unexpected like if somebody is used to like doing it very early. I don't know So so the question would be what would be the best way to approach it like rather some manual override or some Threshold that maybe in options is set up for the user or whatever Yeah, no, yeah, that last last was what I was thinking of like you can set it to be either if you're just a bit late start Start the thing earlier or you could set it like at the halfway point So if I'm if I start or stop in the first half Then it means I want it actually in the in the past to start and I if it's in the second half It's the normal behavior like those would be the two use cases I would find useful So there was a question on IRC just there can mute groups be nested so can one can mute group Control another set of mute groups and that actually influenced the clips That is interesting to be I'm not I Don't quite understand what the implication would be or how the behavior would be different from like assume that you have a couple of nested mute groups Maybe I'm being stupid right now, but like from what I was thinking of a regular mute group The behavior would simply be like, okay I am uni unifying all those nested and then it's the same What what is the difference?  Are you considering triggering? effects for example specialization effects or transformations also Well, you are triggering Meady actually so you can as well You can can go out of Superbook and do whatever you want With me. So if you have a plug in So hi, I understand what we're not we're not Controlling effects with Superbook all itself. So that that's If you if you consider the setup that Vince is using he's like we got like eight outputs out of Superbook Oh, they're going in In some in color in to wherever I don't know I do or if you like to record whatever and then at that point those those are Usually also MIDI controllable. So the current controlling of effects The way the setup works right now is handled there and we haven't really been thinking a lot about integrating this or yeah, but yeah But you can do really nice things like you can just record on a MIDI track your performance With good tractor or do or whatever and just play it back and it will work You can go and have a beer So there was no follow-up from IRC yet, but fuck. Yes, how often is Carla crashed so far? Sorry, how often has Carla crashed so far? It has never crashed now on the stage Sometimes it doesn't work with With the external media hardware, or I don't know that the connections are lost. I don't know really why But mostly it works Actually, yeah About the topic the total point being in the past how about doing it with a really hard velocity So if you really missed it and you really want to have it there, just did it very hard. Yeah This could be a really nice gimmick. Yeah, I think that's a very very good idea The problem with the current setup that Vince is using right now. I don't think that the device is sensitive to No, they aren't velocity, but you can you can Vaupui the main developer Implement the functionality of velocity sensitive And yeah, for example, so it is implemented now in superbook.  There's also a follow-up question to the nested mute groups So Robin asked nested groups offers more flexibility consider group a snare and kick group two Or b being hi hat and cowbell group tree hi hat And symbols and then you kind of like group these sub groups together in like super groups As in like b1 is a1 and a2 And b2 is a1 and a3 Basically have kicks and different like parts of a drum kit individually like groups into into Like larger groups to control the whole drum kit in different ways like Yeah, I think like your scenes feature maybe covers part of this in a way at least in a different way Um, you can't do that stuff without hierarchy. Anyway, hi hat calcium. Yeah, okay. Yeah Is it is it actually because originally from what I remembered it was nested mute groups So is it tied to the mute group functionality or rather the scene that things that belong together because I can of course remember It makes sense like you trigger one if you think of Not global Scene groups in terms of where you just turn on the groups and turn everything else off Um, it would make sense to have like a local subgroup turn that on turn on another local subgroup on and then have some super group Like that. Um, yeah Yeah, exactly and then turn like all of the subgroups on but with a with a mute group thing, um Which conceptually is like to okay Uh You can't even or there is no concept for triggering a mute group From what we've been thinking about it. Like it's there's just like you trigger one of the clips inside of the group and the function is That it turns off all the others So in in case of of nested. I don't know what the yeah want to do So but I'm assuming that uh, we're talking about like the other sort of Group not mute groups, but I think it's a scene thing that's Yeah But but because maybe they're dual in a mathematical sense or But the mute group they are really really really important on stage because if you have two or three different baseline You never ever want to have all the three playing at the same time since the sound engineer is crying and Uh, everybody's going out. So Um Yes, small addition to the the total point thing like the use case. I'm thinking of is is just being able to start and stop stuff At the moment and have the the computer understand that you want it to be actually in sync So so you're not consciously thinking. Oh, I was a little bit late. So I'll hit it a bit harder Is that you're the only thing you're thinking is I want my things to start now And like usually people who are used to loops They just do it a bit earlier because that's how they've been trained. Like otherwise It doesn't work, but that's actually not a natural way of making music. That's that's You have to consciously spend a little bit of brain power to Oh have to be a bit earlier Whereas it would be nice if you could just you know be in the moment be just I'm sure there are some case for that but Um In that case you are you are arranging your song on the fly. So you are thinking about Many loops at the same time. So you say, okay, I want of this part with this part with this part so Yeah, maybe you might want to trigger all them at the same time, but actually you don't need you can just Also, I think a key thing is like The way that that the loops are used in this setup So the the concept how I understand it is or at least how we're using it and mostly the way we were thinking about is You rather have longer loops that don't resemble like One snare beat or whatever or one one sound that you want to play instantly or or whatever But rather a very long period of um, like maybe even a A part of a song Like eight bars or so and those are really long time spans and And the way that vince is using them from the the way I know understand it is mostly um Okay, there's the part and then you can react to the crowd in a way. Okay, they're really You notice they're responding to it So you're letting it run a little bit longer and at some point you decide Okay, and now I'm going to the b part or the next part whatever So this is a decision that is not very time critical in a way. You you just say, okay I'm hitting it now and this is just one small Action and mostly you're focusing on okay what what The micromanagement of the effects in a way of okay. I'm I'm Playing around with uh with uh With the effects and especially playing whatever that's that's the idea. So you you can I rent your song and prepare and do all the stuff at the same time. So you don't have to So for example, I want to change To the next part of the scene and then I can play with the guitar On the first so that's that's the idea. I think it's it's time more or less for lunch So if there's somebody has a really pressing question at hand, um, maybe one last or so Yeah, but I think it's it's we're all hungry just otherwise just come to us and yeah, you can come later. Yeah okay, so Three o'clock is the next slot and then we're gonna have well here the sound lab and the seminar room. So here it's going to be At the main hall plug-in programming with the first and in the seminar room is pure data and the haptic hand-loop things And essential aspects of mixing in the sound lab


Good afternoon everyone. Thanks for being here today and beautiful Barry. It's a pleasure to be here alongside the president of Georgian College, Dr. Marilyn West-Moines, as well as the mayor of Barry, Jeff Lehman. Earlier today, I had a great discussion with students enrolled in a number of programs here at Georgian College. These women and men are preparing for a range of promising careers, including in the tourism industry and in environmental technology, as aviation managers, computer systems technicians and civil engineers. We chatted about our government's recent investments in skills training and the importance of getting more women into the workforce. And that last point isn't a new one. Canadians know that this is an issue I'm particularly passionate about. A few months ago, I was at the World Economic Forum. And amidst a sea of political and business leaders, I issued a challenge. I asked each and every one of those leaders to make a conscious effort to hire, promote, and retain more women. We know that the advantages are enormous, stronger economies, better decision-making, and more equitable societies. To achieve this goal and support women in the workplace, we, among other things, proposed the adoption of measures that favour salary equity. I think, fundamentally, that when women and men do the same job, they should be paid in the same way. After working hard at school and after investing in their education, students like those I met this morning should know that discrimination based on sex won't be part of their daily lives when they grow up on the job market. It's obvious, even simple, but still today, our economy is struggling to integrate this principle. For every dollar of hourly wages a man working full-time earns in Canada, a woman working full-time earns about 88 cents. Canada ranks 15th out of 29 OECD countries based on the hourly gender wage gap. This disparity persists despite the fact that pay equity is a human right entrenched in law. So making pay equity proactive rather than complaints based has been long called for by workers groups and families, women and men alike. So our government chose to listen carefully and then we got to work. A few days ago, our Minister of Finance Bill Mourno tabled Budget 2018, an ambitious plan for the future of all Canadians. Our ultimate goal is equality and growth for the middle class and people working hard to join it. And since that's our goal, Budget 2018 will see us moving forward with proactive pay equity legislation. This policy means that women and men doing work of equal value will, on average, be paid the same. And that's why we chose to visit Georgian College today. Students in the Environmental Technology Program, for example, often end up working for the federal government in departments like Environment and Climate Change Canada or Natural Resources Canada. The men and women enrolled in this program are learning the same material, being trained the same way, and if they end up working for the federal government they should be paid the same for work of equal value. And thanks to this new policy, they will be. And they're not alone. Women working at the local bank branch for airlines at telecom companies or for any other federally regulated employer will all soon be covered by robust proactive pay equity legislation too. In total 1.2 million Canadians will be covered by this new regime. Let's be clear, it's a big step in the right direction, a big step for the equality of sexes in Canada that we are proud to take. That said, it doesn't mean that the work is over. It's a first step. There are a lot that remain to be done at the provincial level and in the private sector. But we, the federal government, have chosen to give the example and we are putting our partners to the challenge of following us. Women are underappreciated and underpaid for too long. As a society, we cannot go forward if half of our citizens are victims of discrimination based on sex when they receive their pay cheque. But fortunately, change is at our door. Together, we can take the necessary steps towards closing the gender wage gap and increasing the participation of women in the workforce. And in doing so, our economies will be more resilient and our communities will be stronger.


Bullying and types of bullying. When we talk about the bullying, we should keep this thing in our head that bullying is an ongoing and deliberate misuse of power in relationship through verbal, physical and social behavior with intent to give or cause harm at the physical, psychological or social level to another person. So, if we look into the definition, that's mean that bullying has three main components. Number one, deliberate, number two, abuse of power and number three, cause of harm. So, when we are saying deliberate, it means that the person who is bullying will not intentionally bully anyone intentionally, but with intent to do the bullying. Deliberation will be for doing that act. Similarly, the power will be completely different from the person who is bullying the other person. For example, a group of children can bully a weaker child. Similarly, a popular child can bully a less popular child. Similarly, if there is an athlete in the school who is very known, he can bully such an athlete who is less known. So, the imbalance of liberation and the imbalance of power, these are two important components of bullying. But the most important component is the cause of harm. Meaning, the intention of the person who is bullying is to cause harm, which can happen at the physical level, at the psychological level, and at the social level. Meaning, the person who is doing the bullying will get the harm of the person who is being bullied.  So, these are the things when a child who feels weak in comparison to another child or a group of a child, because of which they experience the negativity at the physical level, at the psychological level, and at the social level. So, the whole situation is called the bullying process. The bully is in-person and online. When we talk about in-person bullying or online bullying, first we will go for the online bullying. So, in online bullying, as you have heard in today's terminology, cyber bullying. So, all the in-person bullying and online bullying come from types of bullying. Types of bullying, they are four in types, physical, verbal, social, and cyber. When we talk about physical bullying, that means one person can kick, pinch, or push the other child. You must have seen that children complain a lot that they were going for break time and a group of people or group of children came who snatched things from us. In the same way, on a verbal level, children tease each other, call each other, and pass inappropriate comments. So, on a verbal level, like swearing, calling each other, or calling someone with bad names, these are the types of bullying. Now, it is very important to keep in mind that the power is important to be imbalanced. One person will be weaker and the other person will be higher in power. In the same way, if you look at it on a social level, then how is bullying done? Just like misinformation about people is spread, rumours are spread, different kinds of things are spread among friends, the basic purpose of that is to defame the good name of the other person or the child. Similarly, cyberbullying is done. What happens in cyberbullying is that the child is either given different types of text messages, emails, rumours are spread on social media, pictures, videos, etc. and cyberbullying is becoming a big cause. Nowadays, in adolescence and teen age, the child has suicide. Cyberbullying is said to be lethal for the adolescence age. If we talk about it, bullying happens on a verbal level and on a covert level. When I am saying a covert level, it means that it is in hidden form. When I am saying a overt level, it means that it is observable. People can see it. Similarly, as we have talked in the types of bullying, there are four types of bullying. Three types of bullying can happen in the physical world. And in the digital world, cyberbullying, there are three types of bullying. How will they come? We will see that. Similarly, if a person is bullying on a covert level, a hidden level, then what will he do? He will do the verbal bullying on a hidden level, not in a closed room. He will do it in a place where no one else is present. Similarly, what will he do on a physical level? He will do it in a way that if the child is hitting or hitting, he will do it in a hidden form where no one can observe. Similarly, if someone's personal information is being separated, then he will do it in a way that no one knows that at the back of the edge, he is the person. Similarly, when we talk about the digital world, then when we talk about cyberbullying and we talk about bullying on a covert level, then how will it happen? The text and email will do all the things in a hidden form, and he will do it anonymously. Similarly, if someone's web page is on a physical level and he wants to defame it, then he will do it anonymously. Similarly, if he wants to spread rumors about someone, then he will do it anonymously. So, all this will happen on a covert level. And when we talk about the overt level, then what will happen on the overt level is that on the verbal level, all the remarks, all the threats, all the names that are being called, it will be openly in the presence of others. Similarly, you can also view that person as to what kind of person he is talking about.  That means you can see him and others can also see him. So, that means that that behavior can be observable or at the overt level. Similarly, if he wants to defame you in social relationships, then he will openly tell the group members that the person is being told not to play with him or not to socialize with him. So, this is observable. Similarly, when we talk about the digital world, then if someone is bullying on a verbal level, then the posting of negative photos or comments on websites will be named with them. They will not be anonymous. If he wants to defame the web page and profile, then he will be named with his own name. Similarly, if he wants to exclude him from different activities, then he will also be named with his own name. There will be nothing hidden or anonymous in it. Thank you.