I'm Wim Taimans, I'm a principal software engineer working for Red Hat. I started PipeWire some time ago and this talk is a short demo and overview about what PipeWire is and what it does. So, first a little bit of background, this is about the multimedia stack, a bit focused on audio, but it's in general like this. So currently, well in Fedora 33, we used to have pulse audio, mediating access to Bluetooth devices and also. There was sort of an option to run Jack as well, but it wasn't configured out of the box in Fedora 33, so you needed to manually configure things to get it working. There are Fedora spins, like Fedora Jam that set this up properly, integrated with pulse audio and things like that. But in general, if you try to do anything with multiple apps accessing devices, you get permission denied, only one app can use these things, typically with ALSA here, it fails. This is a bit of a joke of all the audio APIs currently available. It's not really true. Currently, it's only ALSA, basically and as a server. You use pulse audio or I guess Jack, the other ones are basically all frameworks just using one of those two. So, what's the problem with the situation? Well, pulse audio is good for consumers, but it doesn't exactly scale for pro users. So it has a limit on the number of channels that it can do, really only eight. It doesn't exactly work very well in low latency situations. And then there is extra trouble because it wasn't designed with security in mind. So with flat packs, this becomes a problem. It's also a bit hard to customize, but those are things that can eventually be overcome. But anyway, so Jack is another audio server. I think it has the right idea, but it was built for one purpose only. It does it very well, but it's actually not so very usable for consumers. It's very static, all extensible hard to set up. And of course, also pre flat pack, no security was built in. So the thing was, can we do anything, can we do better than this? Can we catch up with Weednose or macOS to get the better audio subsystem? So then I came up with an idea to first implement video sharing, but later on it turned into sharing of any multimedia content and processing. So I'll show you how that works. So the idea of pipe wire is that you place a demon in between the hardware, the drivers, also video for Linux currently, but also Bluetooth and the applications. And the demon, it doesn't only manage the devices, it also maintains a graph of how these devices connect to each other and to applications, but also how applications connect to each other. So basically a graph of all bunch of multimedia nodes that can exchange data. So this is not unlike what Jack does. So Jack also allows you to share between applications and devices, but pipe wire extends this to also do video and Bluetooth. So that's the demon. It's very simple, well, very simple in what its functions are. And on top of this engine, basically you can start building other things. Like for example, there's a replacement pulse audio server that services pulse audio clients, converts basically a pulse audio protocol to a pipe wire graph. There's also a Jack replacement library that basically transforms all the Jack API calls into pipe wire calls. And also an also plug-in to interface. So basically the three main audio APIs have a compatibility layer built in. So basically you can run any pulse audio, also or Jack app using their compatibility layers on the demon. On the pipe wire demon. So these are the apps. Another crucial component in pipe wire is the session manager. So basically if you run at a pipe wire setup, it runs a demon, a pulse audio replacement demon and also a session manager. The session manager basically manages all these devices, how they show up in the graph. It does UDF detection to either remove them. But it will also manage things like when VLC or something comes into the graph.  It will make the right connections to those devices and so on. The session manager is a big component in this setup. It basically has all the logic to do these, to the actual setup of things. So it's, pipe wire itself doesn't really have any dependencies, just libc. I talked about all of these things. So the engine itself pipe wire is built with latest newest things. So it's built to be zero copy, use shared memory using MAMFD. But it also does DMA buff. So for sharing textures in zero copy way, it uses the event of the twin to go into. Epo loop to wake up clients and stuff like that. It has a security. So each application can have a different set of permissions on all the objects in the graph. So we can, like for example, flap packs can only see certain things. Or for example, they can only connect or do certain actions on these objects. Like we block volume controls on hardware devices for flap pack clients by setting those permissions, right? So it's built to be comparable in Jack performance. So you can have low latency, lower than a millisecond. Very small buffers. It should be able to scale up to that in the same way as Jack. It does things differently than Jack's. It's not exactly the same. So what's implemented currently, this was already in Fedora 32 and 33, which is the screen sharing. So basically a matter. Well, sorry, this is the video for Linux capture. So basically you capture from a video for Linux device to pipe wire into like an app like cheese. Or like a browser. And you can have pipe wire manage a T element so that the same stream can be used by different applications of the same time by multiplexing. You can't do this with video for Linux native, but pipe wire can do this. So you can apply effects on one stream and stuff like that. So for Wayland, it's something similar. So you go through a portal to share the set, the mother rendered images. And then it's dispatched to through pipe wire to applications. You can do like screen recording or remote desktop in the browser. Like that. So for audio support, which is now new in Fedora 34, so you could test it in Fedora 33. I'm going to check the chat here since I'm not missing anything. So you could test it in Fedora 33, but in Fedora 34, it's now by default activated. So it uses a pro audio processing model. So that means that all channels are split into mono stream floating points. Everything is done floating points, all the calculations. So you can have multiple devices in the graph. They are automatically slaved together with resampling to match their audio rates. So there's also MIDI integrated. So people that use Jack, you have all the features also to Jack, MIDI D. So it still uses a timer based scheduling like pulse audio so we can dynamically change the latency. It uses a copy of pulse audio card profiles, a piece of code that was lifted out of pulse audio to detect cards. And devices and profiles. So that should theoretically be exactly the same. So support for hardware should theoretically be the same. I'll say theoretically. There are variables. So it ends up to be the hybrid between Jack and pulse audio. So that's exciting. I'm going to show you in a couple of demos what you can do later here. So the session manager talked about these things. So what we have now with door authority is super bare bones. But the possibilities are enormous. We don't know exactly what to do yet. But as it is right now, it's simple. It does exactly that pulse audio does, but you'll see from the examples that it's very powerful. So as I said, you support pulse audio with a drop in pulse server replacement should be compatible. Not a hundred percent, but pretty close. So also apps, that's pretty compatible. And the Jack apps, there's some things are not implemented yet. It's getting there. So this is to be far tuned and improved for the door of 35. So let's have a look now with the demo. So I'm going to have to share my whole screen now for this entire screen. Yes, share it. There we go. So let's have a look here. So I should actually move this Firefox window away. It's very annoying. The inception. So if you look at the sound settings here, it's still all the same. Everything is pulse audio compatible. You can run like PAV control. It's all there. I have three input devices. It should look all pretty familiar.  So these commands work as well. But then you start seeing things like it's running on pipe wire. So there's a couple of interesting tools as well that you can use. PW top gives you an overview of all the components that are running and the CPU that they're using. It becomes more interesting if you actually start using Jack tools. All right. So then you can actually start to take a look at the graph as it is currently running here. So you have GNOME settings here, recording stuff from my capture devices, but also some stuff going into Firefox and coming out. There's some other things hanging around here. These red boxes are the MIDI ports. So let me stop this thing here to get this out of the way. So you can play with this graph here. It's all there. You get the Jack tools, for example. You can start using these things. You can make links whatever you want. This one is a little spectrometer that just follows whatever I say. So you have access to the complete graph here in your audio subsystem, not only what Pulse Audio used to give you. So I can... Yeah, what else can I do? Yeah. You can start like equalizers and things like that. So for the Jack ecosystem, there's a lot, a lot, a lot of stuff. A lot of interesting equalizers that are hard sometimes to use, but extremely powerful. So I can, for example, take the output of this equalizer, route it back into my Firefox here. If all goes well. It's a bit difficult, of course, because I don't really hear anything. Now I should hear myself. Do I hear myself? I do. Anyway. Let's disconnect this bit here. Carla. Sometimes does not like it very much. And I'll stop this for a while. So right now, drop-in replacement. So everything should still work. But there is support for Jack app. So that's interesting. Stuff that is not implemented is like the network stuff. And echo cancellation. It will come later. Other modules are all implemented. So that should all be compatible. So for the jack emulation, there's some couple of things missing, missing like free reeling and no latency reporting yet. So if you use our door and you need to use the jack, you're going to have trouble for now. It's to be implemented or like free reeling. If you want to export the project in our door, you have to switch to the also back end and then export because we don't come to it in by prior yet to be implemented. Also plug-in should be good. So for gamers, they usually use this. I heard that. The latency is much better. So good for games. So, yeah. It's almost time. So I'm going to see if you have questions first. I see there's a lot of scrolling going on, but I haven't been able to reach. And it's not going to work. It's not going to work. It's not going to work. It's not going to work. It's not going to work. It's not going to work. It's not going to work. There's a lot of scrolling going on, but I haven't been able to reach anything. So if you have a question now, please do ask. Otherwise, I'm going to play around a bit more with Carla. Yeah. So the echo cancellation are just, well, yesterday, two days ago, the base, well, the framework for implementing echo cancellation. Now just need to add my party. See the actual method in there, but the basics are there. So it's going to come soon. I am Q and eight. Yes. Yes. Yes. Yeah. So we're not going completely. Yeah. So, um, so these things with like things go away. Um, usually you can do a restart of the, of the services. Um, so you can do a system, a CTL, mine and mine is user and start a pipe wire. This is usually a command that just restart services. And it usually brings back all, all the things that it was before. If it gets into a weird state. Um, so, uh, free wheeling. Yeah. So when will this be done? I don't know. Month or two. Yes. Probably something like that. Um, yeah. Uh, so Bluetooth devices. Uh, so everything that, that we can do on Linux currently should be supported. Um, so high quality for speech is, is always troublesome. Um, because it's hardware dependent. So. Yeah. You have to enable it manually. Because if we can't enable it automatically, unless we start implementing a white list, which is not on that. So, but you can set the property in the Bluetooth config file to enable the high quality, be directional. It's still low quality because, but it's the best Bluetooth can do. It's a, it's better than, than old telephone that. Um, yeah. So, um, small things that are not working. We need to figure those out what they are. I know in KDE, they use the device manager. So device manager is not implemented in Barbara yet. Um, so you can't have that feature, but I think KDE, uh, disables the option. If it's not enabled in the server. So it should just be blanked out. But yeah. Yeah. Yeah. Yeah. So, can you record output of an audio source like Firefox into another app without recording from a device monitor? Yep. So let's, let's show you something cool. So here's Carla again. I'm going to, I'm going to start Q-Synth. Q-Synth is a, a midi synth as I, as an midi input port. I'm going to start Q-Synth. A midi synth as I, as an midi input port. I have, um, here from my audio card. I can do midi like this. Um, you don't hear this, but it's going to my speakers. Well, I probably echoes back to Firefox, but I should be able to, just throughout this into Firefox. Right. You should be able to hear something. I don't know if you hear that. Oh, sorry. The screen sharing was off. So, what I did here was in Carla, just start Q-Synth. Uh, and then I hooked it up to my, uh, card here, which has basically a midi cable going in. And this is the capture from going through. Uh, so it usually goes back to the output here, but I can also manually route it into Firefox. And then you get it. So you can do the other thing as well. I can just take the output of Firefox, um, whatever. And, um, I don't know, route it somewhere else, like to an equal, not like a spectrum. Let's get our spectrum analyzer again. So this is, I'm going to be this. The only thing is now somebody needs to say, somebody needs to say something. Because this is the output that I received from, from Firefox into this. But yeah, so you can route. Uh, oh, where am I? No, there we are. Okay. Yup. So, some more QA. Uh, can we, can you record the output? Yeah. So you can do freewheeling. Yup. So, um, yep. Okay. Then, uh, we leave it at this. I think my time is up. So thanks for watching.


It's Python on hardware timely data. Okay. All right, so We have a newsletter that we do. It's on a different daily You can sign up a different daily calm We deliver to you every single week and we have lots of news But there's only one bit of news this week that I think that we're gonna talk about so it's jam-packed lots of stuff, but I wanted to say Welcome to the world Ari And we have these special baby Blinka graphics, so as you all know scots are lead on Circuit Python and he brought a kid into the world Ari. That's right. Welcome to the world Ari I hope one day you can look at this video and say wow My dad is making me work on circuit Python version 5,000 and this is maybe one of the starts of it Hug report for you know joining us here on planet earth. I'm sorry that it's not in the best possible shape We're trying to do a good job, but I'm looking forward to all the things that you do Ari to You know make this a good place for one another Work together. I hope that you'll find some beautiful amazing things in the world There's a good chance. They'll learn Python Yeah, this is a good kickstart, but they also may not be interested in computers at all You never know and what a person's gonna be like Yeah, and I just also you know wanted to have these baby Blinka graphics for a while and we were waiting and Welcome to life Ari and scuttle be back On attorney leave will be back soon be back and then gone again, and that is this week's Python on hardware


I had the comedian beef stuff first, to be honest with you. I don't know why they... And then Shay took it, Shay Shay took it, and it leaped with Cat Williams, and it just destroyed Black History Month. No, it didn't, it didn't do all that. So what did you think when you seen that? Man, I thought it was hilarious. Yeah, we on Boss Talk 101, 101. Yeah, we gonna talk. I got to hear it really, to be honest with you. He family, but the nigga really, he's a cold dude because I learned a lot about him after I got to know him and respect the hell out of him really now. I didn't really watch him at first. The niggas told me he was bad, but I know the nigga bad now.  I didn't think the nigga was all that. Shit. And I lost out on the first interview because I thought it could have been better after I went back to research.  And hold on, hold on one second. Let me go turn the air all the way up. So, it don't matter. Oh yeah, that's how you swit and they blamed us.  I was mad about me.  I had came to the shop. It was hot. That was David. It wasn't your fault though.  In Texas. Yeah, it was Texas hot off in there. Oh man. Man, people love you Carlos, man. Well, they should because I love the people. Man, hey, listen, I'm gonna be real. I, last time I caught you up, it was all calculated. I had the comedian beef stuff first, to be honest with. I don't know why they- And then Shay took it. And it leaped what we kept with him. And it just destroyed Black History Month. No it didn't. It didn't do all that. So what did you think when you seen that? Man, I thought it was hilarious. I thought it was entertaining. I thought that these are just things that comedians talk about, but nobody ever put it out there on the front. Yeah, yeah. Like that. That's just back room, green room talk. It was shocking because who it came from. Yeah. But it wasn't nothing major. It ain't stopped no show. Everybody's still working. They working. Everybody working. Everybody talking back and you know, responding.  And he never said nothing about it. So he just came out and just let it all out. Yeah, yes, yes, just pretty much what it is. Make sure this is on, because I don't know if you- It was on, I went out on there and looked at it. Yeah, the green means on. I'm talking to us. I don't know. Oh, okay, why?  What are you looking at? What are you looking at?  I don't got a shoe. I don't know what I'm looking at. Say, I don't be a real man. I want you to jump in something real quick. Oh, you got something else going. I got something else going on, because I think we motivated him.  And before that, I didn't see him pushing on his social media, showing no wives like that. Wives? Wife. But as soon as he, you know, I think we motivated him, because as soon as he went back home, all of a sudden on social media, I see a young lady, a beautiful young lady. Oh, you got a guy who's got a lot to catch up on. On his social media. Wow. A lot of turmoil. And I'm like, oh, look at that. Every time you turn around, you see pictures of him and her, and I'm there in love, and all of that sort of stuff. He's doing a reality show is not real. I think it's not.  Not that kind of reality show. So I think we motivated him to come out with it. Yeah, I was like, man, if he ever asked me to get a friend woman, I can get me right here. You show it. And Boss Talk got him one. Y'all. Look at Miss Jamaica. And then she, and then he went to the house. I see you. I don't know if she's one of her friends. And then she a little bit taller than you two? Yeah, that's how it usually works out. And I know a little bit taller. I'm bright skinned. She bright skinned. I was different.  You can defend that. Miss and Brown nigga, they love us. Oh, they'll never talk about how they be on us. They ain't like we had to fight on them. They be fighting us sometimes. Oh, they'll fight on us? For a show. You never see two yellow people together. They can't get along. No, they can't. They both trying to be pretty. White skin couple don't work.  That's real, man. Everybody in the house scratched up. So what's the so when the ring coming? Damn. Man, what else happened to going on? What I'm saying, God! You were having a show with this? Yeah, so they would be here. Man, I don't know. Cause you're in love. I don't know. You don't know if you're in love? Did you ever be in love? Can I just be in love for a minute? Oh, so you are in love. Yeah, can I just be in love? No, I love it. I'm glowing and stuff. I ain't glowing and this is from drinking water. I'm playing that folks business. That's what that is. Okay, last time we interviewed you and did you guys have the spot y'all in? Yeah, we had the studio. We was putting it together. Y'all just put it together? We all were. Cause I thought Booster was the first one I seen over there. I was like, who was the first one when y'all changed studios? I don't know who the first one. Booster, he was up there though. That's what I thought. He was one of our first guests to come through there. And is it better at that location or does it don't matter where you at? Yeah, it is better because it's just more free. Just you can look around and be like, we on there. That's hard. That's hard. Everything from the snacks to the everything in them, man. It's just dope and having office and having multiple studios to shoot in and launch different platforms and you know, just do production. Yeah, yeah, yeah. Just have the whole studio is just at your fingertips We got a music recording studio in there and everything. So it's just dope, man.   Y'all think y'all King's a comedy or something, nigga? Y'all trying to be like y'all King. I seen that bro. I think I seen Lil Duvall and so I said it. Man, there's a whole bunch of hitters on there.  There's Mojo Brooks, DC, Chico, Lil Duvall, D-Ray, Mike Epps, Tip been popping in doing some money bag mafia. Throwing some of the local comedians on in different cities. Not local, but we hit certain cities, just certain comedians that they bring out and let do guest spots and stuff like that. So it's just dope, man, to try to show that we can all do this thing together. We ain't all just beefing. We need that right now. No, we don't. Yeah, we need that right now. I mean, it's needed. I just want y'all to know that it's not the end of the comedy world, bro. This is just what comedians do.  But the comedians beef more than anybody. I played sports and comedians fight more than any group of people you will ever be. I mean, fist fights, get back cool, fall out. Some of these fights is yearly. You know? Have this always been like that? It's always been like that. We didn't really. We went to the game like this. I think you know what it is? I think we, because of the podcast, we haven't been around for a long time so you didn't really hear it as much. You saw rappers all the time because they already had their own media and stuff like that. But you didn't see it with the comedians as much. We know how to fight behind the club and keep the cameras off, bro. That's it. That's the difference. For a scrunchy was it? I know that's it. A scrunchy was it. The RTK Kermit was it. No, I'm not. It was an argument. I've been beating people up all the time. One time, scrunchy beat up a heckler and set him on the stage and finished the show. Man, shout out to scrunchy. Scrunchy was the hardest fighting comedians you'll ever see. When we interviewed him, I knew him. You knew that dude kept getting closer to me. And I'm committing now. He ain't gonna tell you about me, about me before that. He in the church, he living right. Shout out to my new scrunchy, bro. That's my dog. He wanted a real one, bro. That's one of them ones.  And you know.  I'm talking undefeated, golden glove boxers, but they tell jokes.  Okay, if you had a- So you brought out another comedian.  Who did you say? Comedian Steve Brown. Damn. Yeah, you want to talk about the comedians that can fight. That's just a lot of them. So who would you crown the heavy weight- Every what? Of the heavy weight of the comedian group of people? I can't say that. Who would be the- It's too many. And then it's just like these are just hypothetical matches. I know, right.  Shit, Willie Robo. The niggas do it. Willie Robo is like a third degree black belt. I see uptown comedy corner used to be right there. Like we can see it from where we're shooting now. It used to be right down the street. I seen Willie Robo whoop out four niggas one night and didn't even go to jail. Why? The nigga took a bucket of ice and threw it at him. The nigga ducked the ice. Can't help it. Bloop, bloop, bloop, bloop, bloop, bloop, bloop.  Come true. Man. And got busy. Got busy. Damn. Wow. I've seen brawls at comedy clubs. Man, and you want that you might play on the crowd. You might say something to anybody ever come up there or I thought they were gonna come up there. I acted like they might- That's not up there in my professional career. Like on the come up. On the come up, they were mad at me. They didn't like that. Absolutely, absolutely. But you know how to control it now. Absolutely. There's one like, you know like in the moment you ready for whatever.  And he shot four, five. That's what it was saying. Woo! Damn. I've been working with him. Yeah, but I used to do a lot of little hoodspots, man.  No problem.  They was waiting on something happy, you know what I'm saying?


Hello friends, myself Mr. Iliya R. Sandani, assistant professor from Department of Electronics Walchen Institute of Technology, Solapur. Today, we are going to see the topic design of auditorium and studios from the subject audio video systems. So, what are the learning outcomes from this particular topic? At the end of this topic, student is able to define acoustics and reverberation. He can also calculate absorption coefficient, reverberation time for effect efficient, acoustic effect. He can also design acoustic for auditorium and studios. So, what is auditorium? So, an auditorium is nothing, but it is a room which is built to enable an audience to hear and watch performances. One of the most example is of movie theaters, the number of auditoria or it is expressed in terms of number of screens. Auditoria is nothing, but it can be found in an entertainment venues which basically consist of community halls and theaters and these may be used for rehearsal and presentation, learning arts and learning spaces. So, these are some of the images of auditorium. You can see that these all are the auditoriums, but they are having different kind of the structure. So, we are going to see further how these are classified or what are the types of auditorium. So, this is the history of auditorium basically as you can see here. This is the audit or these are the auditoriums which were used and which are called as western theaters for outline plans and chronology. So, these were the primitive, these were the Greek type of auditorium structure, these were the Greek classical. Then there was the holistic, then came the Roman type of auditoriums and then these were the different Roman odiums which are called as Roman odiums and nowadays we are using such kind of auditorium designs. So, basically here as you can see here it is a single stage, here it is this particular auditorium is having multiple stage, this is having a personic stage, then there is a theater type of auditorium which was developed by Shakespeare, then there is a grand, then there are many more. So, as you can see here this particularly denotes the auditorium, the darker section basically denotes the orchestra and the very much darker denotes the stage of the auditorium. So, this is a brief history of auditorium, how the design of the auditorium changed from the ancient to the modern culture. So, types of auditorium. So, first one as you are looking at is the arena theater, here as you can see the stage is at the center whereas the audiences are at the side of the stage, are at the side of the stage. So, stage is at the center hence this is the stage for the performance. So, this is the next theater type which is nothing but porcinium theater type which has a particular design as you can see here when you compare these two here the top roof is a flat kind of a surface whereas the top roof of this auditorium is curved in nature and also the sitting arrangement is also curved in nature and here is your main stage where the performance takes place right. Next type is thrust theater as you can see here this basically consists of the stage and the stage is divided into upper and below stage. So, here is the above section or the first floor of the stage this is the ground floor of the stage that means in this the performance also the performance basically takes place at the first stage and at the ground stage also that means at the same time two characters or two or many characters can play can act their role on the first and the ground stage also. Then comes the flexible theater here it is also this particular theater is also called as black box why because these stages are often big and are as empty boxes which are painted black inside and the stage and the seating positions are not fixed instead each can be altered to suit the needs of the play or the or by the type of director who is going to utilize this space. So, these are the types of auditorium. So, what are the terms basically used in auditorium design the first is porcini or porcinium a porcinium is nothing but the area of the theater surrounding the stage opening surrounding the stage opening it is arc like structure over this particular area and it this particular plane or this particular surrounding gets divide basically what it does it divides the performer and the spectators. So, it is called as a porcinium then there is the aisle is nothing but the walkway between each area rows of seat to permit ease of passage. So, this area is much more greater than or equal to 45 mm. So, the this is called as aisle. So, drop stage it is a stage floor that moves vertically on the elevator usually so that one can set quickly replace another. So, one set or as we know in auditorium or when performance takes place there are n number of sets which are which are which are decorated. So, if one set needs to be taken out and another set is to be put up then this particular drop stage can be utilized. Next is tormentor is nothing but a curtain or a frame structure which is used directly behind the porcinium at each side of the stage to screen the wings and side lights from the audience. So, here what we are using here we are basically using a curtain or frame like structures. So, what is gangways a passage it is a passage between two rows of seat. It is the passage between two rows of seat the minimum distance between the two rows should be 1100 mm. Similarly, there is another term which is called as orchestra pit where it is a hollow structure where the musicians are basically sitting and then the music is played in front of the stage. Then comes the balcony from where a spectator can watch the performance from the balcony he can directly view the performance on the stage. Next is cyclorama it is the exterior of the backdrop and basically a distinct distinction between backstage and the main stage. Fire curtains basically these are made up of asbestos or fireproof material these can be lowered whenever there is there are fire incidences right. Green room this is the important room where the this is basically provided at the backside of the stage or the studio where it basically acts as the waiting room or lounge for the performance for the performers before and after performances and during the show when they are not engaged on the stage. So, what are the principles of designing a auditorium. So, first one is site selection and planning here what we are going to do we are going to select a quiet place and then we are going to plan the design of auditorium. The second point is also important size and shape of auditorium here what we decide we decide the height width and ventilation parameters which are required for auditorium. Auditorium sitting basically it is a staggered type of sitting where no obstacle should be there in the vision of the spectator and the performer. Next is sitting capacity basically this depends upon the format or the design of auditorium length of rows also play an important role. So, what are the standards for length of role. So, maximum number of seats per aisle or per row should be 25 exit and escape routes. So, these should be 1 meter wide for about 150 people. Floor and stage properties basically the floor should be raised to the rare and depends on the type of performance to take place or to cater. Sight lines normally it should be unobstructed line of sight between the intended observer and the stage wall properties. These walls should be always in a flat or a convex structure. So, that multiple reflections of the sound can occur and then the sound can reach to the last person sitting in the last aisle or row. Backstage and services in auditorium these are nothing but the auditorium basically should be attached with backstage and services in auditorium basically these are related to daily utilities such as washrooms and some snacks corner and anything. Next fire and line safety for emergency purposes there should be fire and life safety proper stage ventilation should be provided similarly the 13th point is also important sound insulation high quality of acoustic treatment for sound should be used and hence the sound should be uniformly divided. What is recording studio a recording studio is basically assembling of equipment and spaces and persons such that the sound should be created and recorded. Here reverberation time plays an important role in designing recording studios as we have studied reverberation time basically it collects it is nothing but the time period of the reflected sounds which is calculated in auditorium also it is a desirable property whenever we are designing the recording studios. So, this is the reverberation sound is nothing but collection of the reflected sound and these are the multiple reflections which reach to the person sitting at the center. So, due to such designs enclosure effect it is good to have a good absorbent material hence it is called as acoustically dead. So, these are the references for you people for the further study. Thank you for watching the video.


This lecture is part of Berkeley Math 115, an introductory undergraduate course on number theory, and it will be about factorization. So the problem is we're given a number n, and we know or suspect for some reason that it's not a prime, so we want to factorize it as a product of two numbers x and y, and the problem is to find x and y explicitly. And in practice, n might be really large, it might say 100 digits or something like that. So what we could do is we could just try testing to see whether m is divisible by various primes up to about the square root of n. And this works just fine if n is reasonably small. The problem is once n starts being large, this becomes prohibitively slow. If n has about 100 digits, for example, it would take more than the age of the universe to factor n like this. So we need a better method. And we mentioned another method earlier, which is to try and write n equals a squared minus b squared. This is an old method sometimes used by Fermat and other people a few hundred years ago. And this sometimes works quite well if n is around 1,000 or 10,000 or something. And the trouble is for it to work well, it kind of depends on the factors x and y of n being fairly close to each other, so that b is reasonably small. And it doesn't work all that well if n is a product of two factors, one of which is much bigger than the other. And there are actually ways of speeding up this method using sieving techniques, which are sometimes used, but it doesn't seem to be a particularly fast method as it is. So what I'm going to do is I'm going to discuss a couple more methods for factorising n. These were found by the mathematician John Pollard. In fact, he seems to have had a rather interesting career, or at least a rather unusual one. He got a PhD without actually having a PhD advisor, and he was sort of working by himself and published a few papers and managed to get a PhD based on these papers he'd published. Not having an advisor may be why he came up with such original ideas, I'm not sure. Anyway, so the first method is going to be called Pollard's row method. I'll explain why it's called a row method at the end of this. So we've got this number n, and the problem is find the factor p of n, where p is some prime number. And here's what we could do. Suppose we choose some random numbers, u1, u2, up to uk. And suppose two of them are congruent mod p, suppose ui and uj. Then we can find a factor of n by taking the difference ui minus uj and taking the greatest common divisor of u with n. And with luck, this might be the prime p. I mean, it might not. It might turn out to be the whole of n, for example. But this is a sort of probabilistic algorithm that will sometimes work. So let's analyze this idea. First of all, how many numbers k do you need to take in order to have a reasonable chance of having two of them congruent mod n? Well, for this, we recall the birthday paradox, which says if you have about 30 people in a room, there's a pretty good chance that two of them have the same birthday, which is quite surprising at first sight. But if you stop and think about it, suppose you've got 30 people, that means there are going to be about 30 times 29 over 2, which is about 30 squared over 2 pairs. That's going to be about 450 pairs of people. On the other hand, the number of days in a year is 365. So roughly speaking, we're allowed 450 guesses, each of which has a one in 360 chance of being right. And you need to go to probability theory to calculate the exact probability. But it's pretty obvious there's going to be a reasonable chance that one of these 450 guesses will be correct. So a rough rule of thumb is if we pick, say, about square root of n objects from a set of n, there's a reasonable chance two of the same. I mean, maybe you'd want to pick two times the square root of n or ten times the square root of n or something. It doesn't really matter. The order of magnitude is roughly the square root of n. So if we've got picking numbers u1 up to uk so that two are congruent mod p, how many do we need? Well, we're going to need about the square root of p of them. I mean, maybe twice the square root of p whatever, but that's roughly how many we need. So here's the basic idea of the method. You pick k elements where k is about the square root of what you suspect the smallest prime factor to be. Check all pairs of them and work out the greatest common divisor. And then you think about this a bit. You realize this method is actually completely useless because you need to check about k squared pairs. And the trouble is k squared is going to be about p. So the number of steps this takes is about equal to the smallest prime factor of n and we haven't really saved anything at all. We could have just done this by, you know, checking all primes up to the square root of n and that would have been just as fast.  It just doesn't work. But Pollard came up with this really ingenious method for vastly speeding it up. What you do is you select the numbers u1 to uk in a rather cunning way, which makes it much easier to check whether two of them are congruent. What you do is you pick some number u0 and then you pick u1 equals f of u0 and u2 equals f of u1, u3 equals f of u2 and so on where f is some function could be some sort of polynomial. And what polynomial? Well, most reasonable polynomials will work as long as they're not too simple. A reasonable choice is just f of x equals x squared plus one. This seems to work reasonably well. So how does that help? Well, what you do is you notice that if ui is congruent to uj modulo p, then this implies ui plus one is congruent to uj plus one modulo p because this is just f of ui. And this is just f of uj. So we don't need to check all pairs ui and uj because when we check one pair, we sort of automatically testing a large number of other pairs. So what we could do is we could just say check u1 minus u2 and then we could check u2 minus u4, u3 minus u6, u4 minus u7, minus u8 and so on. So we're just checking the pairs ui minus u2i to see if that has the highest common factor with our number n. And if it works for some pair ui and uj, then it's quite likely to work for one of these special pairs, ui, u2i. Roughly speaking, every time we check one of these pairs, we're also checking a large number of other pairs. For instance, when we check u4 minus u8, we're also implicitly checking u3 minus u7 and u2 minus u6 and u1 minus u5 and so on. So we get a large number of checks for free and we can sort of estimate the running time of this algorithm. Roughly speaking, this means the number of checks we have to do is the square root of what you might expect. So it ends up showing that the running time is about the square root of the smallest prime factor. Well, that's not actually true. It's actually rather hard to estimate the running time. In the worst case, we could be really unlucky and this method might take an absolutely huge running time. So this is a sort of average expected running time and the average expected running time is about the square root of the smallest prime factor, which might be sort of less than the fourth root of n. We might actually be able to do better in the fourth root of n because quite often the smallest prime factor of n will be less than the square root of n because prime factors have a tendency to be kind of unbalanced. So on average, we expect this to be quite a lot faster than checking all primes up to the square root of n. So let's give an example of this method. So we're going to take f of x equals x squared plus 1 and we're going to factor 7, 9, 1, 3. And we're going to start with the number 2 and then we're going to take 2 squared plus 1 equals 5. 5 squared plus 1 equals 26 and we keep going on like this and the numbers we get are 6, 7, 7, 7, 7, 2, 8, 9, 16, 40. Notice we're reducing modulo 7, 9, 1, 3 at each step in order to stop these numbers getting bigger and bigger. 7, 0, 9, 4, 6, 0, 7, 0 which is u, 7. Then we get 9, 7, 1973, 7, 4, 4, 7, 3, 5, 0, 6, 3, 1, 4, 8, 2, 8, 2, 9, 3, 1, 9, 9, 2, 0, 9, 3 which is u, 14. And all the time we're checking ui, we're checking ui, u2i, we're taking the difference of ui minus u2i with 7, 9, 1, 3 and trying to see what the greatest common divisor is and most of the time this won't be very interesting it'll either be 1 or 7, 9, 1, 3 occasionally but when we get to u14 minus u7, 7, 9, 1, 3 we find this is actually equal to 41 so we have found a prime factor. By the way notice that u13 minus u6, 7, 9, 1, 3 is also equal to 41 and we never actually checked u13 minus u6 directly in fact we didn't need to because we eventually caught it so to speak when we got to u14 minus u7. So that's Pollard's row method, it gives a substantial increase in the obvious method of just checking all prime factors up to the square root of n. By the way I should say why is it called the row method? Well it's because of the following picture. Suppose you look at the numbers f of n so it's not f of n, suppose you look at f of a where a is your initial seed f of f of a f f f of a and you look at all these numbers modulo sum prime p, what's going to happen is we're going to get f of a f of f of a and so on and we'll get more and more of these and eventually we will get a coincidence that two of them are equal mod p and once two of them are equal so here we have 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 so here u4 is equal to u11 but then u5 will also be equal to u12 and u6 will be equal to u13 so we start at one point mod p and we just carry on and eventually we go round and round and round in a cycle and this cycle kind of looks a little bit like the greek letter row so that's why it's called the row method it's because you kind of start at one end of the row and end up going round and round and round in a cycle so now I have a quite different method also due to Pollard for factorising numbers this is called Pollard's p-1 method and the terminology is a bit confusing because that is a letter p and it shouldn't be confused with the row that is Pollard's row method I don't know whether the terminology was deliberately made confusing or not so this is actually not a general purpose method it's good for finding factors p of n with p-1 smooth well what does smooth mean? well it means it's a product of small primes and what does small mean? well it doesn't really have a precise definition but some numbers obviously are smooth for instance 65536 sorry 65537 is fairly smooth because if p is equal to 65537 then p-1 is in some set smooth because it's equal to 2 to 16 on the other hand you sometimes get primes p such that 2p plus 1 is prime and then 2p plus 1 is certainly not smooth because that minus 1 is just a product of 1 prime and 1 very large prime so Pollard's method is good for finding factors such that p-1 is smooth well sometimes actually it doesn't necessarily work terribly well on something like this anyway I'll show you how it works so what we do is we pick some number m which is a product of many small primes so we might pick m equals say 2 to the 4 times 3 squared times 5 times 7 times 11 times 13 times 17 times 19 so here we've taken all prime powers that are at most 20 this would be a fairly typical choice for m except of course instead of going up to 20 if you had a big computer you might go up to a few billion or something and now what the idea is we pick some number a at random don't really care what it is as long as it's not 1 or 0 or something and we look at a to the m minus 1 and take the highest common, the greatest common divisor with n so we're trying to factor the number n and if p is a factor of n with p minus 1 divides m then p is going to divide a to the m minus 1 because a to the m is common to 1 what p because this thing is divisible by p minus 1 so here we use Fermat's theorem so if p minus 1 is a product of some of these prime powers then we found a factor of n rather easily and we notice that a to the m can be easily worked out using fast exponentiation remember we can work out exponents modulo sum number very quickly so let's give an example of this first of all notice we don't actually need to write down the number m explicitly as you will see in a moment because when we're working out something to the power of m we can apply the factorization method for working out powers which is probably easiest just to do an example let's take m to be 2 squared times 3 times 5 so we're taking a product of all prime powers less than 5 just to make this easy enough to do by hand and we're going to take our number n to be 119 so this is the number we want to factor and we're going to take our random number a to be equal to 2 and now we work out a to the m modulo n so how do we do this? well what we do is we work out a to the 1 is equal to 2 then we work an a squared is equal to 4 and a to the 4 is equal to 16 so here we're just using the fact that a to the m is equal to a squared squared cubed the fifth power so that's going to make it much easier to work out each time we work out one of these powers we have to reduce modulo n of course so now we work out a to the 4 cubed which is 16 cubed which turns out to be congruent to 50 again mod 119 and now we work out a to the 4 to the 3 to the power of 5 which as 50 to the power of 5 which just turns out to be congruent to 50 modulo 119 again so here we've got a to the m so a to the m minus 1 the greatest common device with 119 is 50 minus 1 119 which turns out to be 7 so we found a factor of 119 and the key point is 7 minus 1 is a product of sum of the numbers 2, 2, 3 and 5 that we're dividing m so this method is you know pretty fast and efficient when it works but there's a serious problem with it we were assuming that our prime factor p of n had the property that p minus 1 is a product of many small primes and there's a problem with this in that most of the time if you take p minus 1 it's not going to be a product of lots of small primes it'll probably have a couple of small primes and one very very large prime I mean the typical factorization of a random number its prime factors tend to be increasing quite rapidly so there is in fact a variation of it called Lenstra's elliptic curve method so what this, what Pollard's row method is using is you're taking the integers mod m that are co-prime to m so you take the integers mod n and you take the non-zero elements and the key point is that these things form a group these are the ones co-prime to n do so Lenstra's elliptic curve method is rather similar to Pollard's p minus 1 method except instead of taking the integers mod n under multiplication you take something called an elliptic curve which also has a group structure anyway I think elliptic curves are a little bit too complicated for an introductory number theory course so I won't be discussing those okay next lecture I'll be explaining some of the applications of number theory to cryptography


Hi, welcome to the All Things LGBTQ Interview Show, where we interview LGBTQ guests who are making important contributions to our communities. All Things LGBTQ is taped at Orca Media in Montpelier, Vermont, which we recognize as being unceded indigenous land. Thanks for joining us and enjoy the show. We had planned to invite Burlington Councilmember Joe McGee back onto our show as we got closer to town meeting day, so we could highlight Joe's re-election campaign. And then Joe did the unexpected. He announced that he's not seeking re-election. So we've invited him to come back on sooner versus later so we can talk about his tenure on the Burlington City Council, what he sees as being the challenges going forward, and what went into that decision not to seek re-election because he said it wasn't an easy decision to make. So Joe, welcome back and thank you for spending this time with us. Thank you so much for having me and part of me is sad that I'm not here talking about my re-election campaign. I've enjoyed my time on the City Council, most of my time on the City Council. I'm proud of a lot of the work that I've been able to do and there are a lot of things that I feel like I'm leaving unfinished. But you know, at a certain point I had to ask myself the question if this is really where my energy is put to best use and where I can make the most difference. And so, you know, I'm a renter in Burlington's Old North End. I represent downtown and part of the Old North End. The district has changed with our redistricting efforts over the last year. So that new ward will go into effect on Town Meeting Day and it's a ward that looks a lot different than the one that I first got elected to represent in 2021. And so that was a consideration for me as well. You know, a lot of the long-term connections that I made with constituents in that first campaign now are in Ward 2. And so that it's the ward that Ward 3 is currently a much harder ward to campaign in. And well, I think I'd be up for that challenge. It's definitely hard to start in your scratch on a campaign like that. So I was going to say, so let's piece out some of the things that you've already touched on because some of them are the issues that I really have an interest in hearing. As part of your announcement, you had made the comment about the affordability or the in affordability of the rent where you live. Is that are the rents higher in that area in Burlington or is it just Burlington in general has such incredibly high rents that is prohibitive for people to live there?  So there are plenty of folks who are looking for housing that just simply can't find like they have they have the money to afford housing. They just can't find a place to live. And so that is a challenge for me. You know, the apartment I have now is I'm comfortable in it. I know I can afford it, you know, but if that were to change, I don't know that I would be able to find another place within the boundaries of the ward to be able to continue to represent it. And I think, you know, the the entire state is struggling with a housing stock that is unable to meet the needs of people who live here. And we're seeing that in the number of unsheltered folks who are on the streets of Burlington right now. And it's a statewide issue. So that is certainly an area where I feel like we could be doing more work. I mean, I absolutely agree. Just looking at Central Vermont and particularly the impact that the flood had had on housing availability and the increase in our homeless population. So looking at the time that you have been on the Burlington Council, what are those things that you're really proud that you were able to help the city of Burlington to achieve? Well, it's it's hard because, you know, you get elected and you make sometimes make promises and then you get in there and find out that you don't actually have as much power as you thought to make any change on any number of issues. And so, you know, I think many of the things that I'm most proud of really come from a place of the council using our voice to advocate for changes that need to happen at the state level and just changes in the way of thinking in terms of, you know, advocating for harm reduction and overdose prevention centers, different ways of looking at some of the very real crises that we're facing in Burlington, having the council unanimously say that we don't endorse the war on drugs and we're working to prioritize health approaches to substance use disorder in the opioid crisis. And also last March, passing a resolution condemning transphobia in Burlington, as we've seen a committed group of transphobic individuals stickering around the downtown and the north end and the council passed that resolution unanimously. I think that was an important step for us to take. And at the same time, you know, the actions that were behind that resolution did not come to fruition in the way that they should have. And so, I think we'll talk more about things that I feel are left undone and I'm happy to expand on that. I was going to say exactly where I was looking at going after making a comment of what you seem to be saying was the council acted in a socially responsible as well as an oversight of infrastructure and the sort of mechanisms of government. And as a former select board member in a small community in Vermont, I appreciate the challenges that you were facing. So I also know that you spent a great time working on issues of police reform. Yeah. And I know that some of that project is still under development. So what are those issues that you wish that you had had time to complete and that you see as being priorities for the Burlington City Council going forward? Yeah, I think police oversight is probably the biggest question that we still have yet to answer. And there's a joint committee right now in the council working on a charter change, a different charter change to put on the ballot in March that will hopefully give the police commission more power to be a more effective oversight body for the police department. I am hopeful that that will yield something that is stronger than what we currently have and that it's something that voters will approve in March. Another area I think is really around training and that that question can't be answered by Burlington alone. And Vermont has a single police academy where officers go to get training. And I think there are many unanswered questions and really what does a 21st century police force look like? What are the skills and the tools that we want to lead with when we're training next generations of law enforcement? And what do we, in addition to that, what are the different response models that we need? Because we know the police cannot respond to every crisis that we face from a health or safety perspective. And to that end, the Burlington Fire Department recently started a community response team, which is a bit more informal. They're mostly on the ground in the downtown responding to calls where someone's unresponsive and might be suspected of having experience in overdose. And so, you know, we're in a time with regard to public safety and public health where we need innovative solutions to come forward. It's clear how we've been doing things is not working. It has not worked. And I think, you know, we're on the cusp of making some really important changes that I'm hopeful I will see before my time when the council is over. Now, as part of the press conference where you announced that you would not be or the statement that was released when you announced you would not be seeking reelection, there was a comment about divisiveness on the council and also moving aside so that trust could be rebuilt between the council and the citizens of Burlington. Could you share a little more with us about what you see as being? How how severe is this problem? And what is it? What is it really going to take for some healing to happen? Yeah, I think, you know, a lot of what I've seen. Speaking specifically about serving on the council and being in that space. There is a bitter partisanship that often gets in the way of us finding collaborative solutions to some of the issues that we face. You know, I don't know that anybody would say it publicly, but I will say it. There's definitely moments where there's concern about who's going to get credit for any particular thing. You know, we have local elections every year in Burlington, whether it's for May or every three years, or rotating city council elections every other year. It it's hard because, you know, it's a we live in a small town. We like to think we're a big city, but we are not very big. Forty two thousand people is not not a big city. And so when some of the some of the antics of big city, political machines find their way into our local government in Burlington, it's it's a struggle because, you know, more practically volunteers. We get five thousand dollars a year to do that job. And everyone's working full time on top of that. And so I think there's a real opportunity to have. To be a little bit more forgiving and forgive each other, humanity and show some grace in in those more heated political fights. And, you know, at the same time, I think there's a divisiveness in our dialogue as a society right now. You know, there's a lot of pain at many, many different levels. There are different layers to it. And I've just noticed that, particularly for me over the last few months, the backlash that I'm receiving on social media for advocating for some of the things that I advocate for. I think on some level, there's a lack of understanding about what the city council does and does not have power to do. And. I just are real frustration, you know, that it is frustrating, it is uncomfortable, it is disconcerting to see the way society is failing so many people in how many unsheltered folks there are on our streets, how many folks are using in public because they have no private safe place to use and. Just our systems of care and support are stretched to the absolute maximum and clearly do not have the resources to be able to provide what what people need right now. And it is. It's frustrating for me being an advocate for over those prevention centers and harm reduction and health focused approaches to substance use disorder to realize that I really at the end of the day only have a voice on these things and don't have a lot of power to wave my magic wand and make it happen. And so that. It's it's hard when the backlash comes on social media and then there's no there's no space to have a respectful dialogue about those issues. I was going to ask you, you know, if you had experienced a backlash or how you were treated by social media, so thank you for addressing it. So with our remaining time here, all of the things you say are the things that I would want to support in somebody serving in government in some capacity or advocacy in some capacity. What is it that you envisioned going forward? Or is this just I need to take a rest and I will see what presents itself and then make a decision because, you know, I'm sure there are people who are ready to start helping your campaign. I had suggested governor, but I would accept what. Whatever you think you might like to run for. Yeah, I appreciate that very much. Yeah. This has been challenging. It'll be two and a half years by the time I'm done in April. I. Have I. I don't enjoy it is not the right. I have been humbled by this experience. It's always a learning experience and there's a sense of. And it's really not something you can describe. It's like I helped to create something that's going to make our city a better place for people to live. And we used to be able to say I can take pride in that, but that's become sort of, you know, a taboo word. But it's I helped to create something that makes this better for the people coming after me. Right. And I, you know, it takes a while to learn the ins and outs and how and when to pull a certain lever and not to pull a certain lever when it comes to governing and negotiating on certain policies. I feel like I am just now learning that and I will continue to learn it. And. I think. It's hard in the moment to really zoom out and say, all right, with this vote that I'm taking tonight, what does it look like for Burlington, not tomorrow, but five or 10 or 15 years down the road and making decisions that way doesn't necessarily lend itself well to reelection slogans the following year or the year after. But, you know, there is a hope and I'm pretty confident that when everything shakes out in a few years, that hopefully I I don't want to say that I'll be proven right, but that the things that I've advocated for and will continue to advocate for will ultimately lead to a better community. And I guess I am I'm disappointed to be stepping down and not be able to see that through and continue to be that voice. But I think, you know, going forward, I am certainly looking forward to a little bit of a break and I am hoping to be more of an advocate on harm reduction for over those prevention centers and be able to focus on one or two issues rather than having to learn pretty quickly about dozens, which is the challenge of being on a municipal body, which you understand. Oh, exactly. It's I I need to understand the social concerns at the same time that I need to understand what it takes to maintain a road. Yeah. And and they're entirely different sets of knowledge and different people that you would seek out for for advice. So it sounds as though I might expect to be seeing you around the state house advocating for safe injection sites and a more comprehensive approach that. Joe McGee isn't necessarily going to disappear from the landscape. That is correct. I'm looking forward to some time behind the scenes. Well, it's more in front than what you're going to realize. Better. So thank you for spending this time with us. Thank you for the work that you have done and that you try to do on the Burlington City Council safe journey ahead. Thank you. Thank you, Keith. Thanks very much. And I'm sure I'll see you around the state house. You've got it. People who routinely watch all things LGBTQ will have hopefully remembered a reference several months ago to a new theater company, production company here in Vermont. The premise of we should get to tell our own stories and we should get to write our own stories. So for this interview, the people behind that are our guests. So please welcome Rye and Nicole. Hi. Hi. Hello. And and we've been talking beforehand. So we're all pretty excited already. So so sit back and relax. So from having read some of the news, the public media accounts. You have a strong connection to Vermont, a strong connection with each other. Could you talk a little bit about that? And then we'll start talking about why between the willows. What was the vision? Absolutely. Yeah. Do you want to talk about it, Nicole? Do you want me to talk about it? Um, I can start. Sure. Yeah, do it. Well, I've grown up in Vermont. I was, you know, born and raised here, been here my whole life. I'm currently away in Pennsylvania for college, but I'm about the age where I'm like, I want to go back. I miss it. I realized I left a good thing behind. And me and Rye, actually, funny thing, we were in preschool together because we grew up in the same district. And Rye doesn't remember this at all, but not really. And I went to a middle school at a different school. So we didn't really know each other at all and until high school when we reconnected. Yeah, um, yeah, similar to Nicole. I grew up in Essex. I didn't move out until 20, 21, I believe. No, 20, 22, probably. And then, um, now I live in, well, then I lived in Winooski and now I live in Burlington. So I've never left Vermont. But, uh, so my, I mean, the connection is strong between the two of us. We have a mutual, you know, 40 plus years of living in Vermont. And so, uh, I think, you know, it's palpable, the love and appreciation we have for the state. So, yeah, we met in high school doing theater. That was, I was going to say, that was going to be my next sort of segue is I understand that both of you were involved in theater presentations at Essex High School. So what was it that each of, what was the roles that each of you took on and putting on a production at your high school? Oh, so I'll go first for this one. So Ali, who was the director for our tenure at high school actually was also my middle school director. She directed at Essex Middle School for about three years. And then when I went to high school and people in my grade went into high school, she then took the job over at Essex High School. So actually, I've worked, I worked with her for seven years continuously through high school, but I didn't start acting until freshman year. And so when I got to high school, I started auditioning and I was terrible and didn't know how to do any of it. And I'd never sung before. So like I spoke saying my freshman year audition for you're in town. And thankfully still got in the show. I don't know how, but probably the assigned male at birth nature of and the lack thereof in high school theater. And so I just got hooked and I fell in love with creating art and I knew it was my passion. And so I just was auditioning for every show and any show I didn't get in I would do tech for. And so I did all, I was on board to do all 12 shows at Essex High School, but the pandemic unfortunately, but that's my long and the short of it. I was gonna say an actor who also has experience with the tech aspect is a bit of a novelty and it's good knowledge to have. So Nicole, while Rai was auditioning and being terrible at it. Awful. And I think I came to the production of You're in Town, but we won't go there yet. You will get there. So Nicole, what were you doing that you were doing well during the same time? Probably dance. I didn't catch on the theater train until junior year of high school or technically the end of sophomore year, but I did some very, very bad middle school shows that will stay buried. But I've been a dancer for about 15 years, 16 years now. And I was mostly performing with Vermont youth dancers in high school, as well as Alon's Academy of Classical Ballet and both their Nutcracker and Spring Showcase. So I was like really heavy into the dance side of things. And around my sophomore year, I did tech for once on this island, it was the children's play for that year, which Rai was in and the lead of. Yeah. But that's kind of how I got my in and then they took me on as the dance captain for the fall production of Big Fish. And from there, I wasn't supposed to be in the show, but they said, do you wanna do a solo? So I kind of got like chucked into the show and then within a couple of scenes and became a part of the ensemble by accident. And then I did my first play that I ever did was our junior year of Frankenstein. And then that's when I got hooked. That's when I said, oh my God, I love this. I've always been a play person. I then did the senior musical, but it was the plays that really stuck with me. That's what I love to do. So before we segue into, so you graduate from high school, where did the idea of this production theater company come from? Nicole, what are you majoring in at that college in Pennsylvania? Nutrition and dietetics. Okay, not what I was expecting, but okay. If I wish I could be a dance major, but first of all, this college does not have a dance major. They only have a dance minor and it conflicts with the schedule, but I am on the dance team. I'm a lieutenant on the dance team this semester and I choreographed with them. So I'm plenty busy with dance over here. All right, so you graduate from high school. And I take it that you stayed in touch? Yeah, absolutely. So how did the idea for between the willows come into being and what were you hoping it was gonna provide that community theater was missing? Well, so the seeds were definitely planted while we were still in high school because Nicole and I and a few other great friends of ours were collaborating to do every year at the end of the year, Essex has a student directed musical. So like students get the opportunity, generally seniors, but sometimes juniors and depending on who signs up. But Nicole, I was gonna be directing, Nicole was gonna be choreographing and we had some other friends doing some of the other aspects. And so Nicole and I were sort of designing a very abstract version of Beauty and the Beast. It was gonna be so good. Yeah, we were really prepared to do that.  And so we just try to like basically take it and then tear it apart and then put it back together. And it was gonna be super weird and awesome and awful. But then unfortunately we graduated in 2020, which of course is the wonderful year of the pandemic. So that never came to fruition. I had tickets for that. Yeah, that was us. That was us. And yeah, I mean, the cast was amazing and the students were wonderful. And it was really, we had just got like maybe three rehearsals into the process. Cause it tends to overlap with the one act. So it's kind of hard to schedule cause we were, Nicole and I were both in the one act while also directing the show. So it was kind of navigating that. But yeah, it was a bummer. It was a really bummer. But there are bigger, far bigger problems in the world happening at that point. Okay, so what made you decide to found between the Willows? I, well, we had a free period together during our senior year. And we would just sit in the music hallway and talk or sleep or like play music or cry, whatever the day required. And we kind of started talking like, what if we did shows after high school? What if we just like, I don't know, did something else after this? Because everything was very up in the air. We were both like kind of trying to go to college. I'm just going to step in really quickly here because with my venereal age, I can't resist it. You're our Judy Garland and Mickey Bruni with let's put on a show, let's put on a show.  And we were like, what if we did this show and like we made it all like weird and we gender swapped everything. And I mean, we would have done it for Beauty and the Beast. We were really thinking about it for Beauty and the Beast. We were like, what if we cast this person in this role and it was super weird and funky and it played with all these dynamics that no one ever thought of before. And we didn't do it. Okay, so this is a significant undertaking. Did you have other people who were willing to buy into this to be part of the process or was it essentially the two of you standing in the backyard with a sheet behind you and somebody holding a flashlight? Well, I'd say at the start, it was kind of an idea just between the two of us and we didn't really think it was gonna take off. At least I didn't, I don't know about you, Ray. I had faith, but for the sake of this, for the narrative. For the narrative. We didn't know what was gonna happen. This was also like summer 2020.  And I feel like around the year, the school year of 2021 is when we were like, we should do something. I miss theater, I miss performing. I miss the community we had in high school. The pandemic really put a wrench in all of that for both of us. Let's do something. It was like, let's put on a cabaret in your lawn, like anything, please, anything. And so we started throwing around ideas. Let's do this play. Let's do, I have this idea, just the most random things we could think of. And I said, oh wait, I have an idea for a show. It's been sitting in the back of my mind for a year. And Ray was like, why didn't you say anything earlier? And so May of 2022 is when we decided to put on our first production, which was entitled, The Four Seasons. And it was a 30 minute dance show all based off of all these four seasons. And that is when we got more people involved. So that was kind of the kicker. And it was like, we need help. So we called on some friends from high school and that's what got the ball rolling essentially. And I think that kind of sparked some interesting aspects as well for that because while we were doing the show, Nicole being the dancer that she is, it was in the style of sort of a two week intensive, except it was like a one week intensive, where we all got together at the beginning of the week. We just worked for like a lot of hours. And then we presented it that weekend. It was really hot, really beautiful. It was like the weather was hot at least. And then we had like a donation basket where people could donate if they wanted. It was free otherwise, but it was at my parents' house and on a lawn. So it was like, we're not gonna overcharge or anything, but it kind of, I think that was part of setting the seed for us wanting to be able to pay people in the future as well. I think it's the fact that... Now go ahead. Oh, well, just like, yes, the prospect of, with the donations we had acquired enough that we were able, a very small amount, but we were able to pay people which for any artist, any amount is usually infinitely more than you get. So I think that kind of really sparked something for both of us and inspired us with how we are handling the company. As part of the public media discussion about Between the Willows, they make reference to my friend Jay Schuster at Physicians Computer Company, may have offered some support to you. How did that happen? So for a long time, I've been involved with PCC. Just in the nature of like, they're incredibly generous to the greater Vermont theater community. And I've been very, very lucky to have my friend Owen Levy has worked at PCC for a great number of years. And if you're connected with PCC, then you, I'm sure know Owen because Owen is just like the most like beautiful, like soul person just does everything and loves everyone and does everything. It's just an incredible human. But it got me in and chatting with some of the folks up there. And so, you know, as I was getting connected with lots of different people in the community, I reached out and we had built kind of a mutual foundation I don't know, oh, me and John, me and John had chatted a lot because I, yes, sorry, brain re-navigating. John was great in conversation and I reached out to him when Nicole and I had finished writing the show.  And we're really hoping to kind of get it off the ground. And it would be great to have some of your support if you feel generous and if you feel like you're able to, it'd be great. And we were like, these are all the things we can do for you. And John being the wonderful person that he is was like, more than happy to do it. Also, don't worry about the other stuff. Like we just want to support you. And we could not have done it without John and PCC as a whole. I was gonna say, in general, they have been incredibly supportive of the queer community. Some of the people who have been, were involved in your production, who were interviewed, talked about finally marginalized and under-representing communities, having their own voice in their own vehicle versus someone else writing about us and then asking us to portray it. What was it your vision for between the willows that those of us who traditionally get overlooked will be the ones creating the vehicle and then we will be the ones performing it as well? Absolutely. That is really at the heart of kind of what we're doing here. I mean, a lot of, at least for the foreseeable future, a majority of the works that Nicole and I are going to be producing and staging are, A, original works. So they are at least produced by queer artists. And B, obviously anyone is welcome to participate in these productions. It's not, we're not trying to ostracize anyone of depending on sexuality or anything.  So, you're not getting like the gay best friend who's just like all over the place and Beast of Crete, which is our premier production, it is, which is lovely by the way. But in Beast of Crete, there's a sapphic relationship that's queer just because it's queer. It's not queer because of anything other than they just happen to love each other and fall in love. It's a bit more complex than that, but it's just like that we can see love in a way that is authentic and present and is not meant for some weird like agenda point of view.  That sounds good to me.  What is the vision for between the willows going forward? What might we look forward to seeing being produced next? And how can I track what it is you're doing and when productions are happening? So I am very excited about this upcoming season because it's going to be my turn this summer. The way we're kind of operating is a summer was rise productions of this summer will be my production and our summers are going to be our main production. We are hopefully fingers crossed gonna get something for the winter or spring this year going as well. That's really like our big goal is to get two productions kind of off the ground, whether it's something smaller on a cabaret format that the fundraiser or maybe a smaller casted play. We're hoping to get something. But for the summer, I don't know how much I can reveal but I can say that I'm planning a horror ballet which I'm very excited about. And it's based off of a grim fairy tale. I'm not gonna say which one yet that'll be announced around December. So watch for that.  And we've never been able to say that this was a queer artist until now. Okay, so, but do you have a Facebook page or website? Sorry, yeah. How can I track you? We have all of those. But I feel like we primarily use our Instagram. That's kind of our number one, what? Our number one spot that we're using. We're also on TikTok and we do have a website. Yeah. So please give me those sites and we'll make sure they get displayed during this interview. And with that, thank you so much for spending this time with us. Thank you for what you're trying to create here in Vermont. And Nicole, thank you for saying you want to come home. Yes, thank you so much for having us. It's been such a pleasure. Alrighty. Thank you for joining us. And until next time, remember, resist.


Well hi and welcome to today's short video. Today I'm going to give you a five minute plan for your art business. I bet that you either know that you need a business plan or you've started one and never really completed it because quite honestly it seemed like a really large, onerous task and you thought to yourself I don't need that, I just need to forge forwards and I'll work it all out as I go along. If you'd like something a bit more in-depth then check out this video for the seven simple steps that artists business plan for 2022 or quite honestly any year whenever you're watching this because that really takes you through the steps that you need for a complete business plan but today I want to give you something that you could just put together in just a few simple minutes. Well hello and welcome or welcome back to my channel my name's Sophie and I love to help artists set up and grow a successful profitable business doing what they love. Now if that's you then you're in the right place because this channel delivers all things art business and mindset business related as well. So don't forget to subscribe to the channel and hit that bell to get notified every time I post a new video. Alright so I hope you have got a notebook and some pens or even just a pen. I do love my multicolored pens for making notes. Grab yourself a notebook and pen and let's just go through five simple questions and you can answer each of these questions in one minute and you have something to start out with. Alright are you ready? Question one how much money do you want to make in the next 12 months? Pretty simple right? I always when I'm teaching I use the example of $24,000 because it's divisible many things and it makes my maths pretty simple. So you might say $24,000, $48, $50, $100, whatever it is write it down. Alright so we've got a head. Question number two what's the average price point of your artwork or your art services? So you might say okay I've got artwork priced from I don't know $100 to $5,000 so I'm gonna say it's $2,000, $2,500 write it down and we're moving on we're doing well. Alright question number three if you just sold that one price point item how many would you need to sell in order to hit your annual target? You see where I'm going with this. Alright so you take that annual target you divide it by that average price if it's $2,000 or $2,500 gives you a number. Question number four a little bit more complicated but I think you can do it and I am confident you can write the basics down in one minute. Who are your target audience? Now if you really are a total beginner and you're like Sophie I haven't got a clue check out this video here because it gives you a bit of a starter into who exactly your target audience are but for the moment even if you just wrote down typically females age between this this age and this age living in this place who love the following things what's important to them you can have a have a stab in a minute I promise you and if you've only taken a few seconds to answer those other questions you have a little bit of bonus time for question number four right. Question number five how will you get your artwork in front of them what do we mean by that marketing you might say okay primarily I'm gonna do videos on YouTube primarily I'm gonna pin on Pinterest primarily I'm gonna do PR and get in like lots of local magazines you know you just gonna write down the core things that you're gonna do to get your work or services in front of that audience now like I said that is a really basic plan but that's really what's underneath a business plan that's the core fundamentals that's give you some money that gives you some idea of who your audience is what you're selling price point so if you if you've never done a business plan before and you'd like to do my five-minute challenge please let me know you're doing it in the comments below and say okay put a timer on get your notebook out get a pen just go through those questions and make it really easy don't overthink it just say okay it's this amount of money this is the average price point of what I'm gonna charge therefore I need to sell this many these are the ideal people that I'm gonna do it and I'm gonna do it via this strategy and it gives you something to work with like I say it doesn't give you everything but it gives you a starting point if you'd like a little bit more help with this journey towards making a living from your art then you'll want to grab my free download there's a link below here the 10 things you need to be doing to make a living from your art and you're gonna be not surprised at one of those things all right you'll be saying ah okay I think I've heard so if you mentioned this before if you're also thinking about well okay part of this is I'm not really sure how to price my artwork either and you also want to make sure to get registered on my brand new free masterclass the foolproof formula to pricing your artwork grab yourself a seat on that and even if you can't make the live dates register for one of them anyway because you will get the replay okay so I hope you've enjoyed this video and I hope you're up for the challenge like I say let me know if you're doing it or you've done it in the comments below and I'll see you on another video


I think it's playing in the bubble like that was a great help.  So just trying to bring that into the next season, even if I don't have that bigger role, just playing with that same aggressive, that same mentality that I was playing in the bubble.