Hello, Oscillator Sync here, and today I'm really excited to be able to share with you my first patchback which I've built for the Korg Volg Ref M. Now we'll get on with the sounds really really quickly, but I just wanted to mention before we got going how you can get hold of the patches, so you can download them from my website. The link is down in the description of this video. They are available in two different formats. The first is a zip file full of Cissex files which you can play into your Volg Ref M using something that plays about MIDI, so most DAWs can probably help with that or a Cissex librarian or something like that, but I've also provided them as links to my Synth Marta online browser-based editor for the Volg Ref M. If you don't know about Synth Marta, I'll put a video just up there. I recommend that you go and check that out before we carry on. The nice thing there basically is that you can click the link and it's really easy then to, it should be pretty much automatically, the patch we sent to your Volg Ref M and you'll be able to see on the interface for the editor how the patches actually built as well. When you send things using Cissex or using Synth Marta to your Volg Ref M, make sure if you want to keep the sound that you do remember to save them as well. If you enjoy the patches, make sure you give this video the thumbs up and let me know down in the comments which patch was your favorite, and also don't forget to subscribe to the channel so you don't miss out on any other videos on the Volg Ref M and also Synthesis Fun in general. If you guys want to get involved in making your own patches, I have been running a series on the channel, if you haven't seen it, called Understanding Sound Design on the Volg Ref M where I cover all of the techniques that I'm using to build these patches. That's enough chat, so without further ado, let's get on with the sounds. Once again guys, I hope you enjoyed the sound. If you did, make sure you give the video the old thumbs up and subscribe to the channel and let me know down in the comments which of the patches was your favorite. I will be continuing with my Understanding Sound Design on the Volg Ref M series, so there will be some more episodes coming there, but I will also be doing a creating a patch from scratch type video, or rather a few of those videos, and also some sort of additional quirky advanced tricks that we have with sound design on the Volg Ref M, so there's those to look forward to as well. I hope to see you there guys. Until next time, take care.


Japan! How do you think of these things, man? Oh, he now used a microwave! So I just heard that Netflix is working on a Death Note movie. You know, if you're looking for a light, or just one of the people that just light murders, I'm available. I don't do anything. Just give me a call on Netflix. We could work something out. I'll even be a bird. I'll be a Shinigami. And if you don't call me, you better hope that the Death Note doesn't fall into my hands. With all that out of the way, let's get to the show. I love the Death Note title cards. Tell me not. Like, it's just so dark. It gives me that death feeling. Like, I just want to die. Oh, I wish I was there. Damn! Look at the drip on his dude's arms! Oh my God! Do I have to go to the Shinigami-Gigapagami realm? Look at this dude! Oh my God! This would literally be me if I was a Shinigami. I wish I was a Shinigami doing nothing all day. I already do nothing.  He's gonna have those Shinigami eyes within the next week or so. I'm telling you. Oh my God. This is crazy. Exactly! Ryu's like, yo, this kid is insane, bro. He's not a person. You have all people.  At least he cares. They're like best friends. They're roommates. Oh, she-hee-hee. I think he has a little crush on light. Ryu to Shinigami.  Oh my God! Imagine flying through the sky, bro! I'd pick the wings, too, over the eyes.   Yeah, it's normal as teenagers just flying through the city like this. Oh, that's foreshadowing. They don't just say words like that. Oh my God! He called him a Shinigami! This isn't the Shinigami realm. This is Nicholas Light's house. This is how I live. I feel bad for them. Throw them like a birthday party or something, a ball. Give them something. Jesus Christ! What a sentence! I said it myself. I'm like, Light is like the Shinigami. The Shinigami itself, Ryu. He's chill, bro. He could be one of the bros, the lads. This guy is the devil. He's the devil himself. How are you thinking like this at this age? He's like seven years old. Light is a terrorist. This guy, Light, has them writing symbols on the wall before they die. This guy is demented! Damn, look at this PC setup, bro.  Bro, y'all want to see what my wires look like?  Let me show you. Look at that.  And look at L's setup. Does he have a wireless PC?  Imagine me doing that. Imagine I did the rest of the reaction like this.  Light is summoning demons.  Why am I dancing while reading this? They put all the pieces together, man. Oh my god, I would never work in law enforcement. I'd be terrible. Only if you knew it was your son.  Oh my god, what until he finds out if he finds out? This show is so unique with its transitions. I love how Light became a terrorist overnight.  You just turn it to the terrorist. Like how is that even possible? Really? What did I just get myself into? This guy is terrible. Dying in front of the Eiffel Tower in an hour.  Draw a picture of L's face. Bro, imagine he drew him.  Japan! How do you think of these things, man? I only know how to use the microwave. Oh my god, Light. It's psychotic. I might change my name. It's like chess. They're playing mental chess right now. If Japan, I don't know what IQ they have, it must be in the thousands. Because if their IQ is like 200 or even 100, mine is a straight two. There's no way I would have thought of that, bro. Oh my god, I'm raising my children in Japan. Because if they're anything like me here in America, they ain't gonna survive. You just look at this guy.  Nick! That's judgmental.  You look at this guy. You think he plants in a garden? You think he owns a flower shop? Nick, he might. No, no, he doesn't. Light's gonna use him. Oh my god, he has a flip phone. Is this 1960? What else? He is popular. He's handsome. He's popular. He's practically God right now. The time of death can be manipulated and the time can go into effect with an...  How did they think it is shit, man? I think a nuke needs to hit America, man. Japan's where it's at. How are you walking with your eyes closed? Is he tele... Is he telekinetic too?  Is light better get ass? Light's better get a bite? He's using his girl for a date? I don't even have the honor of saying that. I can't even get a date myself. Ryuk is just doing this for the fun. I love this. He knows light is like a roller coaster.    You know what I mean? My man likes. He has to use the pussy. This boss is about to go off the bridge. What a nice ride. Look how lovely this is. This ain't New York.  Oh my god. Oh my god.  So he could like make something up with the detective. Oh my god. Oh my god. Tell them what's happening. Oh my god. We better get busy. I'm like bro, this ain't the time. But knowing him, I don't know what he's into, bro. What a shot that is. I gotta press play before I get demonetized for pausing there.  How did he read that from there? What? He wasn't looking. I'm looking straight at him. Oh wait, he was looking.  Oh my god, I can barely see my camera. This is like 2040 vision.  And lines are gonna end up killing him.  Oh my god, man. I would think light is up to something after this, man. I don't know. No kid that ages this smart. Light's using that reverse psychology right here. Light. Oh man.  Oh no, he has his name. No, no, he smiled. This dude has lost it.  Light or Ray Palmer? Who's the agent? This is...  What, he write that in the death note? Wait a minute. Wait a minute. That was part of the death note?    Oh really? Who gets happy at the top of his life right now? This guy's what? Ryu. I like Ryu more than light.   I'm not surprised either. I'm adopted to Japanese baby. They probably know how to become a millionaire. I'm adopted to Japanese baby. And they're gonna get me to success. Yeah, I'm using a child to succeed. This ain't no, no teenager. This guy wrote a powerpoint presentation of this guy's murder. I barely want to write a sentence. The music, I'm gonna come.  No, don't kill Ray! This guy is a mastermind. He's a villain. You know Mega Mind? It's light. That's light's character. Listen guys, if you're ever in a competition against any guy that's Japanese or any girl's Japanese, you ain't winning. You ain't. Because every depiction of Japan that I've seen so far of a Japanese human being, they're just on a different, they're on a different planet. They're just light years ahead of us when it comes to intellectuality. I don't even know if that's a word.  When it comes to just brains, they got it. Looks, everything, they got it, bro. Look at Light Yagami. This guy set up the master plan. He was the FBI agent. The FBI agent looked like a gas station worker. I can't believe it. What an incredible show, man. This is so interesting. Like I want to see how they come closer and closer to each other. Like I said in the beginning, it's like a mental game of chess. Like they're putting their pawns in a place, the kings and the queens, until they finally meet. And I don't know who's gonna win, man. I don't know, because Elle knows what's going on. But he's questioning things. Light knows what's going on, but he even falls short sometimes. So it's gonna be cool to see how this all comes together, man. It's crazy how fast they put this together. Like how much they've put together so far.  Where are these cops in America?  They don't think like this. Anyways, that's gonna be it for today's video, guys. I am gonna ask myself why I wasn't born in Japan and then call my mom and yell at her for the same reason. Goodbye.


Hello, love bugs and welcome back to my YouTube channel If you're new here, I'm Sarah and I help teach people how to find inner happiness through fitness and spirituality and today we're gonna talk about anxiety because I feel that it's something that so many of us I mean Like 99% of us go through even if it's less or more chronic and especially in the last two years with everything going on With this virus on top of our every day. Just stress inducers So I wanted to sit down here and talk with you guys about how to reduce your anxiety How to kind of get rid of it and how to just relax and feel better within your own body So anxiety often stems from us either thinking about the future thinking about the past and in general just our thoughts just overtaking us and sometimes we get into the spiral and it just feels like it can't stop and you've thought it's coming from all these Different directions and you just can't stop and you almost feel like you don't have control So the main thing we want to do here is slow our mind down slow our thoughts down and Simultaneously, we want to ground ourselves and feel good in this present moment. So How do you know if you're not feeling grounded or if you're feeling anxious? You know, it's very different for everyone and it can come at all different times of the day So for me, it's when I kind of feel like I'm on autopilot that I'm kind of just going through the motions that I'm not having a lot of highs or lows or Really just I don't even know how to explain it. Just really feeling like like really feeling mundane really not getting Excited or happy or feeling positive and it's when I feel very Disconnected disconnected from myself Disconnected from others and just kind of disconnected from life and for me If I'm feeling that way in general like if I've been feeling that way for a week or a month or whatever There's two things two things that I know that I've learned Always make me feel better always reduce my anxiety always just give me more peace and that is sitting longer in prayer and Meditation when I feel connected to God or For you if it's God or a universe source, whatever I feel very scattered and just not in my body not in myself And so when I sit in prayer and I sit in meditation, I connect more with God I connect more with myself and I'm just more in the present moment So if you're more in the present moment You can't be anxious because you're not freaking out about the past. You're not worrying about the future You're just here now So those are the two biggest things I would say that if you're feeling anxious in a general sense not necessarily in this moment, but in general Sit in meditation whether it's two minutes. I did a five-minute one last night and felt so much better and Pray or you know be grateful. Thank the universe. Thank God for what you have and just kind of go from there And a lot of times we feel the most anxious right in the morning like right when we wake up And when we're trying to go to bed and you I'm sure you've been there when you wake up in the morning And all of a sudden your thoughts start racing and you're like I have to do this day I have to do that today.  Oh, I have to do this And oh my gosh, how am I gonna get this done and I'm tucking my phone. I'm reading through social media You're getting anxious about that So my biggest tip for you in the morning Before you do anything before you check your phone before your feet hit the floor lay there and Either in your mind or out loud Think of three things you're grateful for and this could be anything it doesn't have to be something huge It could be a person in your life. It could be waking up. It could be oh, I'm so grateful that it's sunny out today I'm so grateful for this air that I'm breathing. I'm so grateful for you know the clean water I have to drink, you know, it can literally be anything a lot of times I end up doing is I recollect kind of what my day was like before and I'm like, okay Well, I was really grateful for this moment with this person or I was really grateful for the hot bath I took last night or I was really grateful for that workout or whatever and this Automatically will reduce your anxiety and set you up in a more positive note For the rest of your day now years ago. I mean we're talking Seven or eight years ago. I was feeling so anxious all the time that I actually was prescribed to Xanax and I Didn't like the way that it made me feel. I didn't like the fact that I was on a medication It wasn't something that I took every single day But it was like an as needed thing and as I've gone through this self-development and spiritual journey something that I truly believe is that Not always but often medications more of like a band-aid. It's more of something that You put over the wound you use to cover up the anxiety or the stress or whatever it is that you're doing And it's not actually taking care of the root problem And so I took it on and off for a few months maybe up to a year I honestly can't remember it was so long ago and I was kind of just like I don't want to do this anymore And so I was trying all these different things especially at nighttime like I have always had issues sleeping at night And I know so many of us lay there I talked to so many people and they just we lay there and our mind just goes and we can't sleep And then if you're like me you get anxious about the fact that you can't sleep Which just spirals and makes it out of control and you just like can't stop And so what I would do what many people I know do is They take a medication or they drink alcohol or they smoke weed or they do something That aids them in going to sleep instead of again actually dealing with the root issue And a lot of this led me to trying more you know natural things to go to sleep such as melatonin But then you're not supposed to take that too often and it's just honestly It's been a struggle of my entire life I remember being like six or seven years old and laying in bed before school and not being able to sleep and like Freaking out because I was like oh my god. I can't fall asleep. I'm not gonna be awake tomorrow I'm gonna fall asleep in class and do that and then like you just drive yourself Freaking crazy and if you do feel like you need to take something that's okay You know, that's okay as long as you're being careful about it It's not something you're doing every night But what I personally found and what I think would benefit you a lot is getting away from those unnatural products such as the Xanax I was taking and getting more involved in Natural products natural things that are made to relax you that work well with your body and aren't changing the chemicals in your body And that's kind of what led me to start dabbling into CBD products and things like that because as a lot Of you know CBD and CBG are not psychoactive ingredients They don't alter the state of your mind, but they do relax you CBD is mostly known for its ability to calm you to relax you to reduce anxiety to reduce pain to calm your mental state and CBG is another non psychoactive Component the kind of more so Regulates our mood so instead of feeling like you're feeling all these emotions and scatter brain in here and there it kind of just Puts it all in one and relaxes you and regulates you and so I want to thank today's sponsor pro canna For this video and I want to show you guys just two products that I've been using a lot the past few weeks That might help you it might not kind of depends on what you know you're looking for but the one I've been using the most Is this product right here? So this is the pro canna CBD and melatonin sleep aid You can get it in a tincture. You can get it as gummies You can get it as a pill and you pull it out and you just drop it in your mouth I'm not gonna show you guys because it does have melatonin in it And it's like I don't know 10 o'clock or 11 o'clock in the morning And I will say that just one of these tinctures are sometimes even that just a half tincture Will calm my mind and then give me a more restful night of sleep So I highly suggest that if you're having some sleep issues like I do another product. They sent me is This vape pen and I'm sure you've seen these everywhere Pro canna is actually in 1700 stores across the United States. They're actually manufactured here in the US and This one I can show you guys. It's pretty charged. It's disposable So you can really just take it with you on the go if you tend to get anxious throughout the day I don't tend to have anxiety during the day So I don't really take it with me often, but it is a nice backup to have and it's very Controlled so you can take as little or as much as you want. All you do is you hit the pen I'd have inhaled it hold it in and let it out And it tastes very um Kind of like minty and they have a few different flavors, but I like I like minty things So if you're prone to having Anxiety attacks panic attacks things like that. That's a great product to have with you So thank you again so much to pro canna for sponsoring this video. So the thing is is When we're trying to reduce anxiety, there's no like one size fits all for everyone So what you want to do or what I've done is I've actually made a list Try to make a list of like, I don't know five to ten things that make you happy that make you feel good That just make you feel positive some of mine are Making YouTube videos Dancing playing games. I love doing crafts. It's something I wish I did more now going with my little kitty Drinking hot tea taking a bath Journaling a lot of times. I really like to sit down and just listen to some relaxing piano music or even if I'm in the car sometimes I'll put something like that on like some light jazz and Just kind of like relax into those sounds And so if you're feeling anxious what you can do is you go back to this list that you have I keep mine in my phone I also have written down in my journal and I'll go through it and I'll be like, you know What what's your intuition?   I think that So many of us feel so anxious So often and it's something that's really hard to deal with and it's not something that you can do one time I'm like, oh, okay I'm never gonna be anxious again because life is always going to throw these things at us So I just wanted to give you guys a little toolkit a few different things I do in the morning and the evening throughout the day little helper sometimes and Hope that at least one of these things resonate with you so that you can do that and live a less anxious and less Stressful life. I love you guys so much Don't forget to like this video if it helped you and subscribe if you haven't already and don't forget be limblessly yourself


Hello friends, Myself Mr. A. N. Suvade, Assistant Professor from Mechanical Department. Today we will discuss about the shear force and bending moment diagram. At the end of this session, student will be able to draw shear force and bending moment diagram for given load conditions. So we will discuss today, draw shear force and bending moment diagram for a beam of length L subjected to uniform distributed load over its entire span. So consider a cantilever beam whose end A is fixed and free end B the length of the beam is L and this beam is subjected to uniform distributed load where the rate of loading is W Newton per meter. For this we have to draw shear force and bending moment diagram. Before that we will see the sign conventions for the shear force calculation and bending moment calculation. So if we consider the section xx and if we refer the left side of the section the resultant of the forces and reaction acting in the upward direction is considered to be positive where as the forces resultant of the forces and reaction acting to the right side of the section acting in the downward direction considered to be positive where the resultant of the forces and reaction acting to the left side of the section in the downward direction are considered to be negative where as to the right side of the section upward forces are considered to be negative. Similarly, for bending moment calculation the bending moment at the section is considered to be positive when the resultant of the moment due to the forces and reaction acting in clockwise direction to the left side of the section and in anti-clockwise direction to the right side of the section these moments are considered as positive and these are known as sagging moment whereas the bending moment at the section considered to be negative if the moment due to the reaction and forces acting to the left side of the section in anti-clockwise direction and to the right side of the section acting in clockwise direction such moments are considered as negative and these are called as hogging moment. So, with this we will start to solve this particular problem. First of all consider the section xx normal to the axis of the beam at a distance x from end b and calculate the shear forces to the right side of the section. Therefore, shear force at section xx to its right side is equal to so shear force is nothing but it is the forces acting to the left side of the section or to the right side of the section. So, the force which is acting to the right side of the section is the rate of load w and it spread over distance x as this is the total load w into x acting in the downward direction. So, to the right side of the section downward forces are considered to be positive. Therefore, the shear force is w into x in this case the shear force between point b to a varies according to the linear law and the shear force value at b and at a that can be obtained by putting the value x equal to 0 and x equal to l. So, when we put x equal to 0 shear force at point b is equal to 0 whereas, when we put x equal to l the shear force at point a is equal to w into l and therefore, the shear force diagram for this particular loading this is a baseline all positive values are to be drawn above the baseline all negative values of shear forces and bending moment are drawn below the baseline. So, at point b the shear force is 0 and the shear force increases from 0 to w l at a. So, the shear force varies according to the linear law and at point a the shear force is w into l as the value is positive it is drawn above the baseline. So, this is your shear force diagram. Then for bending moment calculation bending moment at section xx referring the right side of the section. So, bending moment is nothing but the resultant of the moment due to the forces and reaction acting to the left side of the section or right side of the section. So, the total force acting to the right side of the section is weight of load w spread over distance x this is your total load and this total load will act as a point load from section xx at a distance x by 2. So, this is x divided by 2. Now, the moment to the right side of the section acting in clockwise direction according to the sign convention it is considered to be negative and therefore, bending moment at section xx is minus w x square divided by 2. Now, if we see this particular bending moment equation the bending moment between point b to a varies according to the parabolic curve and it varies as the distance x varies from 0 to L. Therefore, bending moment at point b is obtained by putting x equal to 0. So, when x equal to 0 bending moment at b is 0 when you put x equal to L bending moment at point a that is equal to minus w L square upon 2. So, we have calculated the bending moment now we have to draw bending moment diagram. So, draw the baseline as the positive values are to be drawn above the baseline and negative values are to be drawn below the baseline. So, at point b the bending moment is 0 and it goes on decreasing to w L square by 2 according to the parabolic curve and at a the bending moment is w L square by 2 as the bending moment is negative it is drawn below the baseline. Hence, in this case the bending moment varies according to the parabolic curve and in case of cantilever beam the bending moment is always 0 at its free end. In reference my dear students you refer the book Strength of Material by R. K. Bansal. Thank you.


power and politics within modern political parties. Modern political parties have distinctive innovative features like vast networks of communication and other organizational hierarchies. And studies by some political sociologists, they have been given very much clear picture of this modern trends of political parties that how much power political parties actually they enjoy. Because many political sociologists, they presented the argument that the organizational strength of political parties through which leaders try to manipulate the electorates specifically. And another important analysis of organizational feature and internal process of modern parties is also very much relevant. We can understand this fact that today's political parties have a lot of new trends, in today's technology, parties are now not dependent on whether their leader should go to every place and have a party, or go to every place and talk. Rather, the involvement of social media, because of this, political parties want to send their message directly to where they want to go, to where they want to go. At the same time, their message is spread everywhere. And a lot of those things that could have been hidden earlier, now on political parties, this is also a check, that is also negative, but also positive, that now they have a very speedy source of communication, through which political parties have become more powerful and their role in politics has become more effective. Because now it is more difficult to manage them, but their responsibility has increased that what kind of environment they want to create, what kind of information they want to give. If they give too much negative information, then ultimately for the state and for the leadership of the party, that information can also play a negative role. Then we can also understand that the principles of organizations of any political party, this is very important, because for the involvement of message in the political struggle, it is quite important that what type of principles a political party has. Now, basically, there is a party manifesto, which is carried out, but party manifesto is just a framework given formula. Now, as the time passes, as the circumstances change, and especially during the election campaign or at a time of any crisis, what type of policy preferences a party gives to the message. Now, this is very important because if the party has introduced some such principles, which does not appeal to people, then of course, then the popularity does not remain that much. The organizational structure of such a political party is so effective. Now, the organizational structure, nowadays, when we are talking about the modern means of communication, then how we can claim that the organizational structure is still relevant. The last thing is that a political party also has a hierarchical structure. There is a top leader, then there is a tier of second leadership. And what is the fundamental purpose of a political party through the organizational structure? That it starts training people from a low level to a higher level of political leadership. That there are many such tiers available. That if there is no leader, then many alternates, in the same way, are present. But generally, the modern political parties today also have a crisis. The question arises that they are more focused on one leader and benefit from its popularity. And they do not focus on their organizational structure. And although if the organizational structure of the parties is strong, then it can also check on its central leadership that there is no mistake or if the party's popularity is low, then it should be evaluated. Are there political committees? Are there party leaders? Do their party leaders come through elections? That is, in the whole world, there are many structures in the political parties because of which when they come into power, then they are ready to run the office. And if they are in opposition, then they all the time, they are planning that how they can become the part of the power structure. Because while staying in opposition, there is training, while staying in power, there is a constant effort, constant struggle. And all these different political sociologists, when they write on this topic, how important are the party organizations? How party organizations can control? How leaders can control their members of the political party? And how they can give the hope towards the masses? Because we see that every party that has risen at some point, the role played in it was played by a leadership. But then what role did that political party play after that leadership? The country that is developed politically, where the name of the political party is dominating, where people come and perform their role, and after that, in the next election, the political party does not have a team. But the developing world dominates personalities here. And the role of the political party is played on the back foot. That is, the parties are played along with the party. And the politics of the developing and developed world, the power structure of that is the same, that the political parties fight for their organization, for their performance, and the elections lose or win, whereas the developing world is there, the name of the personality is bigger, and the political party plays a role as an instrument. And the votes are given in the name of the personality or the votes are not given. And the political parties' lives are dependent on their own.


Prime Minister and National Security Minister Hon. Philip J. Pierre has taken decisive action to reduce the prevalence of violent crime on St. Lucia. To enhance the Royal Saint Lucia Police Force's operational capacity and also improve and implement targeted crime reduction strategies, Hon. Pierre has successfully engaged the regional security system, RSS, who has agreed to provide direct support to the island's chief security apparatus. Hon. Pierre on June 30th disclosed some of the details of his action plan to suppress crime and disrupt criminal activity during a joint news conference with Commissioner of Police, Milton Daisy. I've had discussions with the commissioner, he also spoke to the commandant in the RSS and we are bringing RSS troops into St. Lucia to assist the members of the Royal Saint Lucia Police Service. They should be here sometime in July and it's a fact, yes, after consultation with the high command of the police force, we are causing some RSS officers to be in so much. Yes, it's going to happen. The Prime Minister, with the support of the cabinet and on the advice of the high command of the Royal Saint Lucia Police Force, has also actioned other key initiatives to further strengthen capacity in the police force. I am in the process of signing an agreement that would give the police service 40 new vehicles. The training vote that was stopped by the last government, the training vote that was stopped by the last government, the training vote that was stopped by the last government has been reinstated in this year. With $200,000, it could be more pointless what we have now. We have started a swift justice program. We have put in $2 million in the budget to reduce on the backlog of cases that exist in the system. Commissioner of Police Milton Daisy explained a new gang investigation unit has been established to provide a targeted response to extract violent criminal perpetrators from communities and disrupt their activities. So we have to get the information as to how those firearms are coming in so that we could break it. It is something most likely that during the process, doing that supply chain, whether it is a courier, wherever customs are broke, the brokers, the shippers, somebody, or more than one of those channels, there are corrupt practices in there. So we need to identify that. And once you could break one of those channels, then we believe we can safely dismantle the gangs. And one of the most crucial parts of the anti-gang unit is our FIA, the financial investigative authority, where they would be going at the assets of those persons who are committing the crime. Because crime persons commit crime for profit. And once you are going after the profit, you have dismantled the gang, they would not have the funding required and also the assistance that they get. Honorable Pierre and the Cabinet of Ministers remain committed to ensuring citizen safety and continues to employ strategies, resources, and initiatives to assist the Royal Sinusia Police Force as well as the judiciary. In June, the legislative arm of government introduced in Parliament proposed amendments to the Fire Arms Act that would increase monetary fines and also extend prison sentences for individuals convicted for gun-related offenses. From the office of the Prime Minister, Rihanna Isidou.


Welcome. I welcome you all to this lecture in the course, Samasa in Paninian Grammar, and this is the first course on Samasa. We begin our lecture with the recitation of the Mangala Charana, Vishvesham Satchitanandam, Vandeham Yokhillan Jagat, Charikarthi Bari Bharati, Sanjariharthi Leelaya. Vishvesham Satchitanandam, Vandeham Yokhillan Jagat, Charikarthi Bari Bharati, Sanjariharthi Leelaya. We are studying Tattpurusha Samasa now, and the features of the Tattpurusha Samasa are captured in this particular equation, as we have said before as well, where you have X as a separate independent constituent, and there is another constituent called Y, and when they get compounded, you have a constituent called XY, one unit. This is one unit, and in this XY, it is Y who is going to be the head by default semantically and also formally. This is the basic feature of the Tattpurusha Samasa. In the previous lecture, we have studied the Dvitiya Vibhakti Tattpurusha, and we said that we won't be dealing with all the sutras in the section dealing with the Dvitiya Vibhakti Tattpurusha. Now, we shall be dealing with the Tritiya Vibhakti Tattpurusha, and Tritiya Vibhakti Tattpurusha is dealt with in this small subsection to 130 to 135. We won't be dealing with all the sutras, but we will be dealing with the main and major sutras in this particular subsection. The first sutra is Tritiya Tattkritarthena Gunavachanena to 130. There are three words in the sutra. The first one is Tritiya. This is Prathama Ekavachana, and therefore, by the sutra, Prathamanaradishtham Samasa Upasarjanam, this becomes the Upasarjana, and therefore, Upasarjanam Purvam applies and Tritiyaanta occupies the initial position in the compound. There is Purva-Nipata. The second word is Tattkritarthena, which is Tritiya Ekavachana, and Tattkritarthena means by that, which is done by the meaning of that. That second that refers to the word ending in the Tritiya Vibhakti mentioned by the word Tritiya in the sutra. So, the word mentioned in the Tritiya Vibhakti is doing something, and that is what is referred to by Tattkritarthena, Tattkritenarthena. Tatt means Tritiyaanta. Gunavachanena is again 3 slash 1 has co-referentiality with Tattkritarthena, and Gunavachanena means a word which states the quality or also part. So, the words continued in this sutra are Sup, Sahasupa, and also Samarthappadavidhi, which is always there. So, the meaning of the sutra is the following, Tritiyaanta-subantam, Tattkritena, Tritiyaantaarthena, Krtena, Gunavachanena, Samarthena, Subantena, Sahasupadavadhi. And this is called Tattpurusha. What it means is that the Subanta ending in Tritiya Vibhakti is compounded with a semantically related Subanta, whose meaning is expressive of quality or part made by the meaning of that Tritiyaanta. So, here we have the first Sup having Tritiya, and the second Sup with Pratipadika, which is Tritiyaanta, Artha, Krta, and also Gunavachanena. And in such a case, the compound output would be the Pratipadika of the first Subanta, Tritiyaanta, this is that Pratipadika, plus the Tritiyaanta, Artha, Krta, Gunavachanena, which is the Pratipadika in the second Subanta. Let us look at the example. The meaning is a part made by knife. Shankula is a knife. So, Shankulaya Khandaha, this is the Laukika Vigraha. And the Laukika Vigraha is Shankula plus Ta plus Khandha plus Su. This is the point from where the process of compounding begins. So, this entire unit is called Samasa, and therefore is called Pratipadika. And there we have two Sups, Ta and Su as part of the Pratipadika. So, we apply Supodhatup Pratipadika Yoho. And then they get deleted. So, we have Shankula plus Khandha. And we join them together. And the finally derived output is Shankula Khandha. Now, this Khandha, which is a part, this is made by this Shankula. So, Shankula is ending in Tritiya in the Laukika Vigraha. So, this is the Tritiyaanta. And the Tritiyaanta word Shankula has got a meaning, namely knife. And this knife is making this part. So, this part is made by the meaning of the word ending in the Tritiya. So, this Khandha is nothing but Tat Krtartha. Tat means Tritiya. Tritiya is Shankula Pratipadika, which is Tritiyaanta over here. So, Shankula Artha, Krtha, and this is Guna Vachana also because this is a part. So, the conditions are made and the compounding happens. The next sutra, 2131 is this following. Purva Sadrusha Samonartha Kalah Nipuna Mishra Slakshnayi. There is only one padha over here. Purva Sadrusha Samonartha Kalah Nipuna Mishra Slakshnayi. So, this is in 3-3, with words Purva, etc. Words continued are Sup, Sahasupa, and Samartha Padavidhi. The word Tritiya is also continued. And the word Tritiya in Prathama Ekavachana. Because it is in Prathama, by the sutra Prathama Nirdhishtham Samasa Upasarjanam, the word in the Tritiya Vibhakti will be termed Upasarjanam and it will occupy the initial position of the compound and there will be the Purva Nipata of the Tritiyaanta word. So if we have the Purva Padha of this kind, Prathipadika plus Tritiya plus Purva, etc., plus Su, then the compound output would be the Prathipadika of the first Subanta followed by Purva. The meaning to be conveyed is who is earlier by one month. Somebody is senior by one month. So now, Maa Sena Purvaha. So, Maasa and Purva are interrelated through this Vibhakti. So, Maa Sena Purvaha is the Laukika Vigraha and the Laukika Vigraha is Maasa plus Ta plus Purva plus Su, Maasa plus Ta plus Purva plus Su and then the Samasa Saudhna takes place and then the Prathipadika Saudhna takes place. So, we delete the Sups, so we have Maasa plus Zero plus Purva plus Zero and then we join the Prathipadika's together and we get the form Maasa Purva which is the compound output. In the similar fashion, other words, they are also compounded and we get the final outputs in the following manner. So, Matru Sadrusha, Matra Sadrushaha who is similar to his or her mother. So, Matru Sadrusha. Similarly, Pitru Samma who is similar to father. So, Pitra Samaha. Then we have Masha Nam. The word in the sutra is Unartha. Unam means less. So, Unartha stands for also the synonyms of Una. The synonym of Una is Vikalha. So, Masha Nam is a compound and similar is Masha Vikalam, another compound. That is Mashaena Unaha, Mashaena Vikalaha, less by one Masha. The next example is Vaakkalaha. So, Vaakkalaha meaning quarrel by speech. So, Vaakkalaha. So, Vaani is the instrument of the quarrel and therefore, there is semantic relatedness between the two Subhanthas and so, they get compounded in Vaakkalaha. Then Vaan Nipuna, skill in speech. Vacha Nipuna. Finally, we have Guda Mishra mixed with Jaggery. So, Gude Na Mishraha. Guda Mishraha. And finally, Achara Shlakshnaha, gentle by behavior. Achara Na Shlakshnaha. And we get these compounds derived by this Sutra, Urva, Sadrusha, Sama, Unartha, Kalaha, Nipuna, Mishra, Shlakshnai. All the words mentioned in the Sutra, they occupy the second position or Uttarapada in the compound. Let us now study the next Sutra, Karathrukarni, Krta Bahulam. This is 2, 1, 32. And here we have three padhas. Karathrukarni is Prathama Vibhachana, 1 slash 2. And this is Prathama Vibhakti. So, Prathama nirdhiṣṭam samāsa upasar janam. Assigns the term upasar janam to these two. And then, upasar janam purvam. Assigns the purva nipata of these two. Krta is 3 slash 1. What it means is with a word ending in a krtsafix. And Bahulam is 1 slash 1, which means mainly or largely. That is eventually optionally. Because when you say this happens mainly, it means that in some cases it doesn't happen. So, there is an option available. Words continued are sup sahasupā and of course samartha padavidhi. There is the word trutiyā which is also continuing. And this is prathama ekavachana. So, this is also upasar janam. Now, Karathrukarni and trutiyā, both of them are in prathama. So, they both are interlinked and they connect, they convey the meaning together with this interlinked catch. And the meaning of the sutra is the following. Kartharthaṁ trutiyāsup. Karanārthaṁ chatrutiyāsup. So, trutiyā conveys kartha as well as karana. Such a sup. Samashyate. What it means is the subanta which has a trutiyāsup such that it expresses either a kartha or a karana is mainly or largely compounded with another interrelated subanta whose prāthipatika is such that it ends in a krth suffix. And I repeat the subanta which has a trutiyāsup such that it expresses either a kartha or a karana is mainly or largely compounded with another interrelated subanta whose prāthipatika is such that it ends in a krth suffix. So, the structure of the compound derived by this sutra is the following. This is the first subanta and in this first subanta there is a prāthipatika followed by the trutiyāpivakti denoting either kartha or karana and the second subanta is such that the prāthipatika consists of a krth suffix at the end. And the derived output is such that the prāthipatika of the first subanta occupies the first position, initial position and the second prāthipatika at the end of which comes this krth suffix is the second member or the uttara-pada of the compound. Now when trutiyā denotes kartha the interrelated krth denotes karma. When trutiyā denotes karana the interrelated krth denotes either kartha or karma. This is the semantic interrelation. Here is an example meaning is one who was protected by Hari, Harina, Trātaha. This is the description of a devotee who was protected by Hari. Now Harina and Trātaha there is a semantic relation. Trātaha consists of the verbal root tra meaning to protect. Hari is the one who has protected. So Hari is the kartha. The suffix t in Trātha denotes karma. So one who got protected is Trātha. One who got protected by Hari, Hari is Kartha. So Kartha here is expressed by trutiyā. So this is the example where trutiyā expresses kartha. So here we have Hari plus ta as the first subanta, trā plus t as the prāthipatika, trātha plus su as the second subanta. And this ta denotes kartha and this t denotes karma. And then because this is termed as samasa this is termed as prāthipatika. So this su which is part of the prāthipatika is deleted. So is this ta. So we have Hari plus zero plus tra plus t plus zero. This trātha is ending in ta which is a krith suffix as it is added after a verbal root but it is not thing. So krathathing is the definition of krath. And so we get the finally derived output of the compound haritrātha which means the same as harinātrātha. Now this is the second example where the trutiyā is denoting karana. The meaning to be conveyed over here is one who is tawn by nails. Tearing is the action. Nail is the karana. Somebody is doing this. Obviously nail is the karana. So we have the alaukika vigraha as nakha plus vis plus vid plus t plus su. Vinnā is derived by adding the suffix t to the verbal root vid. Now this vis is denoting the sense of karana. And this ta is denoting the sense of karma.  So we have zero over here and we join them together and we get the finally derived output namely nakha vinnā. This means the same as nakha ir vinnā. Similarly the other example is one who lived only due to devotion. So bhaktya jīvitah. So jīvitah has got the verbal root jīva and the suffix t which is of course akrit and this means karthā and bhakti is the karana. So the suffix ta expresses karana and ta expresses karthā. So this is a samāsā and su and ta are part of this samāsā. So supodhātup prātipatika yoghurt applies and we delete both the sup's. So we have bhakti plus jīvitah and we get the output bhakti jīvitah as the output of the compound. Bhaktya jīvitah was the input. Bhakti jīvitah is the output and they both mean one and the same thing. What is the function of bahulam? The word bahulam which means mainly or largely that is optionally is used in a peculiar manner. Sometimes in spite of the presence of all the conditions stated in the rule compounding does not take place. This is what is noted in this rule by the word bahulam by the later commentators. So in case of dātrīna lūnavān one who is trimmed by a sikha and parashunācīnavān one who is cut by an axe, there is no compounding that is made even when the conditions are fulfilled. So to summarize the dhritiyā-vibhakti tattpuraśa also is an example of having compound internal dependencies. They are primarily the interrelations between the constituents. There is also a note on the behavior of speaker which says that not always a compound is made even if all the conditions are present and paninian grammar uses the word bahulam and the paninian grammatical tradition interprets it to account for such behavior of the speaker. The rule is prescribing the base dhritiyā-vibhakti in some typical sense is assumed by 2131 existence of such a rule is deduced on account of the compound prescribing rule. So there are some cases where the dhritiyā-vibhakti prescribing rule is not stated in the other section and directly the compound is stated. So on account of the compound prescription rule we assume that there must be another rule which prescribes the dhritiyā-vibhakti in the first place. These are the texts that are referred to. These are the traditional sources. I thank you for your patience.


Everybody forced here ripping five boxes of 2022 Bowman Chrome Baseball choice for ammo D. Good luck ammo Purple GT Schwartz auto number to 246 out of 250 a first woman base autos CJ Rodriguez and First woman base auto Dylan Dodd. He's a little season bigger names in the next four boxes Purple again here Quincy Hamilton first woman auto 36 out of 250 probably sin Victor First woman base auto right here, but Rosa and first woman base auto Adrienne sugestay All right a speckle first woman auto Charlie Welch 7 of 299 007 of 299 Base auto Gavin's uncle first bowman base first woman auto Greg Cullen not the best three boxes so far got a turn of the round here in the past to James Bond parallel eBay one of one The Grinch a Charlie Welch refractor auto this time 170 of 499 base first woman auto Willie Vasquez and base first woman auto Jeremy Vargas Well, let's see one big name here in the back Good luck ammo Yellow first woman auto Thomas far number 73 of 75 Thomas far First woman base auto Brando Mesquita and last up is a base auto JT Schwartz Thank you again ammo. We appreciate it. Sorry about the tough boxes there. We'll get these cards out to you shortly


So this is a talk about modal synthesis using Synthemodeler. Synthemodeler is software for doing physical modeling sound synthesis, which is a technique where you use the physics. You simulate physics. Oh, I'm running through. So if you use a computer to simulate the physics of a system, you can in real time you can use the physical variables to synthesize sound and And and that's an interesting approach you can use for making music because It's just another you can have a lot of different controls for controlling the sound and you can explore Different ways of doing that and create new timbres that you might not discover otherwise And so it's kind of an interesting thing to learn a little bit about and so that's why We had suggested having this talk so Pascal Kopp and Zach Berkowitz have both worked on this And Some of the text is in German and I apologize. I guess I'll just read it in English though. So An introduction to modal synthesis What is that? It's when you Take something that's vibrating and and and model its resonance frequency characteristics using a computer.  So how many times it oscillates per second? You have a decay time, which is a Measured in seconds which describes how fast something is decaying. So if it has a long decay time Then it takes a long time for the sound to decay if it takes a short If the decay time is very short then the sound decays very fast and it's also important to have an amplitude and so you can take Any sort of uh, sort of impulsive sounding sound and decompose it into Frequencies with decay times and amplitudes And in this case so the if you're doing this use in syntha model or using the Resonators object, it makes a certain assumption which is that basically The the system that you're modeling starts from a zero displacement So it starts with an initial velocity, but the initial displacement is zero. So that means the sound is described as a summation of Exponentially decaying sinusoids if you have a different Boundary conditions, then you would also have some decaying cosine terms here But in this case these are eliminated For a somewhat complex reason, but basically you can you can guarantee Something about the phase of this system Which means that in syntha modeler then when you connect all these different objects together it will be stable Whereas if you don't meet the phase requirement Then you might violate the nyquist stability condition and then it goes unstable So that's something you want to avoid. So that's why these models are limited in this way Here are some more pictures of this actually and so often If you're studying mechanics or Newtonian physics You would think about what is an exponentially decaying sine wave. What is the corresponding mechanical model for that? Well, it's a mass connected through a spring to ground and there's also A damper connecting the mass to ground so you can kind of imagine sort of setting that mass in motion And it moves up and down for a while and it stops And if there's just a little bit of damping then the decay time is very long If there's a lot of damping then the decay time is very short And in syntha modeler we Incorporate all the friction into the links themselves. So in syntha modeler, this is just a mass Connected by a linear link to ground Are there any questions about the basis? of modal synthesis Yes No, I guess so. I guess so. Yes Now, yes I was wondering there was written Sucio acoustic or psycho acoustic maybe on one of the slides or maybe I was mistaken Yeah So are you going to explain the psycho component or do we stick to the to the physical stuff? Well part of part of the psycho acoustic part, I guess is is You know this assumption here that you can have a finite number of Exponentially decaying sine waves to approximate certain sounds other sounds can't be approximated Using what I mean if you imagine some sine waves that are growing in amplitude How could you represent that using exponentially decaying sine waves? It's it's It's not a good idea anyway To try to do something like that but um Yeah, certainly you you You um, you only need A certain number of these and maybe you could get rid of some of the quiet ones and you wouldn't you wouldn't hear it so if you're editing the syntha modeler code and you see that some of the Exponentially decaying sinusoids have a very low amplitude. You could just take those out and it would sound very similar And so that's I guess what I mean by psycho acoustic modeling in the field of audio Uh computing we do a lot of psycho acoustic modeling and using it to Reduce the amount of cpu for example that is required to do something And so that's um, that's that issue there so this the this particular work pertains to um Some of the one of the models really in particular in Inside the syntha modeler library which is if you have For certain systems you can analytically solve for what the frequencies are Which is a really handy thing actually it's really great when you can just solve a differential equation And you don't have to do it numerically And so people have done a lot of this and for for geometries where that's true Um, you can just look up in a text what all the resonance frequencies are But you can't look up the decay time So there's a question Or at least I don't know of where you could look up the decay time It's possible There's a paper or two written out there somewhere where someone has related the the material parameters to the decay times For some certain systems, but I haven't seen it much and this was actually something we experimented a lot with Because in a lot of sort of musical sounding sounds the high frequencies decay faster than the low frequencies That's true for a lot of drums. That's true for a lot of strings sort of percussion instruments in general And I can I can at the end of the talk I can show an example of something where this is not true And you'll hear that it sounds kind of funny. And so we asked ourselves what would be a good way to incorporate this into the model itself and What we did was we looked at a text the text by Rossing and Fletcher On musical acoustics and in that book there's a section on The decay of the partial frequencies in a vibrating string For um, I believe it was a classical guitar or in any case it was some kind of acoustical guitar And they related the different Physical mechanisms that could cause the decay And if you looked at that you basically saw that you had something like this where some of the t-60s at very low frequencies some of the t-60s It would just be constant in frequency So the decay times were all the same for the really low frequencies And then suddenly there would be a cutoff frequency Where some other behavior would become more important and then You know, there would be some other loss in the system that would cause the high frequencies to decay fast so um I think one of those sorts of things is actually the Let's see if I can remember. I think that there is some energy radiated from a string directly into the air actually not through the body but a small amount and because of the The dipole characteristic that happens more at high frequencies. So basically there's some frequency at which that becomes important and then the Decay times become shorter and so um In that text there are actually two cutoff frequencies, but we found Sort of just listening to our models that to first approximation You know, it was this first one that really mattered a lot And the other ones didn't matter so much And so that could also be described as a psychoacoustic approximation that's made In terms of this model, um, you know that we didn't model the next cutoff frequency where it gets even steeper because These frequencies all decay so fast. It sounds kind of similar anyway But i'm sure you could cook up some example where it's important to have the other cutoff frequencies But you know, you've seen the models now. You've seen that if you have 30 sliders to be adjusting Uh, you'll just go crazy at some point. So we try to limit What you could get In in that way and so, um, the rest of the talk is just describing The rectangular membrane model In syntha modeler, which looks like this. So here's the resonator's object And so that when you to create an object like this, you have to specify a bunch of resonance frequencies decay times and uh equivalent masses For each of those decay times And then once you specify those you can connect it to these other objects. So In this case, it's assumed that you're plucking a modal synthesis resonator object in this way And so that's why there's a plectrum link here that's connecting that to a port Yes Would you care to explain more like or at least the Right now, I don't know what the resonators. What is the the physical equivalence of the the resonator actually you? Um Yeah, that's a good question I guess I would call it a a a driving point impedance Is what I've seen it described in the in the electrical engineering acoustics textbooks Which basically is is an impedance whose phase is bounded between Plus and minus 90 degrees If that makes any sense it's it's any you could this is any any transfer function you could measure by Um exerting a force on a point and measuring the velocity of that point in response Is a driving point impedance you can measure that on the bridge of a violin For example by exerting a force on the bridge of a violin and then measuring the velocity with which it moves So that's that's how you would estimate a driving point impedance And you can measure that for all sorts of structural vibrations So does it have like one parameter which is the force uh with which um I don't know with with which the the string is pulled or did I completely got that wrong? Um This would have a lot of parameters. So basically that is described by all these parameters Right here The resonators. Yes. Yes. Okay Did I answer your question? Oh Just go on. This is this is a this is a time domain um equation but you could use the foyer transform to Calculate what the frequency response of this is for example And that would then correspond to an impedance that you would measure on a violin bridge or Um a drum membrane you could measure this on a drum membrane as well Um I guess I I see your point though that this is this is a big approximation You know assuming that you're modeling some vibrational system and you only have one input and one output is obviously a very It's a gross simplification, but you can still do a lot with it, which is why it's it's set up this way um in syntha modeler And so If you if you look in the code for this so those of you who've installed syntha modeler, you'll see um It's called modal membrane A modal model rectangular membrane, I believe and you'll see there's a line in the in the model code Which says this it just instantiates the resonators object with um Rectangular membrane simple, which is a function defined later and you specify How many modes you simulate in the x-axis and how many modes you simulate in the y-axis? So if you set it up this way you get um You get it set up with 40 modes so it'll model 40 resonance frequencies and 40 decay times If you do it this way So this is this is sort of the the line in the model code that I really like to tell everyone about because it it makes it really easy to Increase the order of the model if you want a more accurate sound or to decrease it If you want to save some cpu Because maybe you could use just a smaller number of of modes to capture the sound that you want to have And then And actually maybe what I should do is just show this file just so you can see it with your own eyes As we're stepping through it So this is the the mdl file that you can compile into whatever Target is you want to have and um Right, so basically what that's saying is that right here you can have you can set how many How many modes you want to have and if you want to model two modes in the x-axis and two in the y or one in the x And a hundred in the y then you can You can play around with it there and see see how it changes the sound You do have to recompile the code after changing that though because Um, if you've attended a fast session you will have seen the signal flow diagrams that get generated by fast If you change the number of modes that the diagram suddenly changes a lot in size so so that's that's this part basically and so The remaining slides just really explain a little bit more how to read these these mdl files So if you want to use it with a fire fader You should put two ports in the mdl file one is there's one for each of these But if you had a device with eight ports, then you would need You know more ports there and I see I did this again with um And then you you have to have a pluck link So then you need to define this connection here which connects res in one with dev one And so you get that by saying pluck and then you have to tell it a stiffness in a damping parameter and also The sort of width of the plectrum And an offset which is usually zero and then you give it a name and you just say what it connects you connect the resin one to dev one Which it has right here and then right here. I just wrote above this what the So this is a variable and you can define this variable using fouse code This is really convenient so you can write interaction stiffness equals h slider and then here's where you set the Pluck stiffness. So if you've used fouse, you're very used to writing these, you know When you define a slider you give it an initial value a minimum value a maximum value in a step size And the same thing is done for the the damping in the plectrum So that's like saying how stiff is the pick you're using to play this resonator Is it really stiff or is it is it really compliant and how much damping does it have in it? And then you get to set the material parameters for the model which is kind of fun. So you can set Um what the length is in the x-axis what the length is in the y-axis what the surface tension is in newtons And then also what the area mass density is um And so i'll show those models later, but that's basically that affects the timbre of the sound And then the final bit that you have to figure out in the code is how to actually calculate the resonance frequencies from these variables so this equation Calculates the speed of waves in a rectangular membrane with the tension of t and an area mass density of row And then you look up in your favorite acoustics textbook or if your hardcore you calculate it It's a good exercise actually this is one of the very first ones that will be in the chapter on this um, you can calculate the resonance frequency for the The mode you have to give it a name so you could say you know an index the mth and nth node A mode pardon me would be this then you could look up this equation Um Which is half times the square root of t over row times the square root of m squared over lx squared plus n squared over ly squared and if you if you but you could look up the modal synthesis Equations for or the resonance frequency equations for other Structures that have been solved analytically and and put replace them in this model And and it would be nice so Then yes Is there any Criterium From which or which can be understandable How to tell whether uh, it is possible to analytically solve the equation and get the frequency Not numerically or is that just like there are some models that are known that's a real common Um And I guess just which ones are solvable analytically um Yeah, I mean the same for the simple geometries You know, it'll be it'll be possible to solve them often But not always I I know I I know that when it comes to non-linear Differential equations. I had a professor. I used to always say, you know, there are 17 non-linear differential equations And if it's one of those it's analytically solvable and if it's not Then well, we don't know but no one's figured it out yet. So um So yeah, it's complicated and I You know, it it it would be nice if it was if there was an easy easy answer Sometimes you can approximate them also though Or maybe you could approximate two things and then interpolate between them If you wanted to kind of make a model that works Anyway, it'd be really easy to build a modal model that interpolates between two different shapes That would be kind of a fun thing to do actually So this part is might look a little bit like voodoo, but um for people who Who who knows Faust? Who's planning to learn Faust? Okay Faust, um There's there's a really nice feature in Faust that um Is based on concept of term rewriting that's really convenient in terms of Sometimes if you're writing something you can sort of get it to automatically figure out Well in this case, you know, I made it automatically generate the Faust the equivalent Faust code for this You know rectangular membrane 410 The first time I made this I just pasted a whole bunch of these after each other Just to see that it worked and see what it sounded like but To do that, you know, it's much nicer to just have it automatically do that And you can do that with term rewriting and and I'm showing you how to do this here and this is basically a recursion So who's programmed a recursive program before? So so you you basically want to just write out a recursion so that it can sort of figure out how to do it And this is this is what we did here. So you have to tell it how to terminate the recursion So you have to some so rms triplet Uh, basically tells you Here, let me look that up in the this So that rms triplet generates basically a triplet of frequency decay time and equivalent mass to put into Uh the the resonators instantiation But in order to get that Um It's just more convenient to define it in terms of rms triplet because then you only have to write it once And the point being and I did it again here The point being though when you when you write out this Recursion you need to also have variables in it. So you have to come up with a new name So I called it rectangular membrane simple recurse Which has four variables which are sort of the current the current n and m and then the maximum n and m so it knows how high to go And basically you have to terminate the recursion so that it stops somewhere Because you don't want the fouse compiler to generate an infinite number of lines of code because then you're going to have a problem And then And then you can kind of think of this as a grid basically and then you have to say you know if You want you've already defined, you know, what the one is back here in this corner And you have to define all these other ones in terms of the previous ones Um And if you've done dynamic programming before You'll be familiar with this sort of kind of thinking but basically When you get to the end of one of these rows you have to jump up to the end of the previous row And then if you're not at the end of a row you just go over one by one So it just sort of it enumerates them. Maybe that's a good way to put it. It enumerates them in this order Um so that you don't have to do it manually and and and and that takes care of it basically and so um, the only other parts that are in the model are the uh, definition of an h slider for volume and um H sliders for the excitation position And by the way, I want to add about volume if you've ever implemented a volume in Faust Use db2 linear. It's really handy if you use db2 linear it it lets you um, basically Set the units for your sliders to be in decibels And that gives you a better control over the range of controlling a volume level Um It's it's kind of like the difference between a linear potentiometer and an analog taper potentiometer So you're going to want to use those if you're writing Faust code for doing this Um, and then some comb filters are applied to the output sound. This is just sort of icing on the cake I guess but Some people would probably say it's not modal synthesis if you don't do this. So yeah, we add some comb filtering To so that you can strike the membrane in different positions And have the sound change Um So I guess what I should do is is show the model at this point So let me fire this up here Let's see. I'm gonna show it on this computer instead. I think it seems like the sound isn't on. Oh Why are those there? Okay, so there's the modal rectangular membrane and um If we zoom in it's a little bit easier to see what's going on in here So if if you're playing a membrane And you increase the area mass density Then the pitch goes down If you increase the length And the pitch also goes down if you So I was saying that the decay time was really important. So if you increase the decay time and you Increase the cutoff frequency Then it just lasts a really long time. But if you shorten the Decay time then it's short Like this But perhaps equally important So as I was saying we we're using this t6c to describe the sort of decay time at low frequencies But the decay time at high frequencies is also also important Like that sounds kind of unnatural to me or Or it sounds like some weird bell, you know, you found somewhere Which might actually be kind of cool But you can change the cutoff frequency that way And then it has a much Darker tone Sounds more like a drum maybe But it depends on the dimensions, of course. This is maybe too oblong. This is too elongated to be sound like a drum So if you make the x and y length more similar Then it might sound more like a drum, but you know, it depends on exactly how similar they sound and It would be interesting to do more psychocoustic tests to learn, you know What things actually sound like drums and what things don't You know, what what parameter sets? um But if if we were to go change the the model complexity Well, that's kind of sounds like cutting off more and more modes basically, but because we already have 40 modes We already have a fairly rich sound Which is nice so What else Is there to say an interesting thing about synth the modeler though is once you have A simple model you can start connecting more stuff to it So this shows some masses on top of the resonator So if you want to add some snares to your rectangular membrane that you're you're Simulating You could do that. So there's an example model that does that also Which is modal rectangular membrane with snares Too fast. I think there's a new mode actually to synth the modeler now, which will let you automatically embed If you're simulating a fire fader it will let you automatically have sliders to represent the fire fader But it's kind of annoying if your patch assumes you don't have that On the other hand if you're compiling your modules for super collider It's really handy because then you don't have to if you're someone like me And you don't know how to use super collider you can get it to just already put them in there the way you want but Here's what i'm going to do So i'm going to reopen that and then i'm going to Touch this file so it thinks that i changed it and then it'll recompile it there, okay Yes, and this is with Faust gen which is kind of a neat way to compile Faust code This has the Faust compiler inside it actually Well, maybe I didn't sufficient anyway, so now it's down here So I can do it from here I think and actually you can see the snares sort of bouncing on top of it right there So that's kind of interesting and it really the sound changes a lot depending on How you set the mass parameters So if you set the snare masses to be A lot smaller then the sound will be different Or if you make them bigger Then it'll change Now they don't really sound like snares anymore It's it's interesting. It sounds kind of a little bit like reverb to me kind of like a non-linear reverb Anyway, when the more when you start hooking more stuff together and synth the modeler then you can get more sounds out of it And that's how you do it all you have to do is add those masses and then finally An interesting way to think about making music is to have You know, maybe have have some of those Have something happening in your physical simulation that's happening at a slower rate that automatically generates a score of music That's that's a nice approach to take Um So thank you very much for your attention One last question before lunch. Yes I've been programming a lot of fast programs Based on well, basically variations in a decoder and a lot of them have Oscillators that already have a formant And I was hoping maybe one of these can be used as a oscillator with a formant Maybe That would bring some interesting sound possibilities. I think That would be a very interesting example. I I haven't made an example of that yet, but I hope someone will do that soon All right But yeah, a fun thing you can do with these models is put an audio signal into them And have it get convolved by the impulse response of the model. So that would be a neat a neat approach for that Yes, great Thank you very much then


What's up everybody? Ricky Kruth here. Welcome back to my channel. Yes, I'm a 17-year real estate agent. Yes, I've made over 100,000 cold calls in my career. And in this video, I want to share with you everything that I learned through that roller coaster of a journey. So back in 2002, when I started real estate, I was 20 years old. Okay, I didn't know anything about real estate, how to sell anything. So there was an agent that was helping me and he showed me how to find property owners, how to find phone numbers. He kind of gave me some guidance on what to say, how to say it, all that good stuff. However, the way that I was taught was basically the mainstream training way. And this is true, I think, through sales in general. Okay, and if you look at mainstream training, if you look at coaches and the way that they're trying to train salespeople, it's all about the deal. It's all about the money. It's all about the transaction. Okay, so that's the way that I was brought up as well. You know, I was calling up people and I was viewing those prospects as deals, as potential deals, as money, as a transaction. So I started out by asking them if they want to buy or sell. I started out telling them that I had a buyer, even though I may or may not have had a buyer. And by the way, even if you have a buyer and you call an owner saying that I have a buyer, you know, you could get involved in a conversation where that seller may decide they want to sell their property. And then once they commit to selling their property, then you go to your buyer and your buyer say, you know what, we're not interested in that type of property anymore. Or things have changed. And we're not interested in even buying anymore at this point. So even though you have a buyer, that could change, that buyer could change their mind today, this second. They could have changed their mind a minute ago, right, about what they want, if they even want to do anything at all. Okay, so just because you think that you have a buyer doesn't mean that you really have a buyer. All right, so, you know, this whole thing about calling up people and asking them, you know, or tell them if they want to sell based on the fact that you have a buyer, doesn't really mean anything. So I quit using the, I have a buyer language. Okay, a long time ago. But through my journey, okay, I believe that success in general are made up of four key components. One, you got to believe. One, you have to outwork everyone in your field. Then you have to adapt as you go along, try new things, see what works, see what doesn't work, tweak this, tweak that, fully commit here, completely eliminate this. Then once you have all these in place, now we're going to put the work in and be patient. Okay, so through making these calls, I've adapted along the way. All right, and I'm still adapting, I'm still tweaking, I'm still figuring out what works better, what doesn't work, eliminating things, adding to, tweaking, always. So, and you have to do this also for different areas. I found different locations in the country, in the world. You have to communicate a little differently, different tones, different body language.  You know, I've noticed, you know, through watching so many ages make cold calls all around the world, that there's a lot of differences. But I will say it doesn't matter where you're located. Okay, if you can't make it work where you are, and you want to make the excuse that it's because where you are, people aren't nice, that is literally just an excuse for you not to continue forward, right? To continue pushing through that hard phase and trying to figure out how to communicate. That means that you're still in the phase of trying to figure out how to communicate with people. And you haven't fully figured out how to communicate with people, so you're still getting a lot of pushback. Whereas if you would keep going and push back the pushback, then you're going to get through that stage and you're going to effectively start learning how to communicate with these people, and you're going to start getting better results as time goes on. But you don't want, you know, you're going up against something that's a little hard right now, and you just want to just throw your hands up and say it doesn't work. I'm in a bad area, talking to people doesn't work in my area. Wrong attitude. That's the same for everybody in every area. Everybody goes through the stages of making calls. Okay, this is one thing that I learned through all my cold calls and watching other agents make so many cold calls is that they're stages in making calls. The first stage is you're scared to make the calls. Okay, and you don't want to make the calls and you're scared. Okay, everybody goes through these same exact stages. Okay, so watch it and you have to go through every stage. So the first stage is fear. You're scared.  Then you're going to make the calls, you're going to realize that's not as bad as I thought it was. Okay, if this is all there is to it, then I can do this. Okay, then you're going to go to the next stage, which is okay, I'm not as scared anymore. You know, I understand that it's that it's not going to kill me to do this. And I can do this. Now I want to learn what to say. So we're scared. Then we bust through that. Now we're going to learn what to say. So we do that for a while. And we're reading the scripts, which sound real robotic on this stage. Okay, it sounds very scripted. You don't get a lot of great results during the stage. Then you move to the next stage, which is learning not only what to say, but how to say it. Okay, so we're going to start, you know, crafting, you know, molding through the conversations and making it flow and sound natural. Okay, we want to make our scripts sound natural. Okay, and that's why my scripts work so well, because I've tweaked them so after so many years and so many cold calls that I've created a script that sounds natural. Okay, now it can still sound scripted if you're in that stage where you're still sounding scripted. Just realize that that's a stage and you need to keep going to get to the next stage, which is making that same script sound like a natural conversation. Okay, and it's really easy. Okay, because you just keep going through the stages to get to the next stage. So you're scared, you got through that, you figured out what to say, you got through that. Now we're figuring out what to, how to say it. Now we go to the next stage, which is reading people. Okay, we want to learn how to read people on the phone. And you realize that there's only a handful of different outcomes of a cold call. Okay, you realize that they're either going to be nice, they either want to do business, don't want to do business, already have an agent, don't have an agent, they're going to hang up on you, cuss you out, do a deal, not do a deal. There's only a handful of different outcomes here. Okay, and you can almost understand where the phone call is going to go, what the outcome is going to be, as soon as you answer the phone and you hear those first couple of words. When you get to where I am, I'm pretty good. It's not every single call. I don't know exactly how they're going to, they're going to shake out, but I'm really good at knowing what the next step is going to be in that call to get that type of prospect that's talking to me with that tone and that language and that speed to get to the part of the conversation that I want to get to and get the desired outcome. Okay, so you know, there's a flow and the more calls you make, the better you get at reading people on the phone. And when you get to that level, it gets really fun because now every call session is just incredibly positive. There's nothing but good, positive. And when you make calls, I want you to know that everything is a win-win. Okay, if you have a bad call session, that's a win because each call session, you're getting a little bit better and that's a call session you had to go through to get to the next step, to get to the next level, to get to the next stage. Okay, so even the bad call sessions are moving yourself in a positive direction and the more of those bad call sessions you have, the better off you're going to be. Now, I have three more things I want to share with you in this video and if this video is helping you, I want you to smash that like button for me and leave a comment. Let me know what you think. So after all my cold calling over all these years, what was the main thing that I learned out of all of this? And that was intent. Okay, and what my objective is with the cold calling, because in the beginning of my career, I thought that my objective was to make the sale, but now I realize that that is so far away from the objective. It's not even funny. The objective is to connect with my prospect. Okay, and to really go deeper with what's going on with them. You know, what do they have planned for the future and how I can create a game plan around that scenario as me as their real estate agent to help them accomplish those bigger goals, you know, their life goals.  There's a bigger reason behind what they're doing. We have to find out what that bigger why is. Why do they want to buy or sell? And then we want to really listen and capitalize on that. And when we listen and we capitalize, now we're giving them time. Now they start to trust us. They start to like us. And now they see theirself doing business with us. So the objective is to connect with my prospect. I refer to this as FE, okay, friend or family effect. Okay, whereas I'm talking to them like they're my mom, they're my dad, my best friend. I'm talking to them like they are part of my family. Okay, whereas I feel comfortable with them, they feel comfortable with me. Your job is to make people feel comfortable with you. And the best way to do that is to feel comfortable with them. Be comfortable in these situations. Be calm, cool and collected. Your job as a salesperson really, another part of your job is to make the transactions smooth and to take all the stress off of your client and absorb all that stress and keep them calm. Okay, because this can be an emotional roller coaster for them. We want to help them stay calm through this huge decision in their life. Okay, this big financial situation, we want to keep them calm because this could be very nerve wracking. Another thing that I learned through all these calls was that the results of the call sessions do not matter. As long as I make the call sessions, that's what I care about. If I quit making the call sessions, I know my business is going to die anyway, right? But if I'm making the call sessions, even if I have a bad call session, I'm okay with that because I made the call session. The next call session is going to get better results and the next one is going to get even better than that because I'm going to learn something from every call session and I'm going to continue to get better and better. I can't control people pick up the phone. I can't control if they want to do something with me or not. I can't control if they have another agent. I can't control the market, the ups and downs, what's going on, but I can't control my actions, what I'm doing and I know that closings happen every single day. So because I have faith that it happens every single day, regardless of the market crashing, then I know that as long as I'm making calls and I'm asking people what I can do to help them, right? And I'm getting those email addresses. Email addresses are the main thing. They're king. You take the emails, you do a weekly email every single week on the same day of the week forever, you build that brand, okay, which I've been doing mine since 2007, 12 years now, and every single Wednesday. And when you build that brand with that email, you can also re-market it on Facebook, on Google, on Instagram, right? You're hitting them up everywhere and you're building that brand. So results don't matter, okay? Your actions matter. We want to create the relationships. We want to connect first, then convert. And the last thing I want to leave you with here as far as what I've learned over all these cold calls that I've made is that if you are not making calls, okay, I feel like you're being selfish because you know cold calling is what's going to put you on the next level. It's what's going to take you to the places that you want to go in your business and in your life.  Don't you want this for your family? Don't you want to do all you can do for them? And I think if you're scared to make calls and you won't make the calls, right? There's agents that I know that are literally drowning in bills. They are literally losing their house, their end foreclosure. They can't pay whatever bills that they have and they won't make calls. And it's like, why don't you at least try to do this so that you can succeed?  That's the same stage that everyone has to go through. You're scared. Then you learn that it's not that bad. Then you learn what to say. Now you learn how to say it. Now you learn how to read people. It's the stages of cold calling. So go through the stages as quickly as you can. Don't hesitate. Power through. If something scares you, right? If making calls scare you, I want you to use the three to one method.  I want you to say three, two, one and just do it. I'm going to leave you guys with that. Leave me a comment. Smash that like button. Let me know what other videos you want me to make and we'll talk to you soon.