He just showcased to you. So like you saw even TA website is the one where you bought all your tickets and applied for the call for papers and all those stuff. So that's basically hosted on this server. It's using that server. Our server is mainly now deployed into Kubernetes. But like he showed you later on that the admin features that are there. So you can always host your event in event here. That's always there. But if you want to make your own event organizer server, use this open source project to create a server where you want other people to host your events, then you need to deploy it to your local systems. So ours is deployed into Kubernetes because we felt that it would be easier to scale it in Kubernetes and stuff. But there are a lot many other places where you can host. So I will go through a very main step that we always do to host the event organizer server. That's just the local deployment steps. But firstly, I will give you a brief overview. So as he has said, it's an event management server. It has almost all the features, the idea was that we would have a closure of all the event management websites that we already have. So there is even right there is even no there is some other scheduling websites and stuff. But what we needed is we go to one place, we get everything we don't need other places to visit for other tasks. Right. So that was the idea. And moreover, the idea is it's completely open source. Right. So you can host your own means make a own event management server. So you have a college or an institution where you host other kinds of events or they are a group of people who host events. So you can always create your own server deployments. So yeah, as I can say, these are all the ways of deploying to means we have already ready these ways of deploying. So you can install everything manually like completely manually you get a Linux system or a window system or even a map. And you follow all these steps for some of these steps vary from system to system but mostly it's the same. Then there's vagrant like if you don't want to go through it manually, you just want to give it a go and like you do vagrant up and stuff. So you can always use vagrant. There's Docker because your containerization is the next thing everyone is hearing that then AWS AWS is a legacy thing you might say because everyone uses though there was a problem in AWS S3 and all this stuff. But okay, we still have that Google Compute Engine Kubernetes. Kubernetes is also one of Google Cloud thing only and then there's Heroku. So Heroku is like if you want to have a free or like you don't want to pay and you want to just check whether your deployment works. So Heroku is one of the good options. So these are the ways to deploy the stack used. Yeah, so a quick raise of hands like how many of you have worked in a lot deployed a project which works in Flask and PostgreSQL. Okay, you are there because you worked on this one. So anyone who has worked in Flask and PostgreSQL it's pretty much all the same steps that we follow in a Flask and PostgreSQL project. So like all the requirements.txt to be installed using PIP and all those stuffs. And apart from that like to reduce the file size and the project size we have used Bower. Bower is for installing the JS packages. We didn't use any as such JS frameworks like because we didn't want like if Angular breaks tomorrow we don't want our system to break as well. So we mostly rely on JavaScript native JavaScripts and jQuery. But yeah, obviously there are some JavaScript libraries that we need for drag and drop and stuffs like that but mostly those libraries are also based on jQuery. Yeah, right. So that's basically the end of slides. Now I will go through the steps to deploy it. So this is basically our project link. If you can see github.com slash fosh sr slash open even dog server. So if you go into the read me there is a big list of installations. Okay, so all you have all the like steps for all kind of installations. You don't need to worry about them. It's kind of like quite vividly mentioned in every step how to install everything. So I will go through the general installation or the local installation thing because that's what if you want to contribute to the project you will be needing the local installation stuff. But you can yeah to like right away start off with the development you can always do vagrant. And if you want to reply then there are all this setup from four to nine I would say if you want to reply your own server and host your own events then you can go through four to five. But I will go through step two mainly. And then I think need and then we'll talk about Cuban it is a little more. So yeah, so what do you do to reply your own organizer server. Firstly, you will need Python to postgreSQL. Right. So making Python to work on your system is your like own concern making postgreSQL work on your own system is your own concern if postgreSQL breaks in your system. That's not our fault. That's nothing to do with the project. So let's just clarify that part. Yeah, so you can always do postgreSQL installation using pseudo apt get install postgreSQL postgreSQL country. If you are using a federal flavor of Linux, then you can do DNF install instead of apt get install. And it would work similarly. Now we need npm node js and all those stuffs for installing power mainly if you can install power and build it from its own GitHub repository. It's perfectly fine. We don't need it. So but you know, it's better to do it using npm. Right. So after you have node js npm and all those stuffs which most people already have, then we go to the main steps of installations. So yeah, the infamous step or the famous step pseudo peep install minus a requirements.txt. So that's a step I guess all the Python projects have. So you might say that this step doesn't like everyone knows this step you see a Python project. The first thing you do is pseudo peep install minus a requirements. So yeah, you do that. All your Python dependencies get installed like flask flask res plus and there are other flask Python libraries that we have been using. Right. So that gets installed. There are few problems you might face. Like if it's your first project, and you're starting from scratch, then you might need to install your dev Python dev package from apt get or if it's your failure Fedora flavor, then you it would be Python devil, Python hyphen devil, and it would be pseudo DNF install Python hyphen devil. So whatever flavor you have, it will, it might change a little bit. But mainly this is kind of the open to the Debian flavor that we have followed. Yeah, so we can go through it and you can say that I can assure you it works on Fedora because I am using Fedora right now. So yeah. And then if you have done all these steps, so your Python dependencies should be installed by now. So you have all the Python dependencies and so now you need a database because without the database where you're going to store the information. So what you do is you go into PostgreSQL, PSQL and all those stuffs.  Now what we have done is yeah, we use PostgreSQL but you can use SQL alchemy or other databases as well because we are finally using ORMs, right? So we can, that's why you want to give a preference to MySQL. You can do MySQL as well. So that's your preference. We have specifically done it using PostgreSQL and we know it works good with PostgreSQL. So yeah. Then you do the JavaScript installation. So JavaScript installation is if you have Bower, then you don't need to do the first step and then you just do Bower install and it will all like install and download all your JavaScript dependencies. So after all this is done, all your installations are basically done here. So you have the entire project, entire thing that's needed in your for deploying this project. So your project is ready to be deployed. Now we wanted the first idea of Mario and our team was that we wanted to make the project as much customizable as possible like you saw that form. We have like switch on and off button so that we can customize according to what the even needs for a call for call for paper thing, right? So the same thing we wanted to do for database URLs or the server names and all those stuffs as well. So database URL, we are not hard coding it into the code. We have environment variable set as database URL. So you set the environment variable database URL to whatever database URL you are using. This will basically PostgreSQL colon slash slash event will basically set it up to it. It will set it up the username and the password if it's the username and the password of the database is same as the username and the password for your system or wherever you are hosting. Then it will set it up like that. Otherwise, you can also set it up. Just give me a second. Yeah, so otherwise you can also do something like this. So this the first part open event user is the username start is the password at the rate. It's the local. So the it's the IP address and then the port. So whichever way you want to do, you can do that. Even if you have a minor scale setup, you can do my scale. If it's a scale like you can use a scale like so that's completely upon you. So you at that case, you will just need to change the database URL and every time you create a new database. So suppose you have like you want to create another event or another event management host system. So you don't need to go through the entire system settings again. You just create a new database and you change the database URL. So then again, it will store all the information in the new database. So you don't have to do the installation again from the beginning. And the server name, your server name works the similar way. It's also an environment variable that we are setting so that we can have like the IP address and the port. So for the security purposes, mainly we use the server name so that we can check the URL from which the things are being sent and stuff. Okay, so after all this thing is done for PostgreSQL, you have to restart the system so that like all the database and stuffs have been made and all the changes have been made. So yeah, pseudo service PostgreSQL, this works in most of the Linux systems. And if you are using Mac, you can use brew. After you have done this, then you need to create the table. So for creating the tables, there is a file called creative create underscore DB dot py in the project. Excuse me. So Python create underscore DB dot py if you do that, that will create basically all the tables that are needed for setting up the event, like the event management server. So once all the tables are set up now, you have all the columns and tables ready, you can go and work with it. And yeah, Python manage dot PB and Pydb stamp it. So what this does is so we are using a management system so that we don't like if suppose tomorrow we make a change in the database and you just need to pull your code again and you just need to migrate it. You don't need to create the database again. So that's why we are using the migration tool that's available in flask. It's also available in Django. So I guess some of you might have worked with it. So what it does is by after you have done DB stamp head. So it will like stamp it kinds of provides a stamp or you can say it kinds of point to the last revision that we have made into the migration. So the next time we change something and we create another migration. So we just need to do python manage dot Pydb upgrade. So that will upgrade it to the next version. So that way you can update your database. You may say the table things and all those stuff. So that basically after you have done step six, your server is actually ready to go. So basically even if you don't do step seven and use directly go to python manage or py run server or this step and you run it and the server is running. You can use all the features and all those stuffs and almost I won't say the entire server would be running but almost everything would be running. Now some of the features that are there we wanted it to be like real time. Right. So if there's a notification we don't really want the notification like if you have created an event. So the event management or the admin should get a notification as well as an email. So we don't want that email or the notification to arrive like after sometime we want it to be real time as much as possible. So for those things we have used radis and celery. Celery is mainly used for like scheduling some of the tasks. So suppose we have some of the tasks like the deleted events he was showing but the deleted events also we can't keep all the deleted events forever. Right. Because then our database will play goal huge size. So we can do that. So what we do is we keep a time after which the deleted events go get deleted. So this kind of scheduling works for this kind of scheduling works. We are using flask celery. Also there are other scheduling tasks. For example, suppose you are buying a ticket. So you will see when you buy a ticket there is a like 10 minute session. So after you create that 10 minute session it's in pending state after that it gets into a rejected state. But even the rejected states are stored in the database. Right. But we again don't want all the rejected state tickets to be there in the database. So we want it to be deleted just after like after we have already gone through something like maybe 72 hours or something like that. And then we will have like we can delete all the rejected tickets that we already have. So for those kind of tasks and all other scheduling tasks we made celery. So after you have installed ready server in whatever way that is you can use that to get it. It should be okay. So I think it should be abdicated. So there is already an issue in the documentation. So any one of you who wants to create a pull request.  I will merge it right now. And then there is pseudo DNF installed ready server. So that's for the Fedora on the radar flavors. And after that you have done integrate underscore socket out. This is again an environment variable. So you set it to environment variable. If you want to use socket I will be having to set it to true. If you don't want to use it. It's false. Perfectly fine. Most of the real 10 things might not work. But yeah. Otherwise it's perfectly fine. After that if you have done this all the steps are done. You go to localhost colon 5000 and your project is running. So that's basically everything you need to do. But you might say OK. So is this this easy and it will go this mood obviously not as we know a while installing it. Every project we will face some problems and that has nothing to do with the project again. So that's basically why. OK. So as you can see most of the things are mentioned in app get installed. But then again you if you do do DNF install Python Dev in Fedora it will give you an error because Python Dev doesn't exist in DNF. So it will be Python Dev. So those are some of the things that you might need to search out in Google. Or if you want you can make the documentation better and again send a pool request so that both of the way works. So we would love to have your contribution if you want to in like provide some of the documentation and improve the documentation for other flavors or other systems that might help others to set up it up. But yeah. That's basically how you get the entire organizer server setup. And after you have set up you get all the features ready to serve. So that's basically how you set it up. Any questions basically that's it. If you guys have any questions you can ask me or I will be around you can talk with me later. This is my Twitter handle and GitHub and almost everyone else.


There is nothing like a good competition and at the Bemidji JC's water carnival There are challenges of all kinds to compete in our Josh Peterson brings us a second annual battle of the Midway It's Mal Meyer and Haiti Clotter versus Colin Talbert in the second annual battle of the Midway Where we will decide who will be the king or queen of the carnival first up. We're shooting some hoops It's a trio of zeros across the scoreboard as all three failed to sink one shot up next the Lakeland team test their skills with the air guns Our Texas girl Haiti Clotter knows how to shoot a gun Haiti took out six aliens Mal Meyer shot four and our sports director only shot one next up the ball throw Our Mal Meyer steps out with his first win by taking out three of the milk bottles So it's Haiti Clotter and Mal Meyer tied with one win each next we heat it up with the fire truck Colin Talbert puts out the fire first and won the big race The news reporters will have to step it up a notch if they hope to steal the crown away from the sports department Next our team heads to the dart balloons Sports director Colin Talbert finally takes a win by popping two out of the three balloons While Haiti and Mal only popped one each for the news department to tie the competition It all comes down to the duck pond Colin seals the deal by picking two medium-priced ducks with the final score of three one and one It's now official that the sports department keeps the crown and Colin is the new king of the carnival I am the king of the carnival And there's still plenty of time for everyone to enjoy the games that Mariams Midway the water carnival events continue through tomorrow night If you've enjoyed this segment of Lakeland news, please consider making a tax-deductible contribution to Lakeland public television


Hi, everyone. Joe for jazvescasegrace.com, coming at you with 2020 Bowman Baseball Jumbo Pack Break Number 15 with not team giveaways, but mixer spots being given away here. We're going to do the break itself first, as usual, as we always do. And then at the end, we'll re-randomize the customer's names with New Dice Roll. And then we'll see who wins those mixer spots. We've got to do one more of these packs, and then we can do the baseball mixer. All right. So big thanks to these folks. We're doing the break first. Let's roll it. Let's randomize it. Eight times, two and a six. And eighth and final time, after eight, we got Dan down to Andrew. And eighth and final time, Rockies down to Tigers. We're watching that June 17th, watching that June 17th, 30 for 30, back in 1994. Crazy day. It's today, many years ago. All right. Big thanks to all of these folks right here. Ryan Herrod, you'll get Robert Parsons, Oliver, Bobby Witt, Juniors, of course, and Ryan Shackleton. There's Jason Dominguez hiding in this one pack. That would be nice. Let's alphabetize by team, and let's print, and we'll rip. And we've got an auto in this, Tony Dribbel, or Dribble, 149 out of 250, purple chrome autograph for the Metropolitan's. That is for Ryan Shackleton and the Mets. I honestly don't remember where I was on this day. I was certainly old enough to remember it. It must have been, what am I doing on a Wednesday? All right. Well, autograph in there. Let's see who wins those spots. What day of the week was June 17th? I don't know. What would I be doing? It was a Friday? It's a wild Friday. All right. Let's grab everyone's names. What would I be doing as a kid? Six times, two and a four, top five after six. One, two, three, four, five, and six. All right. Thanks, everybody, up to there. So from six down to 30, I appreciate everybody getting in. We'll be one more shot at this if you want to give it another shot. And congrats to the top five. You're in the mixer. Zach, Tony, Jason, Adam, and Zach, two for Zach. Nice. There you go. Thanks for watching, everybody. I'll see you next time for the next one. Bye-bye. What was I doing on that?


Hey Amy, I need help Hi Joey What's up? I don't understand this fail to reject the null stuff Why can't I just say I accept the null and fail to reject is a double negative anyway? Actually, it is a triple negative Fail, reject and null are all negatives But the grammar issue is not as important as the logic of fail to reject Except the null seems logical to me. Why is it wrong? Remember, this is about a test of a hypothesis about a characteristic of a population We are interested in because we don't have all the data about the population We must make do with sample data From that we make inferences about the population characteristic. I get that part We calculate a test statistic from the sample data and compare that with the value for the population parameter We assume to be true and see I even remembered the rule You gave me that population is to parameter as sample is to statistic You sure did so if the sample does not provide enough evidence to reject the null Doesn't that prove the null is true? No, it doesn't Remember that probability is involved Even a well-designed sample might not have the exact same characteristics as the population Huh, so even if the sample statistic is not different enough from the assumed population parameter for us to reject the null hypothesis assumption That does not mean our assumption is true. Correct There is still a lot of data about the population we do not have So the null hypothesis could still be wrong if we had all the missing data about the population We could know for sure But without that missing data, we just do not know if the null is true Wait That reminds me of the black swan idea Yes At one time people thought that all swans were white based on seeing only white swans in europe for centuries But in 1697 a dutch explorer found a black swan in australia and brought back the feathers to prove it And with that single data point the swans are white hypothesis was proved to be wrong Okay, I get it. We say fail to reject the null because there might still be a black swan out there for our null hypothesis too That's right As long as we have to use samples There is a possibility of making an error in our decision about the null hypothesis That brings us to my next question How does that type 1 and type 2 error thing work? We'll talk about that in another video See you later gator. Okay, the stats files here i come Thanks for watching


Good morning. I welcome you to this session of fluid machines. We have completed the discussions on fluid machines and now we will switch over to a new topic introduction to compressible flow. So, at the outset I must start with the definition of a compressible flow. What is meant by compressible flow? So, as you know the compressibility is a property of a fluid and it is characterized by a parameter known as bulk modulus of elasticity and physically the compressibility the property of the fluid is a measure of its change in volume or density with respect to the pressure. Now, if we look to the definition of elasticity the characteristic parameter for the compressibility of a fluid we will see the way it is defined the bulk modulus of elasticity is defined like this it is d p into v by d v where the v with a cut I used to represent the volume to distinguish it from the velocity or is equal to rho d p by d rho. So, therefore, you see the bulk modulus of elasticity is defined this way now a large value of bulk modulus of elasticity represents a large change in pressure required to cause a definite change in volume or density and for fluids whose bulk modulus of elasticity is very large are usually termed as incompressible fluid because a change in volume or density is very low as compared to the change in pressure. Similarly, for the fluids whose bulk modulus of elasticity is relatively very low that means which suffer a considerable change in volume or density for a given change in pressure are termed as compressible fluid. For an example I can tell you that for water at atmospheric pressure for water at atmospheric pressure for water at atmospheric pressure the value of e is equal to 2 into 10 to the power 6 kilo Newton per meter square as compared to that for air at atmospheric pressure for air at atmospheric for air at atmospheric pressure e is equal to 101 kilo Newton per meter square. So, you can very well see that water is almost incompressible practically because it is such value of e indicates a very large change in pressure is required to cause a little change in volume or density as compared to that that of air. Now, question comes this is the characteristic property of a fluid, but what is a compressible flow is it true that compressible flow means the flow of compressible fluid whose elasticity or coefficient of bulk modulus of elasticity is very low and flow of all incompressible fluids are incompressible flow it is not exactly so compressible fluids are defined in this way that the if the change in density brought about by the change in pressure due to the flow is very less those flows we treat as compressible flow. Now, the concept comes like that even if the fluid itself is compressible for example air whose bulk modulus of elasticity is very low if it flows in such conditions that the pressure differences the maximum value of the pressure difference due to the flow is such that it cannot change the density or volume in the flow very much then the flow can be treated as incompressible. So, therefore, a flow is whether incompressible or compressible depends upon whether the change in volume or density encountered in the flow is small or large. So, therefore, it is very much tagged with the flow condition because the change in pressure is not an arbitrary one. So, if the change in pressure is very low in the flow so that the change in volume and density is low those flows can be considered as incompressible. So, to have a criteria for an incompressible or compressible flow for the fluids we should confine ourselves with these deductions we see that a rough order of magnitude we can find out in this way that in any flow of fluid the pressure difference delta p the order of pressure difference can be written as like this it is in the order of the dynamic head where v is the velocity of flow we consider any flow through a duct any flow we can consider like that the delta p the maximum pressure difference or the order of the pressure difference in the flow which will be encountered will be in the order of the dynamic head half rho v square is true. Now, it is very simple manipulation now if we express this delta p in terms of the coefficient of modulus of elasticity from this expression you see that which we can rho we can write like this this is e delta rho by rho instead of delta p is in the order of half rho v square or we can write the order of del rho by rho is in the order of v square by e by rho well now after this therefore, I write it again that order of so we see that the order of del rho by rho is equal to the order of half rho v square now in any flow this in any flow situation through a duct it may be through a duct or it may be a flow over a body now this value e by rho represents the square of the velocity of sound in that flow at that condition where a is the velocity of sound velocity of sound velocity of sound or acoustic velocity velocity of sound or another name is acoustic velocity acoustic velocity in the fluid at that particular condition. So, this is the definition which probably you know is already derived in classical physics preliminary physics e by rho a square so therefore, if I use this definition we see that the order of the change in density to the density the ratio of change in density to the instantaneous density or the initial density whatever you call is half v square by a square now this ratio of v square by a square this is the ratio of the square of the velocity of flow to the square of the velocity of sound in that fluid at that condition. So, there is a non dimensional number known as mac number it is after the scientist mac who first discovered it mac number or introduced it is defined by v by a so therefore, mac number is a dimensionless number which represents the ratio of the velocity of fluid at any condition to the velocity of sound in the fluid medium at that condition this ratio of v by a is known as mac number. So, therefore, we can write in terms of a dimensionless number half m a square so you see the change in density as a fraction of the density itself rho is in the order of half m a square. So, if our criteria for incompressible flow is delta rho by rho is very very less than one for incompressible flow for flows to be for flows to be incompressible for flows to be incompressible for flows to be incompressible delta rho by rho should be very very less than one. So, therefore, the criteria is that half m a square should be very very less than one that means the mac number of flow should be such that half m a square should be very very less than one. So, that to make the delta rho by rho that is a change in density with respect to the density itself is very less now to have a definite quantitative criteria we set this delta rho by rho as or like this less than is equal to 0.05 which means that we can neglect a density variation of 5 percent of the initial one. So, a change in density of 5 percent a change in density of 5 percent or less than 5 percent can be ignored and the flow can be considered to be incompressible it is. So, then a quantitative criteria can be defined that half m a square should be very less than 0.05 or should be simply here simply less than 0.0 from which we can derive that m a should be less than is equal to 0.33. So, this is a very important conclusion you have to remember throughout your life whenever you deal with flows of fluids that when the mac number of flow is less than 0.33 the variation in density is 5 percent that 5 percent of the initial density or below the 5 percent at 0.33 it becomes 5 percent. So, mac number is equals or less than 0.33 the change in density equals to a less than 5 percent of the initial density and the flow can be considered to be incompressible flows are incompressible. So, therefore, we see whether a flow will be compressible or incompressible will depend upon this dimensionless parameter mac number just an example I am telling that flow of air at normal pressure and temperature you know that the speed of sound at that condition at NTP through air is 3 30 meter per second. So, with this criteria we can say that the velocity of air at this normal condition temperature and pressure if it is less than equal to 100 meter per second this is a thumb rule we tell that the flow of air is incompressible. That means in a situation where there is a flow of air at 50 meter per second we can tell the flow is incompressible. So, in that situation the pressure difference associated with that flow that is a flow of air at 50 meter per seconds at the atmospheric condition cannot bring about a change in volume or density which is more than 5 percent and we can neglect that change in volume and change in density in the flow and we can treat the flow to be incompressible all right now you see another interesting feature is that we have found out that del rho by rho del rho by rho is the order wise is in the order of half v square divided by e by rho. Now the bar bulk modulus of elasticity for incompressible flows are very large very large that means for all liquids which are treated as incompressible fluids because their bulk modulus of elasticity is very large other way the velocity of sound through that medium is very large. So, usually even for a very small velocity we get the value of delta rho by rho is very high. So, therefore a sorry very low sorry very low. So, therefore flows of all incompressible fluids are usually incompressible because even with very high velocity encountered in practice they cannot bring about a delta rho by rho more than 5 percent this is because of their very large values in e it is not practicable theoretically you can consider infinitely high velocity which can make, but it is not practicable. So, under all practical conditions flow of all incompressible fluids or flow of liquids are incompressible while the reverse is not the true that means flow of compressible fluids that is the flow of gases may be incompressible provided its velocity is low and that is not any absolute velocity it is relative to the velocity of sound and the criteria is the dimensionless parameter Mach number that if the velocity is such that it corresponds to a Mach number of flow less than 0.33 then the density change or volume change is lower than the 5 percent. So, therefore the flow can be considered as incompressible flow all right now before going to the next chapter we should recapitulate little bit of thermodynamics because the knowledge of thermodynamics and the property relations derived from thermodynamics will be very much applicable in the directions of compressible flows. So, first one or two lectures we will be recapitulating the basic laws of thermodynamics first and second law of thermodynamics and important property relations. So, therefore we must first start with the first law of thermodynamics. So, what is first law of thermodynamics first law of thermodynamics is basically the law of conservation of energy as you know the first law of thermodynamics is basically the law of conservation of energy. Now, if we keep aside the physical phenomena of conversion of mass to energy and energy to mass we can tell that the conservation of energy is that energy is neither created nor destroyed that we know since our childhood this is the conservation of energy. That means if energy is transformed from one form to other or if energy is transferred from one system to other system in the same form in both the cases energy total energy remains constant it is neither created nor destroyed that means if energy disappears in one form it appears in other form this is simply the conservation of energy as simple as that and first law of thermodynamics is nothing but synonymous to this principle of conservation of energy. But in the applications of fluid flow and classical thermodynamics as applied to mechanical engineers or other engineering disciplines the same principle of conservation of energy we look from a view point where the heat is being converted into work or work is being converted into heat because heat and work this two types of energies are first described by classical thermodynamics at the energy in transit energy in transit that means the energy quantities which transfer from one system to other system are either in the form of heat or in the form of work. So, therefore, we are interested to define or receive the conservation of energy while applied to a system or applied to process where the heat and work energies are appearing as the energies in transit. So, therefore, if you recapitulate this we know the first law of thermodynamics written like that in any cyclic process executed by a system. So, this d q the cyclic integral of heat transfer is equal to the cyclic integral of work transfer here this cut I mean maintain to distinguish this d from the exact differential because as you know this q is a path function the heat flow and work flow or work transfer is also a path function. So, d cut where this d cut d u I simply will pronunciate is a d q is the infinite small heat transfer d w represents the infinite small work transfer hence forth. So, cyclic integral of d q is d w that means in any cyclic process that means if a system executes in a thermodynamic cycles executes a processes in a thermodynamic cycle that means in any thermodynamic property diagram there will be a closed loop the total heat transfer during the cycle that means heat may be coming out heat may be given in some processes there is no restriction in the direction work may come out in some process work may go in. So, as a whole if we make the accountability of the energy we will see the sum of all the heat transfer process in a cycle must equal to the sum of all the work transfer process in a cycle this is a mere recapitulation of your basic thing. So, if we write it in a different that way d q minus d w is 0 that means we can write cyclic integral d of q minus w is 0 this gives a very interesting thing that though the q and w are the path functions, but their difference becomes a point function because the cyclic integral of their difference is 0. That means if we represent this d q minus d w as some d x d cut x is 0 then we can tell that cut is not required for that because perfect differential of any quantity integrated over a cycle must be 0 that is the basic definition from mathematics. So, you see the difference between q and w over the cycle is 0 which means that q minus w can be expressed by a point function x. So, therefore, we can write that d cut q minus d cut w can be expressed as a perfect differential of a point function x what is that x this comes straight from the mathematical concept that this minus this over the cyclic integral is 0 that means d q minus d w can be expressed as a change of a point function where x is a point function and this point function and the property of a system. You know that any point function is known as property of a system property of a system and this way the birth of internal energy comes. So, this is the definition of internal energy. So, therefore, we can write d q minus d w can be expressed as a change of a property which is a point function known as internal energy. So, the physical implication of this mathematical statement comes like this that if we consider a process from one to two then this equation implying a infinite small process can be written like this if we integrate this d q from one to two minus d w from one to two is equal to d e from one to two as you know this q and w are the path functions and they cannot be integrated like this. So, therefore, we have represented this d with a cut this is not a exact differential. So, therefore, this is written as q one two that means the heat transfer in this process depends upon the path of the process does not depend only the state points. Similarly, the d w one to two to be represented as the work transfer during the process one two is usually written as w one two which depends upon the path of the process. Whereas e being a point function which is the internal energy by definition of the system it can be written as e two minus e one. So, simply the first law can be written as q one two is equal to w one two plus e two minus e one. This is also the conservation of energy applied to a system that if we consider the direction in this way that the heat added is positive simultaneously we will have to take the work out as the positive then we can interpret this physically the amount of it added to the system during it is change from a state one to state two by a process one two is equal to the work delivered by the system plus the change in its internal energy. So, this is precisely the first law which is written for a system. Now, this can be again written in a differential form rather I will tell this is written in a d q is d e in an infinite small process. So, differential form many people tell a differential form, but I will tell for an infinite small process because q and w cannot be expressed as in a differential these are the path function. That means either in a differential form will automatically mean in that case that d is the differential of internal energy, but q and w are the infinite small amount of work and heat that takes place for an infinite small process. So, this is the outcome of the first law of thermodynamics as applied to a process executed by a system involving heat and work transfer. Now, we come to a definition of a property enthalpy which is very important enthalpy how do you define the enthalpy what is the definition of enthalpy please what is the enthalpy how it is defined h good h enthalpy is a property which is defined as u plus p into v good. So, the very first line of definition of enthalpy is like this the first line the very first definition of enthalpy comes from its mathematical statement that h is equal to u plus p v where is u u is the intermolecular energy.  So, if I write the internal energy of any system it comprises several types of energies that can be stored in the system internal energy of a system is the energy that is stored in the system and it is a point function it depends upon the state of the system. So, it is a point function. So, therefore, internal energy are those energy which can be stored in the system at a given state. So, it comprises first the intermolecular energy which is the kinetic energy and potential energy of the molecules which depends upon the state of the system precisely the temperature. Similarly, the system itself may have velocities that means the macroscopic particles of the system may move within the system. Even if the system is a closed system there may be a substantial motion of the system that is the different particles of the system may be motion. So, therefore, the kinetic energy is an energy which may be contained by the system and another type of energy may be stored or contained by the system that is known as potential energy. What is that energy this is the energy by virtue of the state of the system or the position of the system in a conservative force field. So, there may be number of conservative force fields magnetic force field electrical force field in which the system is exposed or system is placed. If all conservative force fields are relieved the gravitational force field is there. So, at least there will be gravitational potential energy or simply potential energy. So, this kinetic energy of the particles of the system the potential energy and the intermolecular energy are the total contributions are comprising the total internal energy. So, if I write the internal energy general symbol u is the intermolecular energy. So, the kinetic energy of the particles plus the let us consider only gravitational force field that the potential energy. Let us write the mass of the m g z the total potential energy total kinetic energy m and the total internal energy. So, this is the internal energy total internal energy. Now, in a closed system in equilibrium the kinetic energies are not appearing because the system is at rest the particles is at rest and if we neglect the potential energy not because of its absolute value because you know the absolute value of potential energy to ascribe the absolute value of potential energy is very difficult we also we always measure it in terms of its change. So, if you neglect the change in potential energy of the system between different states we can neglect this m g z the potential energy part. So, we can tell the internal energy for a closed system or a stationary system simply comprises the intermolecular energy. So, u is the intermolecular energy.   So, therefore, enthalpy is a property and it is a point function. Another interesting thing is that the dimension of enthalpy is the dimension of energy because u is the internal energy its dimension is energy the product of p and v this dimension is energy. So, enthalpy is a property and its dimension is energy. So, it is something similar to energy. So, very first line of definition of it does not give us any physical concept, but immediately the query comes why such a combination is defined as a property. So, you know you start with many properties first we start with measurable properties first we start with observable properties that we can see the mass we can feel the temperature then comes with the measurable properties that volume we cannot see, but we can measure pressure we cannot see, but we can measure. So, therefore, we see that afterwards in thermodynamics we make several combinations out of this preliminary properties or primary properties to define other properties, but why such definition is required and why such a particular combination is made. So, that query is satisfied if we go little further to see the physical significance of such a combination to yield the definition of another property. For example, this enthalpy if we see the physical significance of this enthalpy parameter of this enthalpy this property enthalpy we have to extend our first law to a to an open system or a steady flow system. So, let us do that we consider a steady flow system or a open system. So, before that I think I should tell you the system different types of system. So, how do you define a system and there are two types of systems one is the control mass system another is the control volume system. How do you define a system? System is a definite quantity of mass within a fixed boundary that means the two very interesting characteristic of system a definite quantity of mass and a content or separated from the outside by a definite boundary. So, quantity of mass quantity of mass quantity of mass and definite boundaries definite boundaries are the two characteristic feature of a system. So, system is defined just like that it is some quantity of mass a definite quantity of mass at any instant and bounded by definite boundaries. Now, the system basically is divided into two ways two categories one is control mass system another is control volume system what is a control mass system in a control mass system the mass which is content within the system by its system boundaries. So, therefore, we can see a system is a definite quantity of mass and this is the system boundary. So, if the if the mass identity remains the same within the system boundary that means there is no flow of mass either in or out that means d m is 0 from the system boundary that means the same mass not only the amount, but with the identity remains the same then we call the system as the control mass system which is usually told as closed system. So, the characteristics of closed system the additional characteristics apart from the definite quantity of mass within definite boundary is that the identity of the mass remains same that means in other way there is no mass flow in or out from the system. So, if you take some mass flow out and make an inflow of the same amount to make the mass of the system remains same that we will not satisfy the characteristics of a control mass system or closed system because in that case though the mass remains same, but the identity of the mass changes that means the same identity has to be there. While on the other hand the control volume this the system where we allow the mass flow that means d m not is equal to 0 that may be mass in there may be mass out there may be mass in there may be mass out, but the restriction is that there is the volume of the system remains same that means the boundary is fixed fixed boundary. Now you can ask me that then what is the difference here the difference for the closed system that system boundary may move system boundary is not fixed at any instant there should be a boundary of the system, but there is no restriction that the boundary of the system has to be fixed that means the volume of the system may change while the mass and the identity will remain the same that is why it is control mass system. Whereas in the control volume system the fixed boundary the boundary will not move there is no displacement in the boundary the volume of the system is controlled in a control mass system the boundary remains fixed the boundary may move, but control volume system the boundary remains the volume remains fixed the boundary will be fixed the volume remains same. So, this is known as control volume system it is simply known as control volume or open system this is known as open system or simply control volume the system we do not use. So, we see there are two types of system one is the closed system another is the open system or control volume an example of closed system is your reciprocating pump you have seen that one of the boundary that is the piston which is moving. So, at any instant the boundary is defined, but instant to instant one of the boundary the piston which is moving that means in a closed system there is a there may be a displacement of the boundary. So, boundary may expand or boundary may contract. So, that the volume of the system may change whereas a control volume system is the system where the boundary is rigid that means the volume is same, but through the boundary the fluid can go out or the sorry the mass system mass can go out can come in. So, this is the control volume system. So, now one difference is that if you see in a control volume system if the same amount of mass comes in and the same amount of mass goes out that means the net rate of mass inflow or mass outflow is 0 and the total mass remains same. So, in which way it differs from that of a closed system is that the mass identity is changed. So, therefore, at steady state a control volume system differs from that of a closed system is that though the mass remains same in both the cases the identity of the mass is same in closed system whereas the identity of the mass is not same in the control volume system. So, control volume system we simply tell as control volume or an open system whereas a control mass system we call as closed system or simply system. When we call system this is henceforth you know that system means is a closed system or a control mass system sometimes these are not used. So, system implies the control mass system or the closed system and with all its characteristics. Similarly, a control volume means a control volume system or another name is the open system that means where the mass flow out or mass flow in is applicable or allowed that means mass flux across the system by a boundary is possible. But the restriction is that the boundary should be rigid that means the boundary should be strict that means there is volume boundary should not move or should not displace that means the volume of the system should remain same that is the control volume or open system. So, if you see the application of first law to an open system then you will come to the physical significance of enthalpy I think the time is up. So, next class I will discuss it any query please.


Hello and welcome to the drum history podcast. I'm your host Bart Banderzy and today. I am joined by mr. Tim Carmen Tim Welcome to the podcast. Thank you. I'm happy to be here. I appreciate you having me.   You're a phenomenal player, but you're also a great educator and Author and you've got a number of books out I'll start kind of in reverse order and then end up with what we're talking today But the shape beat series which I want to hear more about that later and then groove systems Haynes isms and then Philly isms is the most The most recent one which the isms series is kind of what we're here to talk about with yep An emphasis on Philly Philly Joe Jones. So Tim like maybe explain what the concept of the isms is and then we'll dive deeper into more about Philly So yeah, take it away. Awesome. Well, I appreciate the kind words. Thank you very much. Yes I actually have the definition of an ism here It says an ism is a manner of action or behavior characteristic of a specified person or thing but in our case, you know, we're talking about a manner of action or a behavioral characteristic of a person or essentially what I view it as It's what a particular drummer that I might look back at in history What they like to do when they play like what's a characteristic of Philly Joe Jones or what's a characteristic of Roy Haynes That when you hear that particular characteristic, you're like, that's Roy Haynes. That's Philly Joe Jones Yeah, that's Tony Williams whatever and I kind of came up with a concept And it's based on the famous Bruce Lee quote where he's he says I fear not the person who has practiced 10,000 kicks once but I fear the person who has practiced one kick 10,000 times So the basic idea for the ism series was to study a particular jazz drummer who you know Kind of pave the way for other drummers and dig into their brain a little bit transcribe them and figure out what their Particular characteristic soloing style would be your well like a piece of vocabulary So the first person I did that with was was Roy Haynes. I figured out what he kind of liked to do And the the idea was to take that piece of vocabulary and kind of milk it for for all its worth You know create musical mileage out of one piece of vocabulary you could say so just to give kind of a broad This isn't really a biography episode about Philly Joe Jones because it'd be cool to do that I'll do that at some point, but I'm sure there's someone who's written a book who is an Absolute, you know knows everything about him which yeah, we've discussed this and we're not gonna go down that road right now But you know the in a couple sentences. Can you describe who Philly Joe Jones is for people who aren't familiar? Some of his highlights and and then we'll go deeper, you know beyond that. Yeah Yeah, he would well. He was born in Germantown district of Philadelphia in 1923 so he grew up in Philadelphia. That's kind of where he got his start when he he went into the war World War two and he came back in 1944 and around that time he moved to New York City and Essentially, I think when people think of Philly Joe Jones, they'll automatically jump to his time with Miles Davis In the 50s. He was part of the quintet with with Coltrane and and he kind of defined I'd say the hard-bop swing era of the late 50s and the early 60s So that was kind of his his period and he also In my opinion Defined like the language of soloing in that time He invented a lot of vocabulary that people today are still using and that drummers after him You know, Elvin Jones and people like that took inspiration from and he played until he passed away in 1985 But he really kind of defined that period. Yeah in a in jazz drumming. So yeah, I mean He was born a hundred years ago Which is that's the great. Yeah, exactly. We literally I mean what a celebrated is a hundredth birthday on July 15th About a month ago. Wow to when we're recording this right now. I mean So he's kind of in the era of Buddy Rich, I guess was like 1917 I think Jean Krupa was like 1909. He's like right. Yeah, he's right in that era of these like that first wave of Or maybe that would be I guess that would be the first wave of jazz like Legends modern and it also helps that we have like More modern recordings of them to study. Yeah, you know, that's another reason I mean, I love that period of the 50s and early 60s because recording technology Kind of was advancing at that point so we could hear a little bit more of what some of these drummers like Philly Joe Jones were playing So I think it's a really, you know, interesting period and he I mean, he was highly influenced by cozy Cole and Max Roach, he actually studied with cozy Cole and he hung out with Max Roach a lot So he took inspiration from a lot of those those guys and yeah How would you explain to someone the importance of Philly Joe Jones? Maybe his his impact on drumming. I know you said that his it's really about his his soloing style and things like that But I think his swing feel as well though for me He defined the swing feel of the 50s Okay, you know the way the way he played a lot with the bass player Paul Chambers They played in a lot of groups together and I think the two of them Their feel was the foundation for For jazz in the 50s. I mean they played on so many heavy records that today we study So yeah, I think obviously his solo vocabulary was was revolutionary and really unique and He had a lot of you know a lot of personality in what he played Which you know, I think it's really cool and really difficult to achieve that So I'd say his solo vocabulary and the way he swung Yeah, where the the two things that really defined and he also he played with It was interesting to dig into his history a little bit and just you know Miles Davis talked about like how he Philly just brought fire to the bandstand. He had a really energetic often loud fiery style of playing drums Which also was unique for him. I think yeah.  Well, I think within if you talk to jazz drummers. Yeah, I think he's he's up there on everyone's list that I talked to at least a you know the legends But yeah, I mean, I think he is overlooked by some of the earlier guys What you mentioned like the buddy riches and the people who were more I guess showman or you know They take long solos which Philly could do and in my opinion His solo style speaks to me more than some of those other drummers Because it's it's it's very musical not that the other guys aren't but but yeah I think you know, I think he could he can be overlooked by Musicians or drummers who maybe aren't focused on the jazz world and I think he's an incredibly person incredibly important icon to To check out, you know, everyone I think needs to check out Philly Joe Johnson. Yeah inspired a lot of people Yeah, for sure. I think there's the the musical solo goes a long way and is yeah We all like to be kind of like blasted with an amazing ripping drum solo, but sometimes it's it's nice to have a little more Tonality and and music to it. But another thing I can say to regarding like what he did for the For soloing he had an incredibly like rudimental approach to soloing He had all of the rudiments under his hands And he had the ability to orchestrate those around the drums and kind of make them his own and if you listen to interviews He talks about, you know, the importance of the rudiments and studying the rudiments and that's kind of how he developed His style of soloing. I know we studied with Charlie Wilcoxon And he went through all of those solos in his book and a lot of that comes out in the way Philly sold soloed himself So I think that's also an important, you know, thing to know because he taught Philly Joe Jones taught a lot of drummers Later on in his life And that's what he did when he when he taught he had his students go through The rudiments and rudimental solos and how to apply those onto the drum set. So sure All right now to to create this book, which again is Philly isms Hudson music first off I love the cover that you did the artwork for these is just super cool and very like timely and it just fits with the vibe Did you do that or no? I didn't actually this is a good moment to shout out. This is guy Jamie Browick He his company is called B side graphics And I reached out to him because he's done some work on some of my own jazz trios releases He's he's designed posters and covers and stuff like that. So he has just like a really cool Old-school like jazz Art style. Yeah, it's like exactly. This is this is perfect And when I you know thought of the concept for this book and the style of the cover, you know, Gary Chafee's Pattern series, you know, it's such a unique cover that he just changes the color of from book to book So that was kind of something I had in mind. I was like, oh, I want to make it one cover That's unique and vintage looking and stands out and then I can change the color and As I go through each drummer pretty much. Yeah, I think it's smart because it sticks out and it's clearly it's clearly you Now let's talk a little bit about how you You know what your process was to break down these styles because it's it's true I mean if you if we look at ourselves we find when we sit down on the kit We have our go-to things We have over our vocabulary that we like to do and some days that can drive you insane thinking, okay Stop playing the same thing. Yeah, but there's there's there's like there's certain things that you can always tell and in a great way of I Can you can close your eyes and just hear that person playing and knowing it's them and that's something that's very important so and I think that's everyone's goal at the end of the day is to get to that point and You know where someone can listen to you play for 15 30 seconds, but oh, that's that's him or you know, I think that's incredible one if you can get there So yeah, yeah, yeah, do you have any I mean as as a Educator and author what would be some tips that you would say that people could work on? Or can you work on that or does it need to naturally happen to get your own ism? I think One thing that's helped me a lot Well, first of all play out as much as possible play shows Yeah, and then that's but more important than that is record yourself while you do that like I I'll film myself I used to I do it a little bit But not as much as I used to and and it's like watching game footage You know I mean sure and and what I'd like to do is I'll be like, oh man, I do that a lot That's kind of cool. Sometimes when I see myself and listen, I can so that's kind of maybe that's my ism Yeah, more important than that though is you can hear the things that you do that You maybe don't like and you can cut that out of your playing It's like cutting the fad off type of thing. So yeah, yeah, yeah I think filming and recording yourself is the most important thing you can do and that's true with anything like I find that with the podcast I you know, I don't often listen back to old episodes because I'm working on the next one all the time But you find that like yeah, okay time to stop doing that or time to stop saying that thing or yeah It's painful. It's painful or some friendly person will email you and say stop doing that. Yeah But yeah, man, so so then going back to the original thing we were talking about there about What was do day one of working on you know, you pick someone to study the ism. What is that process like for you to learn? Philly isms totally. I'll say this the Roy Haines the Haines ism The piece of vocabulary for him was a little bit easier for me to come by the Philly ism was really difficult to pick because He does so many things or he did so many things that are really unique and interesting He had a lot of little little tools that he would pull out The way I came across across or the way I pinned down this particular pattern, which at the end of the day It's basically the paradiddle rudiment and he liked to play it in a nine-stroke sticking And I chose that one because I noticed that he utilized that in different subdivisions You know, he played it as an eighth note as a 16th note He'd vary the paradiddle sticking in a in a triplet subdivision He also orchestrated it by playing accents or moving it to the toms in a lot of interesting ways I talk about one thing in the book is I call it extending or shortening the phrase So, you know, I as I mentioned the ism is a nine-note paradiddle sticking But what he would do is he would play five note groupings of the paradiddle starting with his left hand So it'd be like left right left left and then end with an accent at right and he would move that around the drums So and then he would there's a lot of I could go for a long time about it But essentially I noticed that he loved the paradiddle and he loved to come up with Interesting ways to use the paradiddle around the kit and that's how I decided to stick with that One thing I will say though This is something I did with Philly ism that I didn't do with Haines ism is I have a section in the beginning of the book Where I talk about nine other Phrases that Philly like to use and I kind of define those as well And then throughout the book when I put together phrases with the paradiddle ism I'll pepper in some of those other examples as well. Just so you get some You know other interesting vocab you can kind of mess around with sure Sure, and it says here that you also like there's points where like like note the X on beat 3 signifies a stick shot Or right stick on the left stick. That's the classic kind of jazz. Just yeah, totally and that that was another I mean Miles I read used to say to the drummers in his group after Philly like do the Philly thing And he'd be talking about hitting that stick shot like that. So that was you know Philly loved to do that Yeah, this episode is brought to you by mono mono makes extremely durable and stylish cases and bags that are made from musicians and creators on the Go I've been using the mono m80 classic fly by ultra backpack for the last two years And this is hands down the nicest backpack. 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I am not an expert on The history of Miles Davis and his drummers, which there are many iconic ones Philly was early on yeah It was like the first iconic well, and then Jimmy Cobb was one of the earlier ones Okay, but you know the three are Jimmy Cobb Philly Joe Jones Tony Williams. Yeah, kind of that But people think about yeah, exactly played with lots of other incredible drummers, but you know the quintets That's you know, yeah, awesome, and I'm looking through here. So so this is a pretty extensive book How do you think that it's a beast? How do you think people should approach this book? I mean do you need to be a master at at reading or what level is or what level of that's a great question Drummer slash Reading ability are you are you going for here? Well the the book comes with video where I play through a lot of the exercises cool So I mean being able to read definitely will help while using this book But there is a video to go along that people who aren't too comfortable with reading can watch Yeah, and kind of get an idea from and I honestly think this book is great for Beginners intermediate drummers to advanced drummers maybe more the intermediate realm Also for people who you know maybe play jazz a little bit but are really trying to Dig into it more. I think you know as a drummer who's touring in a blues group and playing rock and roll and stuff like that I've always studied jazz, but it's not something that I get to do every day Yeah So for me this was a book that I wanted to work through on my own time to to just get better at at playing jazz So I think it's great for that because it's the whole point is to introduce you know a piece of vocabulary that somebody can absorb and The goal is you want it to come out naturally and organically on the bandstand, you know, you don't want to be just Regurgitating information that you want to make it your own and that's the whole purpose of this book. Yeah. Yeah, so obviously, you know You being kind of in a blues really cool rock band. He It is beneficial to study things like this Take it and put it in any genre of music I feel like you could play like metal any of the many heavy metal genres and take things like this That's one of the things I love most about drumming is like I don't know I mean I we talk about this a lot of episodes about how drums are special But there's not many instruments I imagine where if you're learning, you know Classical violin and then you hear like someone playing like an acrylic 80s kind of like electric violin They're just different but with drums you can take this and apply it to like your you know thrash band totally and You know take these concepts and get a lot out of it. Yeah I mean at the end of the day of the isms and Philly ism is a paradiddle, you know I mean it's so it's like there's so much you can do with the paradiddle, you know in any style of music Yeah, so yeah, I love the paradiddle and then it's good that he's doing it I mean, it's oh he yeah all over the place and he there's a really interesting sticking that he did It's like a variation of the paradiddle In the triplet subdivision that I talk about in the book as well that he moves around a lot and or he moved around So it's there's a there's a lot to a lot to do with it and again as we mentioned The book is 230 pages And a lot of weight. It's a it's a big book. I put a lot of time into yeah Congrats. Yeah, the way I recommend going through it though is you don't necessarily need to go in order It's like you can go through the introduction and basically get the general concept And then the chapters are organized by subdivision So part one is the ism in a sixteenth note subdivision part two is the ism in an eighth note Part three is in a triplet an eighth note triplet and then part four basically we start combining the subdivisions and then Part five. This is a cool concept Basically, we take the ism and you play it While singing heads of popular jazz tunes, you know Again, this all comes back to stuff that I want to personally work on to help me become a better drummer And you know when you're playing a tune sometimes it can be hard to have the vocabulary come out that you've been working on but if you practice vocabulary with a tune in mind on The bandstand it happens a lot more naturally. I think if that makes sense. Yeah No, absolutely. And if even if you Practice something at home. It's and you don't use directly that thing when you're out playing a show It's still helping. It's still time on the kit as Steve Smith says it's all time on the kit It's totally it's it's just very beneficial. And yeah, just just looking at Philly some some photos here online He was primarily a gretch guy, wasn't he? Yes, he was. Yeah, there's a picture of him on like a premier kid I that might have been a rental or something, but yeah, yeah, that's cool Man, I'll let some this I'm sure someone else will have more info on that type of stuff But yeah, sure. I don't want to go too far down that and so he played this at this point Well, so Philly. Yes, then then Roy Haynes. I mean, how would you break down? I know we're talking primarily about the new book and Philly Joe Jones, but how would how would you kind of boil down? Roy Haynes into that like you said Philly Joe Jones loved paradiddles. Yeah, what about Roy Haynes? How did that so the ism that I came up with for Roy Haynes? It's a phrase that people vocalize sometimes It's did it and did it and did it and did it which is essentially to he would do it as stick shots You know on the snare yeah, and then a kick drum and he would play it as a triplet that that come that that come that that come That go he loved to use that he loved to move it around the set He would play it also in different subdivisions and permutate it which basically means he would start it in different points in the measure So that that phrase for Roy Haynes is Probably he's definitely my top favorite jazz drummer if not one of the top Yeah, I've stifles listened and transcribed him since I was in high school. He was the first guy I really grabbed on to so he was I knew that was a thing he did a lot So it was a little easier to just write off be like yeah, this is the one I'm gonna do for him Yeah, absolutely, and he's 98 years old right now So lucky to go in lucky to have him around. Yeah. Have you gotten any feedback? Did he did he respond at all to your book? I don't think he's no. I don't think he's seen it yet.  So I yeah, I like that too. Yeah, absolutely Probably the last thing you want to hear as you've just finished this massive mega book is well, what's next? But but like yeah, yeah I have some other ideas what would be something that like that do you you would want to who's another drummer? Cuz obviously, you know, you want to keep the series going and all that stuff Who would be your next kind of drummer to attack? Yeah, I have a couple in mind And I also I love when people recommend them too. It's cool But yeah, I max Roach is definitely somebody and then another person I've been thinking about is Which would be a little bit different is Idris Muhammad and kind of come up with He has some isms within his grooves that he would use so I think it'd be interesting to Kind of dig into that a little bit. Yeah, that's another another version. So yeah, and then Bill Stewart He's another person who I love and I've thought about doing it with too But yeah, you know, I'm just juggling a few different ideas I got to talk more with Rob Wallace at Hudson music and we'll figure something out So yeah, I mean, it's a cool concept of books and that's one thing that I like about Just anything that's like like everything in the world has typically been done in some capacity but this is kind of a very unique idea and You know, I think that It's it stands out as being like, oh, that's really cool. I want to learn more about that How is the reception been since you've released it since it's you've been releasing the series It's been great. Actually, I was shocked and really happy to find out that Haines ism was Nominated the modern drummer readers poll. Yeah, best education product in 2022 Congrats. Thank you. It was I mean, I it was Crazy, I didn't expect it at all and I was on a list of people like John Riley and you know David Garibaldi and all of these people that I've looked up Dave DiCenzo for years It was like all of those names and then me You know, I'm like, this doesn't seem right, but well you deserve it for doing all the work And honestly, it's I think there's a little bit too of like those guys are icons and legends and and and known for being An author but for you being I mean you've got some books under your belt, but for being a Younger guy who's kind of new to that scene relatively. It's cool. And I'm glad they're they're showcasing What what's what's happening with it? Who ended up winning? I don't I don't know yet. Actually, I think they announced in September Wow, okay, so that's that's very fresh. That's yeah. Yeah, it's new I just just found out about it. I guess last month. So it's cool. Yeah. Yeah So I was looking on your website and and obviously we can talk more about the isms and stuff But I I as a you know dad of young kids was very interested in your Shapebeat series totally. Yeah, what's up with that because drum notation and music can be boiled down pretty simply To just shapes and yeah, this means this this means this How what's the whole what's the story with that? Yeah, this though. There's a funny backstory to this book actually So it'll be kind of a little bit of a sidestep, but I'll get into it So I used to teach kids a lot around the Boston area And I also at the time was studying with Gary Chafee who is a legend and was a great mentor for me Gary basically called me up one day and he was like my grandson Tirenin who's six years old Wants to learn how to play the drums. I don't Gary was like, I don't know what to do I don't know how to teach a six-year-old. He's like, I'm used to teaching Berkeley students and in above Yeah, so he's like, why don't you come over in my place and teach them lessons in my basement? And I was obviously pretty intimidated because it's Gary Chafee, but I'm like sure. Yeah, why not?  It's math.  But you know and he was he was awesome He was he basically was like man, this is really cool. Like I love this concept. You should put a book out And he was connected with Alfred music because he put out his books through them So he he essentially set the whole thing up introduced me to Alfred and that's how I put together the first book shape beats Wow, I mean as a dad of a four-year-old and a one-year-old but of a four-year-old who like likes to sit on the drums, but It's almost like this like well, let me show you how to do this and then there's just this Like going crazy. I don't want you to show me I could see setting this down and just kind of like walking away because like there's there's really this I mean, maybe it's just my side or little boys of like Someone else showing them something it's different when it's your dad You want to be just silly and crazy, but like yeah, I could see him figuring this out on his own And I will probably order it because that this seems like a perfect thing for that age I had a ton of success using it and I paired it with every section as a list of songs That work for those particular beats because that's another thing that you know kids want to play music So like the first song and a lot of people teach this is like we will rock you Which would be a circle circle in a square or base snare too many times. Yeah, every day Can we play this and it's like yeah, I guess so the shape beat stuff works great for that And yeah, I had a lot of success with it. I actually put out on my own Like kind of like a sequel to the shape beats method. It's called shape beats drum notation simplified That's also for adults because it was I was teaching adults and they They kind of got wind of a lot of my older students got wind of the shape beats method And they were like can we just use that they're like, you know, they just wanted to play music and they're like I'm 45 years old. I'm not looking to learn Notation can we just yeah, you know, yeah, and then some of my those students actually, you know We're like you you should make this book also for adults. So I did that as well. I have another one for Smart yeah, because it's daunting and I mean I've got a background And I went did drum lessons for years and I can read but when you get out of it You sort of like forget and then you look at a page of giant page of notation and you're like God, I just forget how to do this and yeah, it's it's nice to see that to get back into it So it's overwhelming all of the all of those are still available, right? Yeah purchase. Okay. Those are out. Yep. Good to know I'll link everything in the description and then talk about your book groove systems Yeah, so groove systems I've worked on for probably three or four years and it's kind of Taking the concept of you know, the book four-way coordination Marvin Dahlgren's book where You know, you have these Series of you know of notation that go for each of your limbs Essentially that you're combining in interesting ways. So what I did with groove systems is I picked ten styles of music and I transcribed, you know, let's say Afrobeat. That's one of the styles I transcribed the hi-hat patterns that I found in Afrobeat the snare patterns that I found in Afrobeat and the bass drum patterns and I labeled the hi-hat patterns ABC whatever snare patterns ABC bass drum patterns same type of thing and what what you can do with that is take You know hi hat a and combine it with hi hat with snare drum B and then run it through all the bass drum combination So it's a vocabulary method. That's supposed to accomplish two things. It helps with your coordination But it helps with coordination in specific styles of music Because one thing that I felt when I would work through some of the coordination books is like, oh, these are really interesting Combinations, but I can't use them in any musical setting per se. So I wanted to come up with a book where You know, you're killing two birds with one stone essentially Yeah, and I mean this obviously coming before the other ones I see this as a bit of a predecessor to the isms because you're also kind of looking at Purdy variations Gad Mozambique Allen's Afrobeat So you like to look at the the famous styles of drummers that people are familiar with Totally and break them down which I think yeah, why not, you know, it's we all like these people We all want to know how they play why dance around it, you know, yeah, and it's funny to the Going back to your first question is like how I came up with the ism concept Well, the to me the groove systems book has so much information in it, which is fantastic But sometimes I you know, I would step back and be like this is a little bit. It's overwhelming There's a lot of stuff and when I came up with the idea for isms. I basically was like I want to do the opposite I want to have the least amount of information in here or the you know, the smallest amount of vocabulary but Utilize that vocabulary in the largest amount of ways if that makes sense, you know milk milk it for everything Yeah, because I think because I've never really seen a book do that So that was I thought an interesting idea. No and it kind of goes to the concept of like how drums can be Very very simple if you look at it just a paradiddle But the amount that you can pull out of like like it's just like how you know the the two four kind of money beat You can play that and just be fine You can play that for the rest of your life But how you can just do so many things from a simple concept literally to fill up, you know, 250 page book or whatever Yeah, we I also think that's where the creativity comes from totally. I think too.  It's one thing to like be able to play a paradiddle It's like, you know, whatever you can play the sticking but to make it feel good and to use it musically and in the right moments Is not easy to do so the whole point of this is You know to make it so you have to repeat this thing a ton of times more times than you probably want to But in doing so you're gonna get a good grasp of it and it's gonna be more musical and it's gonna sound cleaner It's just you know the same thing you take, you know You teach a student like a basic eighth note rock beat and they're like this is easy I'm like well try playing that on a recording session for four minutes, you know Exactly feel good and in time and you know, it's not easy and that's a room full of people staring at you Yeah, if you get off your yeah, yeah, the best drummers in the world can make a simple beat just Feel amazing and you know, you want to hear that for hours. That's yeah, so yeah, it's like Steve Jordan I mean, there's another ism right there or something simple. You can just feel the way he's playing and Totally and it's specifically him, but it's on paper. It's probably not that hard, but it's very cool Yeah, yeah, yeah, yeah, so you Make your living as a working drummer Is there any tips or tricks or maybe things that people? You know don't think of if they if they want to commit if they want to go from working You know a nine to five and gigging on the weekends and they want to take those steps to to make this more of a career You know, maybe some things that they wouldn't think of or they should you know Like things that you've learned over the years of doing this. Yeah to make it a career Yeah, well first thing I'd say is don't give up like if you really want to be doing it It took me so long and I and I did other jobs I thought a lot and I worked at a coffee shop and I lived in LA for a bit The first job I had out there was working at Halloween club selling Halloween costumes and you know, so there's a lot of ups Yeah, yeah, yeah, there's a lot of ups and downs and it's it's a grind and you kind of just got to keep going But I'd been asked this before I came up with a thing I called it's kind of cheesy But my rafts system are a FT s and it's like those And they stand like our stands for reliability You know, I think that's seems obvious to a lot of people but not a lot of people are reliable Especially in the musical world. You got to show up with all your gear You got to be prepared for the gig and then the the a of rafts is attitude You have to you have to have a good attitude. You you want, you know And I remember people telling me this when I was younger and I didn't really buy into it But when you're touring on the road living with people if you have a bad attitude It doesn't matter how good you are at your instrument. No one's gonna want to go on tour with you Yeah, it sounds miserable. It's awful to be around a person like that. Yeah, you so you've got to be you know You got to be easy to get along with and you got to be excited to be there and then the F of rafts is feel In my opinion, you know You know, there are drummers out there who maybe have all the chops in the world But when they ask to play a groove and make it feel good, maybe they're not the best at that In my opinion, if you want to make a living as a drummer I would focus more on feel than any of that other stuff and then the T is time like keeping good time Which connects with feel as well But you know that that takes a you know a lot of time to work on but the I think one of the best ways to get better at that is one practice with a metronome to as I mentioned earlier film all of your gigs Because you'll see oh shoot. I rush when I do this or I drag Why am I dragging there and you know, that's gonna help get your time better And then the last one the s you could call social media or networking. Yeah, unfortunately in this day and age, right? It's like, you know, it's Not really my personally my favorite thing to do but you you got to do it, you know got to have a website Yeah, go out to shows and meet people, you know network It's a it's a kind of a dirty word But it doesn't have to be because you know, I love going out to see music So make an effort to do that and it's a good way to meet people in the music scene that you're in Yeah, and make it fun. I mean I agree completely where I Get it why I feel it to where I mean I have to work on social media stuff to promote the podcast Mm-hmm all the time every day every night There's something but it's also like I've met some of the coolest people in the world and I like had the chance to like have Oh Interact with someone I never would have before and I mean like I don't know you probably found me through Instagram originally or something Yeah, totally a hundred percent. I've been listening to the podcast for a while Yeah, and it's it's because of this and it leads to that and it's mm-hmm Oh, they seem like a cool person and let's connect so so you know I agree that it can be a bummer But like like you said make the best of it go to the shows make the connections I mean again I have people that I've been friends with for five years now because of doing this total and it's incredible and it's Thanks to that so yeah, and that is the beauty of the social media stuff is like personally like I love Drum podcasts and I listen to them all the time me to I still you know discovered yours I listened to the big fat five podcast working drummer podcast. I'd hit that all of those I did that was my first I heard that was mine too. Yeah. Yeah mine too. Yeah, which I still don't really know his name I think it's Dave, but I believe yeah, I think so But there's some amazing, you know, and then you get to hear you know I love hearing from drummers that I you know idolize. I love hearing their thoughts on things So it's a real yeah, it's a cool platform for sure. So yeah, yeah And and one thing just to jump back with with how you've categorized this raps Reliability attitude feel time and social media the brain of a teacher is like alright I'm noticing that I'm doing something and I'm having these things happen. How can I? Put this into a simple way to then teach it to other people Yeah, clearly you've got the brain for this and I think that's important to be able to it's It's fine if people don't have that brain, but if they Can receive that and learn from it, but clearly you like to kind of like put things in a nice orderly Box for people to get taught. I think that's really cool and very powerful. Oh, thank you, man I appreciate well my mom's a teacher. I think for some reason that's I probably got that from her You know, it's how I like to I like to organize things like that. So yeah, it's helpful I mean there's all kinds of things that you can the the acronyms and things that are very helpful to remember and Help you keep things in track, but so let's talk about your work with your band-band I mean you guys are you guys are awesome. So ga 20 I heard about you through Bruce Becker originally. I was trying to put my finger on it But so you multiple things to talk about here, but you have worked with Bruce Becker He turns me on to you guys just in passing saying that he was working with you and You're the real deal. I mean you're awesome. Thanks, man. I appreciate that. Well first of all I want to say I love Bruce Becker and he's one of the best teachers I've ever studied with and I'm not he didn't tell me to do this but in all honest honesty like his his technique lessons Changed the way I play drums and if anyone is listening and you want to be able to relax while you play Go study with Bruce Becker. He's a guru and yeah, so just wanted to say that because yeah The guy's a funny guy. He's a funny dude, too. Yeah, he's great. I love him. Yeah, but yeah He so I'm glad he introduced, you know GA 20. I appreciate that. Yeah, we're GA 20 is we're relatively new band We you know that the band is made up of three people Pat Faraday Matthew Stubbs and myself those two guys started the band in 2018 And then I joined like shortly after that And it's basically like a Chicago. We call ourselves like heavy blues. It is yeah inspired by Chicago icons like How dog Taylor and stuff like that So it's it's an interesting lineup too because it's two guitarists and myself and one of the guitarists things So we don't have a bass player. It's you know the way they do it though We're pretty loud Basically the drums are set up in the middle and then to my right We have Matt and Matt has two guitar amps that are set up and both of those are miked and on at all times Wow, and then to my left Pat has the same setup two guitar amps miked at all times So I'm getting like blasted by man guitar. Thankfully. They're both incredible guitarist So yeah fun, but yeah, we pack a punch when you see us live for sure That's awesome. The the use of I did that on a recording session once I was working as an engineer on it, but my my old boss was the one who Set this all up, but I did the recording of some of it But it was five guitar amps in the studio through one So it'd be like a Mesa or Mesa.  That's even more impact. Yeah, it's sweet and and we have it figured out where You know, they'll say you we don't have a bass player, but they cover the bass parts They'll trade off song to song. Yeah, who's covering the low end and who's covering the upper register. Yeah It's a blast man and Pat plays slide guitar also So we have that element to it and yeah, we were we are on the road basically non-stop We're you know coming up this fall I think we're out all of September October and November just all over the country and we were in Europe twice this year already We just came back from Italy recently and so it's yeah, it's crazy. We're really busy. Wow. That's awesome, but it's good. You're Able to like use I guess whatever downtime you have to like work on books and drumming and and Teaching I mean is that do you work on the book on the road or yeah? I did I did work on the book on Philly isn't quite a bit while it was on the road, you know listening transcribing and writing In whatever downtime I had unfortunately, I you know, I still teach a little bit but because my schedule so nuts I can't really teach as much. I do some virtual lessons. Yeah, but yeah, I try to make the most of Any downtime I have I also have some side my own side projects that I that I do stuff with too So cool like other bands and things around town. Yeah, well, I have a I have a trio under my own name It's called the Tim Carmen trio. We actually just released our second record It's out via f-spot records in Los Angeles. It's so the concept for that group It's it's a soul jazz group. It's like organ Guitar and drums kind of like a Jimmy Smith Big John Patton Hmm type of type of thing so sure and I get to use some of you know Some of the concepts that I work on with Philly ism and Hanes ism I can use those in that setting a little bit too, which is nice Cool. Did you go to school like college for drumming or yeah? Well, yeah, I went to I went to Hamilton College, which is an upstate New York And I got a degree in music and history there Okay, so that degree in history definitely helped me with the writing aspect and then after Hamilton I went to Berkeley just for two years and I studied I was doing the performance major, but I Essentially started gigging and it was too expensive and so I I left and just started teaching and gigging full-time pretty much So it's almost cooler to drop out than to finish, you know Everyone's like on the fourth year is like dude. Don't say that. Yeah. No, it's I mean, it's a crazy place Yeah, it really is I looked at it to go to school I ended up going for like audio engineer video stuff, but I went to Berkeley and looked and you know, it was awesome Just didn't go that route. I mean, yeah, but it all works out So totally I mean you can there's a lot to be learned at that school and I hear mixed things from different people But I think you can get out of it what you put into it for sure. Yeah, absolutely. Yeah, awesome Tim Well, this is like a really cool episode man. It's it's cool to talk about like a Younger guy who's writing all these books who's a working drummer who's out there doing it Who's using his spare time, which is not very much to create books for the drum community That's kind of in a history, you know studying the great sort of thing. It's it's pretty cool. You're obviously a very busy guy So I appreciate your time with this. Oh, where can people find you? Let's talk about your social website all that stuff Yeah, you can you can go to my website, which is timcarmendrums.com You can go to my Instagram, which is T Carmen drums and then head to the GA 20 Pages well on any of those pages you can find my tour schedule. I'm quite busy on the road So definitely come out and say hello Yeah, yeah for sure if you come to Cincinnati, I'm gonna keep an eye on your oh, man We'll we'll be in Cincinnati soon actually. Okay, cool. Yeah, then we got to connect me and I'll be awesome I will I need I'm looking for literally any excuse to get out of the house and not be around kids Yeah, we're gonna be playing You know that place motor. Oh, yeah, I used to play at motor all the time So I know there's a place across the street from it. That's like a word theater. We're playing woodward theater That's what coming up like in a in a couple weeks I'll put it on my calendar and I will be there But kind of a side question is do you know coal mine records at all if you're out in Cincinnati? Why does that I'm not sure if I'm familiar with it so it's current record label. It's a record label That's what a GA 20 is is on coal mine and I have another project coming out next year That's on coal mine and they're based in Love Land, Ohio. So oh, yeah I've heard of them and don't they have a record shop or something. Yeah, Pladrum records. Yeah, that's right. Okay Shout out to them that places. Pladrum's awesome. If you have to go out there Yeah, if you like it buying and shopping for records check out pladrum for sure Yeah, I've been meaning to go Loveland's not super far, but there's the Loveland castle if you're ever around there. There's yeah a castle you can go I just did a photo shoot at that castle. Okay. Yeah, I have a project coming out next year called parlor greens is the name of the group It's it's a trio with Jimmy James from Del Vaughan Lamar organ trio and this guy Adam scone on organ That's gonna be good. I'm looking forward to that next year on coal mine records. It's coming out Very cool. Awesome. I'll have to do more, you know, I'll find him on social media and everything I mean, we're both we live like 20 minutes. We're 20 minutes apart. Yeah, are you in Boston now or where are you? Yeah, I I live in Western mass. I'm in Springfield, Massachusetts. So like an hour and a half West of Boston. Okay. Gotcha. Very cool. Yeah. Well, you're always on the road. So it kind of doesn't matter where you Are so Awesome. All right. Well, I will put everything for Tim down in the description be sure to check out Philiasms, which is the latest through Hudson music and find in the description I'll put all of his stuff down there and I'll be sure to come to your show man at the Woodward and Hang out there. So Tim Carmen. Thank you for being here, buddy. Man. Thank you for having me. I appreciate it