What kind of streamers are there and why do digital audio equipment differ in audio quality? A registration of my presentation during the NWB Brucell Hi-Fi Show 2022. November 5th and 6th my colleague Jan Feinster of alphaaudio.net and myself were asked to do a presentation on the NWB Brucell Hi-Fi Show 2022. I was already asked if a video registration of my presentation would become available. I didn't expect it to be registered but Jan was also very kind to register and edit not only his very interesting presentation on networks for audio but also my presentation. A link to his presentation is in the top right corner at the end of this video and in the show notes. We had to work in a rather noisy hall so I am slightly less focused than normal. Enjoy. I will try to tell you a bit about network players, how the structure is of network players but also why some network players sound different than others. A lot of people think that bits are bits and that all digital equipment sounds the same for that reason. That's not true but I'll come to that later on. I'm often asked these two questions what kind of streamers are there, where do they store their information, how many information can they store and all that. That's the first thing I will handle and the second is as I said the sound difference between digital players. To start off with the first question let's see what components there are in a streamer. That's quite abstract but you'll get the point when I'm finished. You have of course storage that can be a hard disk, that can be a USB drive, that can be even a CD. Then you have something that has to control the information flow. You have a database that contains the information about the music so the album name, track name, artist, composer and all that information and you have a user interface so you can instruct the machine what to play and you have what I call here the renderer that's anything from the end of where it is digital to the loudspeakers. When you start up a device it starts to query the hard disk, it reads all the files, all the metadata and it reports back and that is then stored in the database. The database then can feed the information back to control that can feed the user interface where the user can ask for a certain track and then that's sent back to control and it will send the music. This is in fact what all digital players do. It all started with computers. The old computer of me went to my son, he discovered he could play music with it on his PC speakers and he was very happy. There's a difference between a computer and a music player in that the computer uses a file system and not a database, it is a database, it's a simple database but it doesn't contain more information about the music so artists, album names, they're all not in the file system of a computer as you can see here. The next thing that happened was to bring the A conversion outside of the computer because in the computer it is really very poor sound quality. That can be fed over a SPDIF or USB, nowadays there are even more standards. And the next step was to use a music player software that can index the music, the composer, the artist, the album art and all that and create its own database in the computer. That can be done in several ways. The first way to do it is a server-based, then you have in the computer a program running that works as a music server that builds the database and you have an external network player that gets the information from that database and receives it over the network and feeds it to the renderer. And that is usually controlled by a smartphone or tablet, in the old days you had dedicated remote controls but not here, there are several systems that can do that. The most used is UPnP, AV and DnLay. UPnP, AV and DnLay are in fact the same as such that UPnP, AV was first there and then the big companies like Philips and Sony who owned a lot of copyrights of music too said well we don't want the MP3s to play so they came with a version that denied anything that had copyright or was MP3 and that was called DnLay. So if you hear DnLay it's the same as UPnP, AV especially since nowadays those copy protection is all banned. The second system is Logitech media server with the squeeze box and then there are brand specific devices like Sonos, Yamaha and Aurelix. I will have them passed by one by one. DnLay, UPnP, AV is very wide accepted by the consumer electronics industry. All well-known brands like Brands, like Denon, like Hegel, I think also, Cambridge Audio, Arkham, Lin, they all use DnLay as a protocol and as a server. It supports audio but also video and photos. If you have photos and videos on your computer and you have a smart TV you can watch using the same protocol, those photos and videos. There need to be a server program, it's a small program on a computer or a NAS. It's a very small program and it can be done on a very cheap NAS. I have one of my test equipment, it's a 100 euro NAS that performs well. It's not the quickest but it works well. Many servers that use very limited support for metadata. Usually you can get the artist, you can get the album name but composer often isn't supported and so on. There are good programs like MinimServer that is free and does only audio and supports all the metadata and there is no provision for gapless playback. So if you play, for instance, Sargent Pepper, you get a short silence between the tracks. That is nowadays solved in good hardware so if you use DnLay and you're going to buy new hardware make sure that it's capable of playing gapless. These are the brands that supported the DnLay standard and there are many more but to give you an idea how big this is. The next one was the Squeezebox. It was bought by Logitech at the moment that it got successful and Logitech has abandoned it but has promised to maintain the server program so people with a Squeezebox can still use it safely and it's partly open source so you can have plug-ins for all kinds of applications like Tidal, Corbus, Spotify, all those things are supported on the internet radio. The sports music video and audio too and photos and it's free. The server program is free and since you can't buy Squeezeboxes anymore the solution is to buy Raspberry Pi with a simple sound card and if you're handy with computer you can make that function as a Squeezebox. Then you get the self indexing streamers and those are different from the ones I showed you before in that there is no database in the computer. There's a file system that knows where the files are but there is no database that tells you what track is made by what artist and so on. That is done in the network player itself and that has the advantage that it's very fast and it can be remote controlled like D&A is. There are three brands that are rather popular. Sonos is very wide in the market and it's well known. Then you have Blue Sound and if you want Blue Sound that are higher quality it's done by the sister company NAD and Aurelic is another brand but that's again higher in the market that works this way. Let's look at Sonos. Sonos is easy to install. I once wrote that my mother could install it and it's really true. Fast browsing and searching for music. It has a large install base so when a streaming service wants to hit the market they really have to be friends with Sonos so it's supported about any streaming service all over the world. The internal memory defines how many tracks you can index and that has to do with the amount of metadata. If the memory is full the database can't grow anymore and you're on the limits. How much that is depends on the amount of metadata you use. If you only have the artist and the album name in the file it's limited. If you have very large images of the cover art then it gives a burden on the memory of course. One thing is it's a closed system. If you really want to work with Sonos you have to buy other Sonos equipment to get a bigger installation. Quality wise it's targeted at the average consumer. Let me define that by saying the people that don't come here. I think that's safe. If you want one step there's one thing in the mesh network that's an interesting feature. There was an interesting feature ten years ago when you had more Sonos devices and I was lazy to draw five of the same but it can be speakers as well. The moment you connect one device it starts connecting all other devices it sees and so extend the network and this is exclusive for Sonos. That made it a very robust system in the days that you only had one access point in your house. Nowadays there are repeaters for little money and most people have a very good coverage throughout the house so this is not a real feature anymore, not an important feature anyway. Not the same as Blue Sound. Blue Sound is a brand that came I believe eight years after Sonos and they looked very carefully at what Sonos did. They tried to be at a higher sound level and I think they succeeded quite well. Again it's a very easy installation. It's self-indexing like Sonos. It has a smartphone or tablet or a computer to operate it. You can also operate it from a computer. The primary controls are on the device meaning that you can set the volume, allow the volume on the device or pause it or select the next track and some models even have a preset so when you get out of bed in the morning and you press one it starts your favorite radio program and in the evening when you're with a glass of wine on the couch you can press three and it plays your favorite playlist. It works as the Sonos system with a share on your system as I showed you in the diagram. You have to share a part of your drive where your music is and it will get music from there. There's a model with an integrated amplifier and there's a model with an integrated hard disk and CD drive so you can rip it. There's not a model that has all these three things. If you want a higher, even higher sound quality you can have an NAD player that uses the same blue sound technique but has a higher quality audio. There is something that is called self-storing and indexing. In fact we're talking about a phone for instance. So it stores the information on the smartphone or tablet. It has a sound quality that depends on the operating system. Some operating systems like Android convert every audio to 48 kHz and the conversion always gives loss in audio quality. Sound quality depends on the hardware. Some phones sound better, some iPads sound better than others. It's very easy to install of course but it's not always a bit perfect. A bit perfect player and Android has some bit perfect players can be a solution but still in most cases you're limited to 48 kHz. In case of an external renderer, in case you want quality an external renderer is a good thing. So an external DAC in this case or use AirPlay or the Google Chromecast system to get the music to a better playback system. Short about AirPlay, if you have a Windows computer, iTunes isn't that great on a Windows computer and it's a very robust streaming protocol. It's protected also very well and it's licensed by many brands so most AV receivers support iTunes as a streaming format. It's a close system on the front end meaning that the music you play has to be your own music on your computer or come from Apple Music. You can't use Tile or Kobus or Amazon of what you want. It won't do that. The unit looks like this, a lot of units look like this but it's integrated in a lot of amplifiers and AV receivers. You can also use a network bridge if you don't want one of the other systems. This network bridge can be a lot of things, it can be a rune endpoint, it can be an HD and a DLNA endpoint, it does the squeeze box so you can use all kinds of protocols with it and it's in fact a USB or SPDIF at a distance. So you put the computer in the living room or in the computer room and such a box in the living room and connect it to your hi-fi and you don't have any problems with the sound of the computer that the force cooling does. And this is silent both acoustically and electronically so it sounds better. The last variant is the cloud storing and indexing. In fact there are many ways to do that. The database and the music files are in the cloud. As I said all the streaming services work that way. It's played via network player, computer or smartphone or tablet and a separate render can be used. It looks like this if you look at the diagram. It's not that different from the computer that's used as a storage. Only now it's in the cloud. Devices that support it like this, the middle one is out of production but again the protocol is supported by many current audio equipment. Then we're going to talk about why digital equipment can sound different from other digital equipment. To do that I'm going to explain you first how digital works. You probably know that but it's a good repetition. To do that I found a audio signal that looks like this. Most unlikely that ever an audio signal will look like this. It's a straight line but in the end you will understand why I do this now and it's the same for real audio waves. If you want to digitize this what is done is at equally distant times every 44,100 times per second the amplitude is measured. How strong, how many volts is the signal at that moment? It looks like this. Those values are stored in a table and that can be stored on any medium or transported to any medium you can think of. On playback that is read in again and those values are plotted again and in the beginning of the digital era you were shown this diagram to prove that the digital signal was converted to analog. I can assure you that this sounds horrible and this is not what is happening. That's because Nyquist, Mr Nyquist has already defined that if you digitize something you have to filter it at half the sampling rate. If you do that the pen that draws this becomes slow because of the filtering. It can't do the 44,000 jumps, can only do 20,000 jumps. What you then get is a straight line and that's what's happening in theory at least. In practice the filtering is one of the problems but I get back to that. If those values are not plotted on the right time you don't get a straight line back, that's why you use a straight line. If I put a white line behind it you can see that the red line is not straight anymore and this is what you see here is called jitter. It's one of the forms of jitter, there are many forms of jitter. This is caused by just one interfering frequency. How come? Well it can be an instable clock. Clocks those are crystals and you have them that cost a quarter of a dollar and you have them that cost 50 dollars, you have them that cost 100 dollars. And that of course is a quality difference and it's not in the construction. What they do is they build a lot and they measure the best one out and you have to pay extra for that and the ones that don't measure good are dumped on the market for a low price. That's what you get in cheap equipment. Therefore those people that say well I've seen this Chinese DAC from the 100 euros and it has the same ESS9028 DAC chip in it than the Mi-Tek Brooklyn that cost 2,000 euros. That's true it's the same chip but my car, my Mercedes uses the same petrol filter as a simple street car. So it doesn't say anything. The rest has to be good as well. You also need to avoid problems with interfacing. If you use a wrong cable between two devices for digital connection and they have the wrong impedance you will get losses. The ground loop is a problem if you have equipment not connected well. There will be a ground loop by a different potential. And it can be a noisy power supply that also gives a problem. I'll explain it later on. What you see here is what most people see as a digital signal. If the line is high it's a 1, if the line is low it's a 0. The problem is it's not a digital signal. It's an analog square wave that is used to encode digital information. It's like on submarines where they have those lights that they flicker to tell stories to each other without the enemy knowing what is done. Those lights are not letters those lights are flashes but they are used to indicate letters. It's the same here. It's an analog square wave that is used to encode zeros and ones. And analog signals do distort. This is a square wave but it's not a perfect square wave for the simple reason that you can't make a perfect square wave. If I put a line here you see it's not fully straight. If it was straight it would be a miracle because you can't make perfect square waves. You need an unlimited bandwidth. So from 0 hertz to 100 million hertz or more even at 100 million hertz it's not a perfect square wave. It will be better but not perfect. You have the same of course here and the time here between those two is the ramp up time and of course at the way down it's the same story you have a ramp up down time. Now the idea is that somewhere halfway you decide it's a 1 or a 0. So this is a fourth fault signal. At two faults it switches from 0 to 1. That's this point for instance. And the way down the same story it's there. Now if you have a problem that point shifts. And if it shifts we've seen at the reconstruction I showed you with the red line that was not straight that there is a problem distortion. Now how can they occur jitter is carried through the digital data. It can influence all kind of processes. It can be a single frequency like the example I showed you. It can also be noise but it can also be a music dependent modulation that depends on the design and how wrong it was done. What you get is this is the square wave you see when there is jitter. You now see that there is a problem in time. Some signals are earlier than other and some ones will be earlier and some ones will be later. This is the threshold point again and you see that this can be a threshold point two if the jitter is to the left. And this is to the right and the same you have on the down going line. And then you see that you have this distance between the up and the down but it can also be in time here. Or it can be here. And then you get those poles shifting and you get a red line that is not straight. This is one problem. What do we get when there is a problem with the ground plane. Everything is measured from the ground plane up. There is no such thing as two faults. It's always two faults compared to the ground plane. If there is a noise level of one tenth of a dB or there is a hum because of a ground loop what you get is that in this example in the ground level shifts one tenth of a fold up. What you then get is again other points where the threshold point is and where it is decided whether it is a one or a zero. There are these points. And now we have three different points where the transition can be where it is decided whether it is a zero or a one. This is an enormous problem. Let me explain one thing. There is a lot of people that know a lot about networking that tell me this is nonsense what you say because well the Bank of England would have a problem if this was a problem. And they are right. But that only goes for the digital domain. The Bank of England when they go to analogue they have someone at the counter counting the money. If that was done electronically I don't know how that would go. The problem here is that you only have distortion during the digital to analogue conversion. That's the only point where the problem really exists. Before that the digital signal is safe and will not be destroyed under normal conditions. If that goes wrong you really have faulty equipment. And the distortion comes from phase noise that the clock crystal is not precise enough. It comes from leaking current. If you have devices not earthed in the right way there will be a shift of the ground plane and there can be noise on the ground plane due to the power supply. This is one problem. That's another problem. Well it's not a problem if you solve it. There is equipment that did solve this quite well. But it's the reason why some equipment is not sounding as good as others. I told you about the filtering. At the half-decent frequency there has to be a filtering. The filter was needed to not have this strange staircase but have a straight line there. And there are several ways to do that. In the beginning of the digital audio you had what now is called linear-faced measure filter. It's a filter that gives the reviewers that use their measurement equipment to decide whether equipment is sounding well or not. They use this. It's a filter that started at 20 kilohertz and it goes down at 22.05 kilohertz for a 16-bit, for 24-bit it's even 144 dB. It looks like this. It's an extremely steep filter. If you want to be 96 dB down at 22 kilohertz that's 96 dB not per octave as we normally specify filters but it's per single note. One note on the piano. Now an octave if you ask a musician says it's eight tones. The problem is that they are musicians so they count from C to C. That's not fair you shouldn't do from C to B. So it's seven. And that's not even completely true because there are two half-note distances in an octave. Let's say seven. In that case you have 96 dB times seven is let's say 700 dB per octave filter. That's extremely, extremely steep. And you can't do that well. If you want to maintain a linear face you get about 10 cycles of pre and post ringing. So when the signal starts you already had 10 wobbly images of that same signal warning you that the signal is coming. We're not used to that. In nature an echo can only come after the event and not before the event. That doesn't sound natural. So they made a different filter. They experimented and found out ways to limit the problem. That's now called a linear phase listen filter. It still starts at 20, it doesn't start at 20 kHz but somewhat lower for instance 18 kHz. It's not as steep. It's only 60 dB down at 22 kHz. You then get that you don't apply the rules of Nyquist in the right way and you get what is called alienation. That sounds like a robot voice if you really have a serious problem. But the way this is done they're only alienating at very high frequencies and that's almost inaudible when it's done very good it's inaudible. It looks like this. It's a friendly curve. What you win then is still no phase shift but you get about one cycle of pre and post echo that looks like this. This is already better but still your ears are not used to hearing things before they start. So it's still not very nice. You hear it for instance when you have a rim shot on a snare it doesn't sound right. It doesn't have the bite. It doesn't have the right place in the stereo image. Then there were people that said well what happens if we lose the perfect phase behavior? What if we have a small deviation in phase in the high frequencies? They again had a measure filter to start with. It starts at 20 kilohertz. This is an ever. It's 60 beats down at 22 kilohertz. It looks like this. And it has no pre ringing but it has twice as much post ringing. Since that's more natural, still not ideal but it's more natural, already sounds a lot better. And you do have some very face response at high frequencies I said. And the pre ringing from the recording is also a bit filtered out because at the recording about the same happens. You have to have a filter at 20 kilohertz to record at 44.1 kilohertz. There's a guy called Peter Craven that published a lot about this and he called this filter an appetizing filter. Peter Craven is one of the people behind MQA and that's one of the reasons why with affordable equipment you can get much better results if you use the MQA implementation in the DAC. The signal looks like this then. So you have a signal and you have a lot of echoes. Don't hear them as discrete echoes because they're too close together but it's not ideal but it's better than having a pre echo to my taste at least. Then there was someone who said well we can improve that by filtering at a milder slope and taking like the one we did with the linear face filter. We say well we accept some aliasing and we use that to have a friendlier behavior. It looks like this and when you then go back to the ringing there's no pre ringing. It's the same as the previous example but there's only a little post ringing and you have a varying phase at a higher frequency like the previous and that's when it's done not really audible. But it sounds a lot natural because you don't have any pre ringing and only a little post ringing. Then you can do another trick and that's upsampling. If you upsample you have a computer or DSP calculate values in between those normal values there are. If you do that you end up with a two times or four times higher sampling frequency then you're allowed to have a filter at a higher frequency. If you do it four times you get let's say 196 kilohertz then you can filter at 96 kilohertz and that's not what is done by the way. What they do is from 20 kilohertz use a very slow filter and because it's a very gradient filter it sounds a lot better. But good upsampling needs a very good code in a reasonably fast processor. So you see that in DACs that have FPGAs built in you can do it in your computer it's a bit of a fuss but you can do that and if it's done in a DAC chip that is often used then it's quite poor because the computational power of a DAC chip is very limited and therefore there's an in between where the calculation can be done by a small processor outside the DAC chip and then it's a good compromise. Let's wrap it up by saying digital audio is robust as long as it's digital. All digital audio to analog conversion jitter is critical. To find jitter money is the main factor it's no other way cost money and during the conversion the reconstruction filter is critical. The quality of the reconstruction filter differs greatly amongst components and if you buy a hundred euro chinese DAC don't expect that to sound the same as a thousand euro quality DAC because a good filter design is complex and costly and you need a designer that is very capable of doing that. I'll be back next Friday at 5pm central european time. If you don't want to miss that subscribe to my channel or follow me on the social media so you will be informed when new videos are out. Help me reach even more people by giving this video a thumb up or link to this video in the social media, it is much appreciated. Many thanks to those viewers that support this channel financially. It keeps me independent and lets me improve the channel further. If that makes you feel like supporting my work too, the links are in the comments below this video on YouTube. I am Hans van Beekhuyzen, thank you for watching and see you in the next show or on the hbproject.com. And whatever you do, enjoy the music.


Hi, this is Hosepin Parthian. Welcome to a special edition of Tier 4 Let's Talk here at KubeCon here in Netherlands. And today we have with us once again, Roy Devon, CUN co-founder of Finaud. Roy is great to have you on the show. Thank you Swap so much for having me. Good to be on the show in person. Yeah, it's KubeCon. So tell us a bit about your experience at the show. Yeah, so KubeCon is always an amazing show and I think now it's in Amsterdam and the event sold out like a month ago. So it's amazing to see like a 10,000 in-person attendees, you know, the places is swamped, people are working and like in-person shows are, I think, finally back to break over there. The topic of this month is mostly about, you know, cloud complexity. And when it comes to complexity, cost becomes a very big factor. When you're here at the event, how much discussion are you hearing about the cloud cost because also companies are becoming more and more cost efficient and cost sensitive?  And lots of companies are now in focus to save money, to be more efficient, to, you know, it's okay to continue to grow at all costs, but like as long as you have a viable motion behind us since you had to do that. So we started to see like more and more companies starts to ask us questions about, you know, the financial availability and how we can translate the Kubernetes cost into something that is more actionable and how we can get cost saving recommendations and how we can allocate the cost and how we can understand our profitability. And, you know, Kubernetes just brings a new set of complexity into those existing problems. So the cloud providers is charging us by the instance, but we're actually running pods. So we need to do that, that translation and Kubernetes gets lots of great stuff, you know, into the picture, but also a significant level of complexity and overhead.  Right. Can you talk about what are the factors that kind of make it harder, you know, when it comes to Kubernetes cost, hard to manage? Kubernetes is essentially another level of obstruction on top of our cloud, right? So the cloud provider doesn't know that we're running Kubernetes, even if we're running, you know, EKS or those kinds of services, they're still not actively managed the Kubernetes environment. And when we're talking about resources, so what's native to the cloud providers is the instances, storage network, you know, these are the billing factors that they know how to charge us. But when I'm running Kubernetes, I'm using partial of, you know, using those resources partially for each pod that I'm running on the cluster. So now we need to like isolate a specific pod and understand like what's its consumption directly out of the resources that the host can provide and allocate, you know, the proportional section directly to the host. But then start to get more complicated because what if the container is requesting more resources than what it's actually used? So how do you allocate it and what do you deal with all, you know, resources that were never allocated to any pod that is just wasted on the cluster? So there's a bunch of calculations that constantly need to happen on Kubernetes cluster in order to, you know, to deviate the cost to the pods. And this like adds a significant level of complexity. Now, when we talk about this Kubernetes complexity and cloud, talk a bit about what role is Finaud playing, you know, how you folks are kind of, you know, helping organizations with taming their cloud cost. It's very common to see companies running on multi-cloud and multi-services and multi-whatever, right? As long as we can pay money for it, we usually are. And Kubernetes is, you know, as you mentioned, a commodity layer between different clouds. So we can help companies analyze their entire cloud spend across all cloud providers, but also like third-party solutions like Datalog and Snowflake and Databricks and those kinds of very expensive kind of software. And we can help them, you know, break down this cost into Kubernetes resources and then allocate it, you know, to what's the price per team? What's the price per whatever, you know, business unit of feature or product that we're running? We can help them create budgets and anomalies and track down, you know, cost and cost savings on the business side of things and not only the technology one. Then we can help companies, you know, and this is something that we just announced that is also supported in Kubernetes. We call it cost governance within Finaud. So it doesn't matter like if we're running a Kubernetes pod or we're running a EC2 instance. We can use all Finaud capabilities as if Kubernetes was, you know, originated directly from the cloud provider. So cost anomalies and budgets and cost allocations are all supporting Kubernetes as well. And our cost optimizations, we call cost guard also now can optimize Kubernetes environments. So we talked about it before and the distance between the requested resources and the actual usage of each resource. We can identify that gap and actually put a dollar sign on it. So, you know, just change from two gigs of RAM to one gigs of RAM because you're never using more than one.  And again, it's multi-cloud and multi-environment and multi-everything. So Kubernetes and namespace can be spun across like three different clouds, but you don't really care you're running that kind of abstraction, right? So with Finaud, it's very native and very integrated into the solution. And every single feature that we have in Finaud is also supporting Kubernetes at the moment. As you said earlier, that cost is becoming a very, you know, important topic.  They are looking for solutions or they do know, hey, solutions are there and they're in the phase of how to successfully implement there. So when it comes to cloud cost or cost, you know, where are we today? So I think, you know, lots of companies are in 2021 and, you know, early 2022, no one cared about cost, right? So everyone, we're building a cost management solution and people are like, yeah, but, you know, we can spend more money on cloud that won't care. I think the reality changed. So every company is starting to look at cost management. And people, we see people like walking towards our booth and then like coming back, oh, okay, Kubernetes cost. Like it's one of, it's a might-to-do list for this convention. Like I want to learn on cost management vendors.  And it's something that companies can no longer, you know, overlook and just hope for the best to start to need to deal with, with reality and to deal with what's happening. And Fianna, it is perfectly positioned to help with that. Right. Thank you so much for taking time out today and talk about, of course, the new announcement and the cost efficiency. Thanks for your insight. We'll see you again once again remotely. Yeah, thank you, Swap. Always a pleasure.


So, in this part basically we are going to show tutorial on anthropometric measurement. You know what I have noticed when I work in the field that most of this Anganwadi workers, Asha workers and you know a lot of us we like we do not measure children's height, weight, length properly okay and that is our bread and butter. So if you do not know how to take length of the child or say height of the child we will not get correct data and if you do not have correct data we can basically kind of misinterpret and we feel that child is doing okay or child is kind of too short or under weight and we will get you know wrong results. So here I am very very particular about measurement of children's anthropometry okay. Another thing is what we used to do in our program is we had two people actually even three people do anthropometric measurement you know in the group of two okay specifically for length because what I noticed that the length measurement was very difficult for healthcare workers to do it because you have to really keep the baby steady. So do kind of think of or watch that tutorial very carefully and understand that how when baby is kind of measured maybe its length is measured in a recommend position you want to keep the head steady okay and at the same time second person will kind of press on the knee slightly to keep that joint steady okay because if baby is moving that knee you know then you will have false length okay. So you want to make sure that you lock that knee and then kind of press it not too hard of course just basically make sure that child do not move that leg another thing what I have also noticed in field when I work that many times you know when child is when we check the length of children lot of people what they do is they do not kind of you know check the length from the heel of the child you know heel of the foot they check it basically from the toes you take the length basically from the hip you know so make sure that your length you take it from the heel and not from the toes okay. So that is another important point that I wanted to show another thing which is also important about the checking the weight of the baby okay so when you checking the weight of the baby you want to make sure that you remove too many clothes do not put on too many clothes you know remove blanket remove you know extra layers if it is too cold then you know maybe we can wear one little kind of on-sea or one little small jabla we call it you know but avoid making child wear too many clothes specifically in first two weeks of age you know because we want to see correct weight gain because your decision will be based on the weight gain of the child okay. So that is what I wanted to mention and thank you so much and watch it properly and kind of you know teach others also how to measure one more point before I leave is I wanted to also kind of stress on when you checking the measurement okay say when you checking the height of the child so that when you are looking at the you know height it should be at the eye level okay it should not it you should not be looking from top you know you should not be looking from the bottom you know the height so make sure that when you checking the like how many centimetres or how many inches child is it should be at the eye level okay so that's one is important so thank you so much and you know just definitely go ahead and teach others also thank you. Welcome to the spoken tutorial on the measurement of children's weight and height. In this tutorial we will learn how to measure a child's weight using the Salter Scale. How to measure a child's weight using a digital scale. How to measure a child's length or height. Anthropometry is the most frequently used method to assess nutritional status. Let us learn how to measure weight using a Salter Scale. Salter Scale is a spring hanging scale. It can weigh up to 25 kgs. To measure weight you will need weighing pants or bucket. In this tutorial we will be using weighing pants. Before weighing the baby attach the pants to the scale. Adjust the scale to zero. Then remove the pants from the scale. Undress the baby. It is best to weigh the baby without any clothes. Now put your hands through the open areas of pants legs. Baby grasp the baby's feet and put the baby in the pants. Now attach the pants to the scale in a way that the baby hangs freely. Make sure the baby doesn't touch anything. Do not touch the scale or the baby.  Wait till the child stops moving. Otherwise the needle will move when reading the weight. When the child is steady read the weight on the scale. Read it up to the nearest 100 grams mark. Write down the weight immediately so you don't forget it. The scale must be checked every day by using a known weight. Do not forget to readjust the scale to zero before every weighing. Next, let us learn how to measure weight using a baby digital scale. Clean the tray.  Connect the power plug. If the scale runs on batteries, put the batteries in it. Switch it on. The digital display will show some number. Place the digital display to zero by manually adjusting the knob. Some weighing scales have automatic zero display. Place a clean and dry towel or paper on the tray. This will reduce the chances of a drop in the baby's body temperature. It will also prevent the transfer of infections. Undress the baby. Place the baby on the towel in the middle of the tray. Note the reading on the digital display. Write it down. Switch the machine off after use. Remember to use a separate clean and dry towel for each baby. Check the accuracy of the weighing scale with standard known weights every week. Do not press the weighing tray with your hand. It could damage the weighing machine. Next, let us learn how to measure weight using a family digital scale. Digital or electronic scales provide quick, easy and precise measurements. Family digital scales can be used in two different ways to weigh children. Children who can stand up can be weighed by making them stand on the scale. Other children can be weighed in the arms of an adult. This is also called double weighing. To weigh the child, place the scale on a hard and flat surface. A wooden board can be used if you are weighing the child on the field. Explain the procedure to the child's mother or carer. Take off the child's clothes if possible. Turn on the scale. Tell the child to stand on the scale. If the child can't stand, ask the mother or an assistant to stand on the scale. After the adult's weight appears, press the reset button. Zero must appear before the child is given to the adult to be weighed. The weight displayed will be the child's weight. Write down the weight immediately so you don't forget it. Handle the scale with care. Protect the scale from excess humidity or excess heat. Next, let us learn how to measure a child's length or height. Length is used for children shorter than 87 cm or under 2 years of age. Height is used for children taller than or equal to 87 cm or over 2 years of age. For length or height measurement, you will need a height board. You will need two people to take the measurement. You will need support from the carer when taking the measurement. You must take off the child's shoes and socks. Remove anything that covers the child's head as well. For length measurement, put the height board flat on the ground. Lay the child on the board. The child's head should be touching the fixed board end. The child's feet should be towards the movable foot piece. One person should sit on her knees straight behind the fixed board. She should place her hands over the child's ears. She should hold the head of the child firmly with her hands. In this position, the child should be looking straight up. The top of the child's head should touch the fixed board. Now the second person should position himself properly. He should sit on his knees near the foot piece. He should straighten the child's legs. With one hand, he should hold the child's knees firmly on the board. With the other hand, he should move the foot piece. He must move it until it is pressing against the heels of the child. He should not tilt the foot piece. The child should lay completely flat on the height board. The person holding the foot piece should read the length of the child. His eyes must be straight above the measuring tape while reading. Length can be read up to 1 mm of accuracy. He must write down the length immediately. Now let us learn how to measure a child's height. For height measurement, put the height board straight up. Make sure the fixed board end is flat on the ground. The movable head piece should be at the top end. Put the back of the board against a flat wall. Remove the child's footwear. Tell the child to stand on the centre of the fixed board. The child's heels must be pressed against the height board. The child's knees must be straight. The child's shoulders and head should be pressed against the board. The child's hands must be at the sides. The child should look straight ahead. The first person should sit on her knees on the side of the board. Her left hand should be on the child's knees. She must keep the child's knees together and straight. Her right hand should be on the front part of the child's lower legs.  He should move the head piece until it presses against the child's head. He must hold the head piece straight with one hand. With the other hand, he should cup and hold the child's chin. Now, he should read the height.  He can measure the height up to 1 mm of accuracy. He should write down the height immediately. Detailed interpretation of these measurements is discussed in other tutorials. Please visit our website for more information. This brings us to the end of this tutorial. Thank you for joining.


Tako toga vrteva, ki sem izgleda, se teoretik je vrteva izgleda v rovnih rovnih rovnih in vsega rečenja z Leviofe, Kitiyev in nekaj način na simulaciju Manuel Pino. Zdaj, izgleda izgleda izgleda s grupom Joe Martinis, Robin McDermott in Universtiv Medizon and Nakamura when he was at NEC and more recently took an博 to the lab, so. And. So the problem this problem started. In the late 80s when Fred was a graduate student in the group of John Clark and Berkley and basically vznikali, da počke pražami počоловjali mene iz izličenje, postoži z celikonoksaj ei tako zračo. A začali, da prilud nješte praze občasno očeljali za njič oju tudi države počovdi. Io spanno, da sem podvisljala štak sečiti poten najbolje 0,5 Kelvin. Videli, da še dashal dve vzvečenje si vse skvidi, kako je izpravljano, universtvana. Mela najskega vzvečanje vzvečavu, in ozvalo drugo što je tajh vzvečenča, ki je začeli izpravlje, in svetil. In tudi pričali možno, da je to mikroskopik origine in to je začelične, in je začelične. In... Ne znamo... ...zato je počkala in pričo je to izgleda, in tudi je vsečen, da je vsečen, pravno vsečen, in tudi je vsečen, in tudi je vsečen, in vsečen, in vsečen, vsečen, in vsečen, in vsečen, in vsečen, in vsečen, in tukaj superkondat in kubit, je skviji, in še bi jih dazili, že v nekaj neseljenih skviji, ki se v Aluminjne tukaj, nekaj na sveti, zelo na vse na vse, z češlji, nekaj na našeljenih. Nekaj, nekaj našeljenih se je zelo, nekaj na sveti, nekaj našeljenih nekaj na našeljenih, nekaj našeljenih, nekaj na šeljenih. To mi neče zelo z judgem. Zelo pošličen trsi nekaj, kako je v skupci, ki je oč원ila in neradecov i ta communitiesa, pošličena števn pošličen, je bilo všetoma Nbeča exist. V 2007 boljali bolj beguni in taka zaluminje, še in ruk jel ljubil, zash poskeljilo napšenje, zaluminj themselvesh, in še pošličena bilo pristit, zaskolj id whose what the west would have seen previously. Namely that they found the 1 over I F noise, the was a very low frequency noise. The amplitude was almost 1 over F. They found again that it was temperature independence below 500 mC. ta je se, da bi bilo sezvršo, že sezvršo je zelo na zelo vzelo, in je bilo sezvršo izelo na tudi vzelo in zelo, da je to nečo začal početnje. Zdaj na koncu še nekaj nežel. Zelo, da sem stavila, da bi sezvršo, da sem že nekaj nežel. zato se je vstajen, da tako izgovoril več nekaj dobroj temperatru, seveda, da vštje, da je izgovoril in izgovoril na vse sem, zelo tako zelo na vse mačnje energijski vse. Imediatega, je bilo vse vse, da sližujemo dušnje zelo, zelo nas ker je izgovoril, zato na našem težde, nekaj bo nekaj bolji vse, ki je izgovoril vse zelo, in začne vse, nekaj nekaj elektroni. In zelo vzlade, da je vzlade, da je zastračil nek njučenom njačin. Svečo, da smo zvalili informacijo v komandu v Nakamura KSV, da smo zvalila vseh ekko-experimentin in da so sveti, da je to njič nekaj nekih neko nekaj nekaj nekih nekih nekih nekih nekih nekaj nekih nekih nekih nekih nekih nekih nekih nekih nekih nekih nekih nekih nekih neki. In zato smo počeli, da se pričočilo, da se pričočilo, da je paramagnetik in superkondakti in solatori in terfajs. In izvah, da smo se pričočili, da se pričočilo, ker, da se pričočilo, da se pričočilo, in solatori in solatori, ki se pričočilo, da se pričočilo, da se pričočilo, vse se zemljate in ide prezistiti in vzelo, da je zelo vzelo, da se na zelo in vzelo, da je zelo, da je zozvar, da je zelo, da je zelo. Tako da se veči. Vzelo, da je veči uči, da je zelo, da je začala, da se da ne pomembna, in tako, so pričaš, da se zelo. Spind, dynamic, interaktion, was mediated through the electrons in the superconductors. And we gave some estimates, so the mechanism is r, k, k, y interaction between the spin and the typical energy scale of the interaction by typical density that we knew from experiment in other context of this typical paramagnetic spins gave us this sort of scale that was at 50 mRk. Pa posledaj, ki je vzlučila, da izvah je je generativna, legislative tron srednji zelo, da je najbolj povisan se, da bi je zelo, da jaz vse pas vičiči na različen način. Vzlučili, da je vse način že ne prihladil vse zelo, Popravili, da bi聽ili mechanizm na vade zakočnjenak. Preko jih začelil, da se različaj sem všem nemiskem dinamijan priest. In smo na toga, da je nekako svetišno, je vse početnega, atakaj, priko pekni, če ti pranočit. So pa je priča predstavila všem. In, da se početno početno dajte komodstvo, se početno se prišlo, da je to bo zelo, izveča doznih tega jezavne kanala, kako še se početno se prišlo, da so na ročnega vsega. In vsega nemačna vsega je, da when you drive the electricity through the electrical current through the squid, basically the magnetic field has a shape. zelo je nekaj veliko vziv, zelo je zelo vziv, zelo je zelo vziv. If you keep into account this surface current density for this current, basically what you end up is that by using diffusion and this geometrical effect you find that the spectrum noise could be 1 over f. But there is a crucial point that it is 1 over f depending on some frequency. Namely there is an energy scale that is this ratio between the diffusion constant and the width, the square of the width of the squid. And what you find out in this theory basically is that for frequency that are much smaller of this particular value in this frequency the spectrum should flat out should be white, saturated. While if you go to frequency that are larger of this particular value of the frequency the spectrum is 1 over f. And this is, notice that this frequency depends on the dimension on the width of the squid. So this 1 over f noise that we find for example we can find it this value of this constant is of this 10 minus 2, 10 minus 1 only for very big squid like the one that was measured. But clearly this value is quite high in the frequency range if you go to the squid loops that Martinis was using at the time. So what we were seeing by using just diffusion is that we couldn't understand the low frequency noise in very small squid. And another important feature that we find out is that there is this geometrical ratio that is depends on the radius of the squid and the width of the squid and this is basically due to the fact that you are assuming that the spins are only on the surface. And when we we did this theoretical work immediately after there were new work by a group of Robin McDermott at Madison, Wisconsin and what he studied magnetism in squid at Milly Kelvin and what was the major finding of this works was that he was able to measure what is the typical spin density that you have in the squid and this is value that was confirmed by many other groups then so it's 5 times 10 to 17 meters minus 2 and the other important thing that were coming out from this study was that the interaction between the spin was rather strong and for example here you see that we studied sociotability and dependence on temperature in this squid and in some device you see as a sort of cast that is reminiscent of the freezing in spin glass and you see that the value is around 50 milik k and this was in agreement with our first estimate in our RKKY model and in the same here basically other group in Pasadina did the geometric study more carefully and they found that correctly this scaling so I think that everyone I agree is that the spins are really on the surface and also what they clearly show is that the noise doesn't flatten out so it keeps growing it keeps being 1 over F basically so it means that one is to to see something else diffusion is not sufficient in this frequency 1 over F noise so what we started to think at the time was that in our diffusion model what the main things that we are neglecting is the fact that we are thinking that we are neglecting the fact the possibility that spins can be very close what does it mean that two spins that are very close can be locked in some singlet or triplet and in order to flip what they have to find is to have a high energy in the system so that they can flip and since these are sort of rare event if we somehow managed to show that these spin ensemble can generate this high frequency energy by itself then we can find a way in which this spin can be excited and create and being sort of flat to ethos and create noise so the question that we solved was the following the more a generic work it means that we start from an ensemble of spins and these spins have Heisenberg and Miltonia and the typical scale of the interaction of the spin is much smaller than t so we are considering that our system is at high temperature and so it doesn't exchange with the standard path like phonon or electrons so this is the case that we are considering here and what we want to calculate to see is that nevertheless because of its inherent non-linearity and because of the fact that there can be simultaneous excitation of many spins in this system one can find some frequency at high sorry, some correlators at high frequency much larger than the typical interaction scale so the theory that we did was just to consider anisotropic spin Heisenberg and Miltonia and what you need to calculate we are in the high temperature limit so this is the kind of averaging and what you need to calculate is basically the correlator that can be written as a Taylor series and we want to calculate the asymptotic behavior of these moments at any equal to infinity and find basically how which is the value of these singularities and this is a problem that we managed to solve exactly and of course the main difficulties that we had was basically the fact that you do some assumption like for example that you are considering the fields that the single spin of the interaction with the others and we assume that this spin is Gaussian but nevertheless the problem remains a bit difficult because this exchange field is a matrix and so when you try to calculate the coefficient you end up with problems that is highly non commutative nevertheless we manage analytically to solve this and what we found that was useful for our problem is that the correlator of the spin correlator the free transform has a high exponential Taylor tau frequency so this work we managed to find the bounds calculate basically this value and so this means that this ensemble of spins can generate high energy to excite these close pairs give an estimate of what could be the number of the rare spins that what could expect and immediately basically what finds out is that this mechanism gives you well one over F noise with some logarithmic correction so at this point we were quite we were quite happy about this because we found a way in which we could explain noise type frequency in combination and noise very low frequency do a combination between diffusion and these rare events but then in 2009 there was an experiment by the group of McDermott that changed completely our understanding and basically what McDermott did is the following he studied not only flux noise but also inductance noise both magnetization and susceptibility in the noise in the squid and he achieved this because he has a configuration in which he can inject some current so this current basically generate magnetic field along the plane, the x direction and the magnitude of the fields that he has is around 100 micro tesla and he studied these two spectra both of them are 1 over F but was very puzzling for us is that it founds that when you go at low temperature you see that these two noises are highly correlated and when I say highly correlated it means that the value is very close to 1 and that clearly means that first of all these noise both in the magnetization and susceptibility must be generated induced by the same phenomena and also in other things that he founds that was quite relevant for us when he follows the path of these noise he could really see some very big jumps these are jumps in the channel of the susceptibility and you see they are equivalent to changing the flux about 500 micro F0 and this is equivalent to the fact that he sees that there are fluctuations due to formation of long range magnetic ensemble and the number of these spins in this ensemble as t of the order if you do calculation t 10 to the 3 10 to the 4 this experiment it was really very difficult to try to think what could be a microscopic mechanism that was able to explain this because if you think that these spins are paramagnetic and so you think that maybe they can form a spin glass immediately you see that this correlation is zero and also it's very difficult to achieve such high degrees of correlation even if you think that some cluster with some special fractal structure can be formed and more recently in the last year we asked McDanwood to repeat again this measurement just to see if it was not just an isolated event but it turns out that even in both in aluminum and Iobium squeeze these cross correlation are present and they are as universal as the flux noises so the possibility the only possibility that we thought could be able to explain this is the fact that somehow what you must have so you have the formation of this ferromagnetic cluster and you must have some pieces ferromagnetic cluster that flips and they change the position from a ferromagnetic state to a paramagnetic state so in this case if you have some mechanisms in which a ferromagnetic in which you switch between a ferromagnetic and a paramagnetic state then you have variation of fluctuation of magnetization that are perfectly correlated but the problem was what could be these so the thing that we think is the following that basically a feature of having this RKKY interaction is that you have a broad range of interaction and what we know is that if you have RKY mechanics depending on the concentration what you can find you have a transition between a spin glass or a ferromagnetic so this was simulation that we did recently so basically we were considering this Hamiltonian with RKY interaction and we saw clearly that for some value of concentration the state of the systems that start with some magnetization either maintain the magnetization so for example is ferromagnetic or lose it and so become a glass and so basically if you allow that there are some high density concentration of these spins then you can have with this RKY formation of this ferromagnetic and the point is the following that similarly to the argument that we reason when we were we were discussing the noise in the spin with this reappair even in this feature what you can find is some spins configuration in which the spins are very close but in this case in this case live very long and basically what happen is that they can decay only by emission instead of many flip of a large number of spin ways so and another thing that we expect that is reasonable to expect here is that if the interaction between the spins are strong and they are sitting very close to the boundary so one expect to have some anisotropy so what we did here is the following we just took spins that we choose a random configuration spin in 2D and these spins are classical we simulate classical block equation and we introduce anisotropy and then we let the system evolve so what is represented here and then we start this little animation is basically the following so we the spins are initially aligned is a ferromagnetic state along the in the field along the plane so it has the x direction and this spot here is the magnetization along the z direction so when you see white means that there are spins that are in the x direction and this spot that you see basically is showing the magnetization of the spin along the z direction and when I consider big area of this spot it means that I have a space in this ensemble where I have revolution of few spins that are aligned with the z field and let me see what you see so I just want that you see this is a devolution of time and what I want that you focus at something that will happen here basically what you see here is that at a certain point you might have in this ensemble of dynamical spins the formation of some states that has a magnetization along the z and that lives quite long so and this clearly this sort of this state doesn't affect will affect create noise in the magnetization and it create noise in the sociatability so we think that a possibility to explain why there can be the existence of this very strong crystallization is due to the fact that in these systems basically you might have the possibility to have this long lift space that are very similar to the breathers and the kind of physics that we are discussing here is somehow similar to the physics that is discussed in a narration paper by Boris and other when they consider Josephson chain so I also want to show you something else so we did also simulation to see what is the spectrum that we expect and what you see is that actually in this case we consider just a block equation without anisotropy but what you see is that this was a simulation of large classical systems with these 2000 spin and you see that the noise that is generated is one over half and this one over half with this coefficient and by the way this one over half is never really one over half but it's always one over half with coefficient that varies from 0.8 to 0.9 we don't have yet done the same analysis for the sociotability namely I don't have a spectrum to show you but we expect that similar spectrum will happen also for the sociotability and it's clear that of these long live states because this low frequency noise is generated by these long live states we also expect to have basically 100% correlation between the sociotability and the magnetization so I want you to somehow conclude this talk by saying an important thing that it is very recent that we became aware of this fact a few weeks ago when we were at a meeting in the states basically there was a general feeling after these people started to work with this noise in the superconductive qubits that okay this noise is difficult to get rid of but it's a very low frequency noise so if we think of implementation in quantum computation we can echo and we can get rid of it and now there are very recent experiments that are measurement done in the group of Will Oliver at MIT Lincoln Lab that unfortunately shows that something really very surprising but that indeed this one over half noise can be a serious problem also for relaxation and what they do is that they built several qubits like here they are measured 21 qubits and these are qubits that are flux qubits and are generated with very high quality aluminium junction and they are focusing on studying the relaxation of these qubits and the first things that they were achieving is that they now have a qubit fabrication that is highly reproducible so they can generate very different qubits at different frequency and what they find out is that the major T1 is forced very nicely of all the qubits and agree with some predicted T1 where you consider when you put in this T1 basically the noise spectrum not of a homonich noise that they would expect at this high frequency these qubits are at 5 and 10 gigahertz but it fits very well all day fall into a calculation of noise with one over half spectrum with the amplitude of the low frequency noise and this is something that was hinted in some experiment that they did in 2011 where they could see that there were measurement in relaxation that when you extrapolate the level of one over half noise were matching this value but here is more consistent and so they claim really that this one over half flux noise seems to cause qubit relaxation and this is I think something remarkable because I think that this is one of the few example I don't know any other example in physics in which you can have a scaling one of bfv that cover so many orders of magnitude like 13 order of magnitude so I think that still there are things that worry sounds but somehow we have the feeling that with this understand with this fact that we are seeing that there are these long live states in these spins maybe this is the right way to explain to understand this mechanism and as you see it seems that it is quite important to be able really to understand that because echo will not help and when we start to couple and to think maybe to do some error correction then in order to couple you need the squid loops and then you see that this noise will become important even at this very high frequency so with that I think I said more or less what I wanted to say so I just want to say that I'm very I want to thank the organizers to give the possibility to be here and to congratulate Boris with this birthday and that's it so I think


Hi everyone, Joe for Jasper's casebreaks.com. Happy Friday coming at you with 2016 Panini black gold football two-box random team break number three. I don't know why I crossed that out I've crossed out the wrong number. It's Friday. It happens One spot gets you two teams Once by there you go one spot gets you two teams all the 32 teams are in let's roll it Let's randomize it four to six ten times for each list one two and 10th and final time six and a four ten times right after ten We've got Steven Birch all the way down to Danny Erickson four to six ten times for the teams Nine and tenth and final time. Good luck. We got the Eagles down to the Washington football team All right Eagles and Chargers for Steven Bryan with the Titans Dan with the Falcons Rick with the Pats Sarah with the Jags Dan with the Broncos Matt with the Buccaneers Fawang with the Giants Rick with the Niners Laura with the Rams and the Texans Justin with the Saints Clay with the Ravens Danny with the Bears Laura With the Jets Clay with the Dolphins Fawang with the Cardinals even Birch with the Bills Laura with the Colts Brian with the Seahawks Rick with the Cowboys Justin with the Vikings Matt with the Packers Steven with the Pack Panthers Rick with my Raiders Obviously, you'll get Oakland Raiders stuff Sarah with the Cleveland Brown Steven with the Kansas City Chief Sarah with the Steelers Steven with the Lions Sarah with the Bangles and Danny with the Washington football team Let's get all this on one screen here. Let's sort by column B by team any trades It looks like there's any trade chatter in the chat. There's the Two boxes of black gold right there the next two boxes are the last two boxes of that particular case that we opened up Last week. Alright, we're gonna pause the video when we come back We're gonna see if there's any trades and then the break remember. This is the 2016 draft class. So keep that in mind. Thanks I'll be right back. All right. Welcome back a couple trade offers out there, but no deals were done on the Friday on Friday the 2nd Thanks for joining us folks. So that list right here remains the same Appreciate everybody getting into it. Let's see what we got. There's gold rush Walter Payton 63 out of 225 for the Bears Danny behind Drew Brees is Laquan Treadwell gold prospecting Quad relic to 199 for the Vikings Justin Ward Vikings are okay. They'll be able to play Tennessee and Pittsburgh with the early by weeks We got Dak Prescott Jersey and autograph. There it is I was gonna say we haven't seen a big RPA yet out of this case and there he is Jersey and on card autograph 209 out of 225 for Rick Serrano and the Dallas Cowboys The axe been slinging it a lot this year. That's good. He's got a cool autograph. I like the gold floating over the relic there nice and Then we've got Christian Hackenberg a mother low to 249. We'll find Dax teammate in here somewhere Or maybe in the next two boxes. We've seen it happen before there's Drew Brees to 100 Christian Hackenberg goes to Laura and the Jets Drew Brees We'll go to Justin Ward and the Saints. We got Luke Keekley to 225 Panthers that'll be for Steven Birch We've got mother low triple relic Wendell Smallwood mr. Wendell 14 out of 249 That'll be for the Fly Eagles Fly. That's gonna be for for Birch again franchise gold Reveals a 45 out of 49 Gregg Olson Panthers Nice nice gilded signatures for Steven Birch in Carolina And then we've got mother low triple relic 76 out of 99 Cody Kessler It's a nice color in there for the Browns. That'll be for Sarah Here's the franchise gold Stalback Eggman and Romo And that'll be for once again for Rick Serrano and the Cowboys nice first box. Let's see what's in the second box 2016 Behind Christian Hackenberg is Cam Newton 17 out of 25 Steven Birch Carolina Rob Gronkowski relic 5 out of 49 Shadow box swatches that'll be for Rick Serrano and the Pats We got Pharaoh Cooper. That's a nice patch Nice three-color patch and gold autograph for the Rams three out of 99 That's pretty cool. Who's got the Rams? That'll be for Laura And the Rams and that we've got Kenneth Dixon mother low triple relic to 249 Purple birds. That's gonna go to clay Christian Hackenberg to 225 But where's he? What's he up to? There's Ryan Matthews 93 out of 225 Eagles card going to Steven Birch Behind Warren Moon is a randomizer Corey Coleman Laquan Treadwell Josh Doxon and Will Fuller 143 out of 249 rookie tetrad We've got Jacobi Brissette black gold rookie signatures right on the card To 99 it's Patriots Pat riots going to Rick Serrano And the last one here is Des Brian shadow box swatches 61 out of 99 another another cowboy for Rick Game use material in there as well and Warren Moon Oiler stuff of course goes to the Tennessee Titans. That's gonna go to Brian And that's that folks nice got that nice Dak Prescott some other nice stuff in there Got a Greg Olsen back there too. It's pretty cool Two more boxes the last two boxes are in the store ladies gentlemen We can still find some more rookie RP and A's rookie patch autos. Let's get some new dice a new list Let's get all four teams in there Cleveland, Minnesota Josh Doxon Washington and will Fuller Houston Let's roll it and randomize it team on top after snake eyes gets it one and two easy Boom Cleveland with that one. That is Sarah with the brown Sarah.  Thanks for watching everybody. I'm Joe for jazby's case breaks calm We'll see you next time for the next break. Bye. Bye


My name is Lord Jamar. I'm known from a rap group called Brand Nubian who came into the game, into the rap game around 1989. We had a classic rap album called All for One, which earned five mics in a source, which was pretty special at the time. We've gone on to put other classic albums out. A lot of hit songs. I myself have gone on to be involved in film projects, TV projects. I was on Oz, Third Watch, I've done Sopranos, Law & Order. I am a producer. I produced for other artists such as Elton Skelter, OGC. I discovered the group Dead Prez. I put them out. Yeah, you know, I'm just all around hip-hop. You know what I mean? Duel. I'm an historian and an entrepreneur. I started music. Definitely came first. I started as a DJ. You know, I'd go from selling tapes to kids at school. Then it moved into doing house parties, DJing at house parties. Then we, you know, DJing at maybe the high school parties and stuff like that. And running up on mics and stuff. Then I started rhyming. So now I'm running up on mics and block parties and stuff like that. I used to be a street type of dude where I was like, you know, dealing in some illegal activities. And a lot of my friends were getting locked up at that time. And so I had to decide, do I want to pursue my goal, which is to make a record? Because that's all it really was at that time. Just make a record and hear your music on the radio. It wasn't even trying to be rich and all that often. You just want to make a record, hear your stuff on the radio and hopefully artists that you respect will like your music. That's what we was into it for. So it was like in order to do that, I'm gonna have to stop doing this. You know what I mean? But doing that, you know, who don't want to be flashy and all that and have jewels and all that type of stuff. So it's like, I had to put that to the side and just get a little regular job for a while. You know what I mean? Until it popped off. And that's what I did. But always having my goal in mind, I never took a job feeling like, oh, I'm gonna get stuck here for the rest of my life because I always had a plan. And that was just a stepping stone to my plan. I mean, as soon as I started DJing, I realized that I was nicer. I was just as good or maybe nicer than people that I'm hearing on records and stuff like that. You know what I mean? And then once I started rhyming, I evaluated the same thing. I'm hearing people with records and stuff. I'm like, I'm better than this dude. Like, he made a record. How did that happen? You know what I mean? So I don't know. At some point, I was like, I'm gonna make a record. You know what I mean? Like, if he could do it, I could do it. You know what I mean? And he was a whole different bunch of people. And the first one to approach me was my man, Darryl Seed, from the Crash Crew, resting piece. He's the first one that really approached me. It was like, yo, I want to make a record with you. You know, it might have been like 16, 17 at the time. You know, but they were going through their own things. They were kind of at the end of their career at the time. He wasn't really in a position to put me on and then like that. You know? But then I met Puba shortly after because we were from the same town, whatever. And then he approached me like, yeah, I think you dope. I want to work with you. Try to make a record with you, whatever. Yeah. So, so having those affirmations from people who already made records was inspirational, too. Because you could start second guessing yourself and self-doubting yourself. You know what I mean? But it's like when you get a reinforcement from people that you look up to, it's like that gives you that energy and that fuel. Like, keep going. Like, I know I'm not bugging. I know, you know what I mean? That I am supposed to be doing.  You know what I mean? And then time went by that never really happened until I said it out loud. See, that's something that helps things happen in the universe when you say things out loud. You know what I mean? Because you could think things in your head. When you say it out loud, that's what makes it real. So as soon as I said it out loud, I said to my manager, like, you know, I want to be in some films or whatever. Like, get me on something, man. See, you know, all these rappers that I know can't act as good as me and they're in all these, you know what I mean? Movies and TV shows. I'm like, get me in something. You know what I mean? So he didn't know what to do, but he ended up sending us to like the premiere of The Sopranos. When it was first coming out, like, you know what I mean? Nobody knew what it was going to be in nothing. So we went there and it was all these people from Oz was at the premiere, you know what I mean? Turns out a lot of them were fans of brand new, you know what I mean? So we get cool with some of the people from Oz, you know what I mean? I get cool with my man Dean Winters and do their play O'Reilly. And we just kicking it, you know what I mean? For the next maybe year. So just, you know, like, go to a couple of parties here and there. We talk on the phone. He was mad cool. We invited us down to the set. And he was like, yo, you want to get in the scene right now? Y'all can get in the background and some extras or whatever. I said, nah, I'm thinking in my mind when I when I'm on this show, I'm gonna really be on this show. Like, because I love the show Oz before I even met these two. I was like, I kind of meditated myself onto that show. Like, seriously. Um, so yeah, then he hit me up. He was just like, yo, what you want to be on the show? I was like, oh yeah. It's me up again. Another time he's like, yo, the creator, you know, he wants to meet with you. I had already met two of them at some parties or something. He's like, yo, he wants to meet with you. Boom, bam, boom, goes down there. Now he's just talking to me like I'm on the show already. All we got to do is figure out what my character is and how I got in there. You know what I mean? I have to read nothing. That's what's history. Any other rapper that was on the only did two episodes was the most.  But I did 12 episodes. As long as any rapper was on that show. The first step is just really believing in yourself, assessing yourself realistically. Because there's a lot of people that want to do that, do certain things that are not cut out for you. You know what I mean?  You just got to make yourself known. However, that may be like, you know what I mean? Making YouTube video like be creative. Like, you know what I mean? It's not really one way to do it.  Where you come from, if those people are not supporting you, that's a problem. You can't do it all on your own. So you are going to need the love and support of certain people around you like to make it to make that fire. You know what I mean? But the spark comes from you. You know what I mean? The spark comes from you. And you got to spark that to make other people get the spark and then cause inferno. I mean, so you just be creative with how you come with it.  You don't have to press it up if you don't want to post it somewhere. Let people download it. You know what I mean? Like, just be creative and work within. You know what I mean? Your budget. When I first started DJing, I had mitchmatch turntables and all of that that didn't stop me from DJing. Like, I did what I had to do. Like, you know what I mean? Other dudes had to fly equipment. Like, you know what I mean? Yeah, I had to work with I but I'm better than you though. You got the better equipment. You see what I'm saying? Like, put in the in the long run. I ain't got mitchmatch turntables You know what I mean? Like, you probably even got no more turntables. What's that all? You know what I mean? It's all the power of the mind. You know what I mean? The power of the mind manifest. Hey yo, peace. This is Lord Jamal, brand new being in the house with my man crime. You checking out PS, we the best dot com. That's how we do it. One


What's good boys welcome back to another video so some fun stuff some exciting stuff today So most fraternities and sororities do some sort of philanthropy slash fun raising slash something or other like that So today is a huge fraternity football flag.  I haven't like ever posted like a football video.  I don't think I really counts Also don't have my gloves or my cleats.  I'm up early. Okay. I think that's all I need This place is actually really sick. I used to when I was on the club football team here This is where we played.  I used to bomb field goals here Kind of dope. Oh sickle peel Barely got it recording is recording.  Yeah, how it goes now. It's getting real.    There's a dog somewhere. I need a pup in my life right now She was just asleep I need this in my life.  What are we winning the first game? 30 oh it's 42 to 60 42 to six and then we won the next game by so much of the mercy They just called the game now the championship is up next. We're playing bus boys.


Dear learner, myself Tapasi Kashyap Das, Assistant Professor in Computer Science, Krishna Kanta Handik, State of our University. Today, I am going to discuss the concept of strings, which is from the course Computer Programming Using C-Lingues. In my previous discussion, I have discussed how arrays can be used in programming. I have explained one-dimensional array as well as two-dimensional arrays in my previous class. Today, in this session, I will talk about strings in C-Programming Language. I will discuss how strings can be declared, how initialization of strings can be done, entering values in a string and accessing values in string. Now, what is a string? As we have already learned that an array is a collection of homogeneous elements that are finite and ordered. Homogeneous means same type of data. Arrays can be integer array, float array, character array, etc. Now, an array of character is called a string. That is, strings are also arrays but of character data type. Every string contains one or more characters that comprises of the string followed by a null character that indicates the end of the string. Arrays can be multidimensional but strings are always one-dimensional array of characters and which are always terminated by a null character. Null character is represented by slash 0. Now, how can we declare a string? A string can be declared in the same way as an array of any data types. We can declare a string by specifying the data type as character followed by the name of the string and the size of the string. This can be written as, here the size of the string should be the sum of the size of the number of characters that the string can contain plus the size of the size for the null character that designates the end of the string. Here I have shown some examples of string declarations. So to hold the null character at the end of the string, the size of the string should be one more than the number of characters intended to enter in the string. This is a string declaration statement. In a string declaration statement, the data type will be a character then it is followed by the name of the string, then the size of the string and one semicolon is required and this third bracket is required to specify the size. This is a one single string declaration statement. Let us write some examples of string declarations statement. Character name, size is suppose 15. This is one string declaration statement. Again another A, U, T, H, R. The string name is author. Suppose the author name can be Landy. So I have taken 20. This is one string declaration statement. Another string declaration statement suppose book, then suppose 30. These three are some string declaration statement. It will contain 15 characters including the null character. It will contain name of authors of maximum 20 characters length and it will contain book name of maximum 30 characters length. These are string declaration statement. Let us declare a string to store name of a person. Here I am declaring a string of size 15. Here name is the string name. 15 is the size of the character array where we can store maximum of 15 characters including the null character. In this diagram a name of a person Riku, R-I-K-U is stored in the string. There are only four characters. But one more space is required to store the null character at the end. So the array should be minimum of size 5. If the array size is 4 then only three characters that is up to R-I-K Rik and a null character will be stored in the declared array. In this diagram a string element is identified with the help of the index or subscript value. The starting index value in the string is 0. The first address is known as the base address. Here in this example base address is 100. Next consecutive memory addresses are 101, 102, 103 and 104. In this example the first element of the string is stored in the memory address 100. For most C compilers character variable requires 1 byte of storage. Since strings are stored in contiguous memory location so the second element will be stored next to the first element in location 101 and so on. Now I am coming to how to initialize a string. We can initialize the elements of the string at the same time when we declare the string. Initialization is generally done when we already know the character we lose of the string. Just like declaration in initialization also we give the data type of the string followed by the name and the size of the string. But in addition to this we also provide the values of the character elements of the string within the second bracket separated by commas. Let us write one example where the string is initialized at the time of declaration. Name of string at the time of declaration character, suppose the string name is str, size is 6, this semicolon is required at the end and this is the null character. Although the name is, this letter is hello is of length 5, there are 5 characters but one more character is required for storing the null character. So the size is 6 here, this is the size and this is the name of the string. This statement is initialization at the time of declaration. We can also write the initialization statement without mentioning the size, that is without specifying the size. In this initialization statement I have not mentioned the size here and I have specified individual characters within this single code. This statement can also be written as this is also an initialization at the time of declaration, here also I have not mentioned the size. Here I have used the double codes instead of single code because I have, at the time I have written the whole word. I can write the whole word or text within this second bracket but in such cases I have to use this double code instead of this single code. These are some initialization statements. There is another such simpler way to initialize the string. We can also give the values of the character elements together in double codes instead of providing them individually. For example we can write character str third bracket equal to within double code hello, then one semicolon. In this case the compiler assumes the string size to be equal to the number of character values provided inside the braces plus one more for the null character. Now I am coming to how elements can be entered in a string. We can insert values into a string at the time of initialization but apart from that we can also insert values into the string by accessing them individually. For example if we have a string name of six elements we can insert the values for each of the six string positions as follows. Let us now suppose that we have a string of 50 characters which will contain name of a book. A solution to this problem is to use loop control structure statements like while, do while and for loop. Let us look at a code where with the help of the loop we can easily enter any number of the character values. Here a for loop is written in this for loop i is initialized to zero then i less than 50 then i plus plus and within the second bracket one input statement is written scan f percent c comma and percent name of i. This for loop is written for entering values character by character into the string. The string name is name, ampersand name of i gives the address of the ith element of the string where the current character data values need to be stored. An easier solution to this is that instead of providing the data values individually we can provide them together as a string. For this purpose we have to use percent s instead of percent c. Let us look at the statement. Here in this statement the scanf statement accepts a string instead of a single character and stores it in the address of the given string location. Now how can we access values from a string? Once the values have been inserted we may need to access the string for various purposes. The procedure for accessing the values of a string is similar to entering the values. This can be implemented in two ways. In the first way we access the values for string individually as follows. In the code a for loop is used to traverse from the first element of the string to the last element. The printer statement displays the character value which is stored in the address of the given string location. The array location is moved from the first element position to the last element position using the loop. In the second way we can access the values of the string together. This can be written as printf person s comma name. Let us now discuss a complete C program for entering and accessing elements in the string. Here a complete C program is written. In the first two lines two header files are included. First header file is written for inputting the standard input and output statement in the second header file and that is conio.h is used for clear screen and get chase function. In the main function two character array that is strings are declared string1 and string2 which is of size 10. Then one integer variable is declared after that clear screen function is declared. Then entering characters individually using loop is shown. One printf statement is written for entering the first string elements in the string string1. If for loop is used the for loop is from 0 to 9 and one scanf statement inside the for loop is written and inside the scanf statement 1 by 1 characters are entered into the string1. So it is written person s c inside the scanf statement. In the printf statement next printf statement enter the second string into the string2. Then once scanf statement is written after entering two string then the program will display the entered string. Two printf statement is written for displaying the first string and the second string. And output of this program is shown here. Enter the first string in string1 suppose I have entered the string gohati and in the second string I have entered the string that is word asam. Enter entering the first and second string the both the strings are displayed using two printf statement. It is the first string is gohati and the second string is asam. This is a simple example for entering and displaying elements into a string using person c and person s in the scanf statement. In the next part I will mainly discuss various string handling function I will discuss some program where string manipulation is accomplished without using string library function. In my next class I will discuss various string handling functions and I will discuss some programs where string manipulation is accomplished with or without using string library functions. Thank you. You


Now, by SS State Governor Doi Deere has criticized the recruitment procedure into the Nigerian police force, saying it violated the federal character principle. He spoke at a town hall meeting organized by the state government in collaboration with the police service commission in Yenogwa on Friday. Fought in the procedure, Deere said, recruitment into federal agencies that is based on the number of local government areas in a state, was unjustifiable and lacked merit.