Cong Minh blog: Youtube daily how Aug 28 2018

In this video, you'll learn how to turn this -

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?" ♪

♪ When you got into the backseat ♪

♪ I said, "hey -" ♪

- into this -

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?" ♪

♪ When you got into the backseat ♪

♪ I said, "hey -" ♪

Hey, this is Jason from Behind The Speakers.

And before we dive in, make sure you download my free vocal mixing cheatsheet.

It's packed with more tips and tricks that will help you make your vocals sound more

professional today.

Click the link above or in the description below to download this cheatsheet now.

Now in this video I'm going to show you how to mix vocals from start to finish.

We're going to walk through the entire process step-by-step.

But I just want to be clear before we begin that in the actual mixing process, vocal mixing

doesn't really happen like this.

The truth is mixing is circular, right?

We're constantly going back within the mix and revisiting old decisions that we made,

and refining things and changing things.

It's not this linear thing where we pull up a track and mix it, and then it's done

and we never come back to it.

So I just want to be clear that even though you're seeing these steps in a linear process

in this video, if you were to actually look at this in a real life mix, you'd find that

I would be constantly coming back to these steps and refining my plug-ins and processing

as I move through the mixing process.

Okay, so the first part of the vocal mixing process is clean up.

And basically what we're doing here is we're getting rid of anything that doesn't contribute

musically to the sound of the vocal itself, and that way we're starting with the best

raw ingredient possible moving into the mix.

Now typically this is something I'll do within the prep process before I even start

mixing, but in this case we have a mix that's already in progress so we're just going

to kind of pretend that this is part of the prep process.

So I have this vocal right here, and the first thing I'm going to do is solo this vocal.

Now if you watched any of my other videos where I talk about this, you know I'm not

a big fan of the solo button.

Because the truth is, whenever we're mixing, the goal is to try to make all the different

tracks in our mix fit together as one single unit.

And whenever we solo things, whenever we listen to a track in isolation, we're no longer

hearing how that track relates to all the others in our mix.

And so it becomes really difficult to make decisions that help that track fit with everything

else.

So in practice, making decisions in solo - EQ'ing and compressing, and doing lots of processing

in solo - can often lead you in the wrong direction.

You can end up with a track that actually sounds worse when you put it back in context

with everything else.

Now in this case, the clean up process is really the only part of the process where

I do use the solo button.

Because in this part of the process we're not so much concerned with how the vocal sounds

with everything else, we're just trying to get rid of the junk on the vocal.

So really I would avoid the solo button within the mix and just really use, if you're going

to use it, within this clean up part of the process.

So the first thing I'm going to do here is add an EQ to this vocal.

I like the FabFilter Pro Q2.

You can use pretty much any EQ, but this one's one of my favorites.

And before I start adding EQ and high-passing and doing lots of stuff, I'm just going

to listen to the raw sound of the vocal.

And this is very important because you want to make sure that you're guided by what

the vocal actually needs.

So if you're not hearing a problem, then there's no reason to fix it by - let's

say - adding high-pass filters or EQ'ing things, right?

Start by listening, and then let the sound of the vocal guide the decisions that you

make.

So let's take a listen to the raw vocal.

This is without any EQ.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

♪ You say "you wanna play games ♪

♪ I'm going to the Soho ♪

♪ Take me to the roof ♪

♪ We'll get high on the low low" ♪

Okay, so in general I think the vocal sounds pretty good.

There's a couple of specific issues I hear.

Sounds like there was a little bit of a bad edit somewhere around here.

Let's take a listen.

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

See that kind of little click sound on the beginning of going?

♪ - taxi ♪

♪ "you going my way?"

♪

That can happen sometimes with pitch correction, or just a bad edit.

It may not be something we can solve here in the mix, but just be careful when you're

comping together your vocal takes to make sure that you're not getting issues like

that.

The other thing that I hear is that there are a couple of moments where there's some

low end rumble on the bottom of the track.

So I hear it kind of right around here.

♪ I said, "hey, you got a name?"

♪

♪ You say "you - ♪

Hear that kind of thing going on right here?

Take a listen again.

♪ - you got a name?"

♪

♪ You say "you - ♪

Now if you're listening on laptop speakers or headphones you may not hear that, but it

sounds like the singer maybe kicked the mic stand or there was just some kind of low end

rumble.

So this is something that commonly pops up in the vocal mixing process.

You'll hear a lot of that low end junk, and one of the best ways to get rid of that

is with a high-pass filter.

So because I'm hearing a problem on this vocal, because I'm hearing that low end

rumble, I'm going to add a high-pass filter, or a low-cut.

And basically the idea is that this filter is going to remove that energy down at the

bottom end of the frequency spectrum.

So really with this filter we're not trying to affect the sound of the vocal itself, we're

just trying to get rid of that low end boominess, those kind of moments where there are mic

stand kicks or whatever, stuff that's getting in the way that doesn't really contribute

to the sound of the vocal itself.

So I'm going to go ahead and listen to the vocal.

I'm just going to loop that section, and try to set this high-pass filter so that we're

not hearing the vocal start to thin out, but we're just getting rid of that low end junk

on the bottom end of the vocal.

♪ - you got a name?" ♪

♪ - you got a name?"

♪

Okay, so that sounds pretty good to me.

Take a listen to this before and after this high-pass filter, and I want you to listen

to that low end kind of boominess on the bottom.

And notice with the high-pass filter engaged, it disappears.

So take a listen.

This is before the high-pass filter.

♪ - you got a name?" ♪

♪ - you got a name?"

♪

So we still hear a little bit of something, but a lot of that energy is taken out.

So it certainly sounds a lot better.

And chances are, there are lots more of these moments throughout the whole course of the

vocal track.

So we've cleaned up that problem, and I'm not hearing that the vocal sounds very thin.

So I think we've found a good spot where we're taking out some of that low end that's

getting in the way, but we're not thinning out the vocal.

And that's something you want to be careful of.

If you set this too high, you'll find that the vocal starts to sound thin.

So take a listen now.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey -" ♪

See how the vocal thins out.

So you want to be careful of not setting the high-pass filter too high where you're really

getting in the way.

You're taking out some of the good stuff on the vocal.

Okay, so the next thing I'm going to do is a technique I call sweep and destroy.

And the idea is that on some vocals, especially vocals that were recorded in a less-than-ideal

space - maybe a bedroom or basement or something like that - oftentimes you'll get resonances,

which are buildups of energy in certain areas of the frequency spectrum.

And sometimes those resonances can be caused by room acoustics or poor equipment, but the

idea here is that we're trying to kind of find these resonances and get rid of them

so that the whole vocal sound kind of opens up and sounds a little bit cleaner.

So the way we go about doing this is we add a bell to our EQ.

We set the Q to 8, the gain to plus 18.

Now these are just starting points, these are numbers that I've found to work well.

You can experiment and see what works best for you.

And we move this down to the bottom of the frequency spectrum, and we listen to the sound

of the track and roll the frequency knob up.

And basically what I'm listening out for are areas on the vocal that just sound really

ugly and aggressive, and don't really go away.

So they're consistently a problem throughout the entire course, or the majority of the

performance.

So let's take a listen.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey -" ♪

So see there's a little bit of a bump here, but it actually comes and goes.

So it only appears on certain notes.

Take a listen.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

So that's an example of a problem that you actually don't want to fix.

It's actually not a problem at all, because on certain notes when the singer sings certain

notes, there are frequencies that will be brought out that correspond with those notes.

So we don't want to take out a problem like that.

What I'm really listening for are areas that sound like that, but don't go away.

We hear it on almost every note in the performance.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

Okay, so in this case I'm not hearing any problems.

I'm not hearing any resonances that remain throughout the entire performance, or the

majority of the performance.

So I'm not going to take anything out.

So in this case the clean up process was very simple, right?

All we needed was a high-pass filter.

In some vocals, you might find that there's a resonance or two that you need to take out,

but the idea here is we're not doing anything by default, right?

We're listening to the sound of the vocal and letting the vocal track itself guide the

decisions that we make.

Okay, so now that we've cleaned up the vocal, the second step - step number two - is to

compress the vocal.

And the idea behind compression on vocals is we're really trying to do two things.

The first is to control the dynamics of the vocal performance.

So vocals are a very dynamic instrument.

There's a big difference between the loudest parts of a vocal performance typically and

the softest parts of a vocal performance.

And this makes vocals really difficult to manage within the mix, because oftentimes

we have a hard time setting a static fader position for that vocal so that we can hear

all the words and phrases evenly.

Either there are certain parts that dip too low in volume so they get kind of lost in

the mix, we can't hear them, or there are certain parts where the vocal is too loud

and we feel like it's overpowering the track.

So it's pretty difficult without compression in most cases to find a fader position that

works for the vocal in the mix.

And that's why we use compression, to even out those dynamics so that we can reduce the

dynamic range between the loudest and the softest parts of the vocal, and bring everything

together so that we can sit that vocal evenly in the mix.

We can hear all the words and phrases at a fairly equal volume.

Now the second reason that we use compression is that if we use compression properly on

a vocal, we can actually add energy and impact and urgency to the vocal performance.

We can make the vocalist sound like they're spitting out the words a little bit more aggressively,

like they're singing with more passion.

So compression's a tool that will actually allow us to shape the emotion of the vocal

performance.

So the first thing I'm going to do here is un-solo the vocal.

So this point forward we're gong to listen to the vocal in context with the rest of the

tracks in our mix.

So let's take a listen first dry to the vocal, just to hear how it's related to

everything else in our mix right now.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

♪ You say "you wanna play games ♪

♪ I'm going to the Soho ♪

♪ Take me to the roof ♪

♪ We'll get high on the low low" ♪

♪ I said "I'd be down for that" ♪

So in this case, I'm feeling like the words and phrases are sitting fairly evenly in volume.

There's not a huge dynamic range here.

But I am feeling like the vocal could feel a little bit more urgent, like the vocals

could sound like they're just singing with a little bit more passion.

So in this case I'm trying to use compression not so much for dynamic control, and moreso

for that second reason - to actually add some impact and urgency to the performance.

So in this case, I'm going to pull up a compressor that I really like for this kind

of second purpose, which is the CLA-76.

This is an emulation of a classic compressor that's used a lot on vocals, the 1176.

And some of the settings that I like to use to add impact and urgency to a vocal in this

case, a fast release time.

Now on this compressor, the release and the attack knobs are actually opposite from the

way you'll find them on many other compressors.

So the fastest release time is actually 7.

It's all the way to the right on this compressor.

And a fast release time is going to cause the compressor to bring up a lot of the low-level

detail on the vocal performance - a lot of the ends of the words and phrases, the stuff

that normally gets lost, the breaths.

And that's going to make the vocalist actually sound a little bit more urgent.

So in this case, we don't have a threshold control on this compressor.

So the way that we apply more compression is we just crank the input knob, and then

we back down on the output.

So I'm going to play this track, and just dial in the input and the output and try to

get a level of compression that's giving me a little bit more of that urgency.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

♪ You say "you wanna play games ♪

♪ I'm going to the Soho ♪

♪ Take me to the roof ♪

♪ We'll get high on the low low" ♪

♪ I said "I'd be down for that" ♪

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

♪ You say "you wanna play games ♪

♪ I'm going to the Soho ♪

♪ Take me to the roof ♪

♪ We'll get high on the low low" ♪

So to my ears, that's sounding pretty good.

So let's take a listen to this in and out of bypass, and the first thing i'm going

to do is make sure that I'm level matched.

So whenever you're applying any sort of processing and you want to compare the version

before and after the processing, you want to make sure that there's no difference

in level when you flip the plug-in in and out.

Because if the plug-in is making things sound louder, then you're much more likely to

think that that plug-in is making things sound better, when in reality it might just be turning

things up.

So the first thing I'm going to do is just flip this in and out of bypass and adjust

the output gain so that there's no difference in level when I flip this plug-in in and out.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

♪ You say "you wanna play games ♪

♪ I'm going to the Soho ♪

♪ Take me to the roof ♪

Okay, so that's pretty good.

So take a listen to this in and out of bypass, and I want you to notice a few things.

Number one, notice the aggression on the vocal.

The actual tone on the vocal is a bit brighter with this compressor.

And that's because this compressor isn't just shaping the dynamics of the sound, it's

actually adding its own kind of tonal curve too.

So this is a very bright compressor, and it will actually make the vocal sound a little

bit brighter.

And the other thing I want you to listen to is just the overall feeling of urgency on

the vocal itself.

So notice the difference both before and after the compression.

Let's start with before.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

So to my ears, with the compression engaged I hear a few things.

Number one, the vocal sounds brighter.

Number two, I'm hearing a little bit more of that low-level detail, some of those quieter

words come up a little bit.

And I'm also feeling like the vocalist is just a little bit more urgent.

There's a kind of quality to the performance where it just feels like the vocalist is spitting

out the words a little bit more than without the compressor.

So I'm feeling like this is an improvement, and this is - you know - kind of what compression

is about, right?

Number one, we're trying to shape dynamics.

We're trying to control the dynamics so that all the words and phrases are sitting

fairly evenly in most cases.

And number two, we're trying to actually add some energy and impact and urgency to

the performance itself.

Okay, so now that we've compressed the vocal, step number three - the next step in this

process - is to enhance it.

And basically all we're trying to do here is bring out or accentuate the pleasing parts

of the vocal by using EQ.

So what I'm going to do is I'm going to add an EQ plug-in after my compressor.

You might be asking - well why EQ in two parts?

Why do it with two separate plug-ins?

Why not just do it all with one EQ?

And the reason why I'm approaching EQ in this way is because I like to cut or remove

problems before my compressor, and enhance or boost things after the compressor.

And the reason for this is because the compressor, when it's listening to the sound of this

vocal, it doesn't know the difference between, let's say between the vocal itself and the

rumble that we took out in step one.

So if we didn't clean up that rumble before the compressor plug-in, then when the compressor's

listening to that track it's going to go we need to turn down this whole track whenever

that rumble gets too loud.

So what's going to happen is the compressor's going to punch a bunch of holes in the vocal

at really weird spots whenever that rumble appears.

So by cleaning out that problem, removing that rumble before the compressor, the compressor

has a much cleaner signal to react to.

And it's going to respond much more musically, because now it's only going to be reacting

to the dynamics of the vocal performance itself, which is what we want.

So that's why I like removing problems before the compressor.

Now the reason why I like adding things or boosting things after the compressor is because

once we've set up our compressor, I don't really want to change the level of the signal

going into that compressor.

And whenever we boost things on a compressor, the signal gets louder, right?

So if we were to add a bunch of EQ before the compressor, we'd probably have to go

back to the compressor and adjust the threshold and ratio or the input or output gain to make

the compressor respond and react in the way we had it set originally, because suddenly

it's going to sound like there's too much compression happening because there's so

much more signal being pushed into that plug-in.

So this way we can maintain the level of the signal going into that compressor, and approach

this enhancement part of the process after the compressor.

So I'm going to listen to the sound of the vocal here in context with the rest of the

mix, and I'm going to ask myself - what might this vocal be missing?

What could really take it to the next level?

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

Okay, so to my ears the vocal sounds a little bit dull.

It's a little bit dark.

It just sounds a little bit thick in the lower midrange.

So I'm feeling like I could really use some top end to make this vocal sound a little

bit brighter, just give it some air and some shine.

Especially in a pop track like this, typically we want the vocals to sound very bright.

So I'm going to add a high-end shelf on this EQ.

And again, I'm going to listen to the track with everything else playing together at once,

and try to dial in a setting that sounds good to my ears.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

♪ You say "you wanna play games ♪

♪ I'm going to the Soho ♪

♪ Take me to the roof ♪

♪ We'll get high on the low low" ♪

So a couple things I'm hearing I just want to share with you.

The first is that whenever we boost a lot of top end, the S's are really going to

come up in a way that typically we don't like.

So I'm hearing a lot of S's, and we're actually going to address these S's in the

next step.

So for now I'm just going to kind of table that.

But one thing I just wanted to point out is that whenever you're boosting top end, you

want to be careful.

Because when you come down too low into the frequency spectrum, sometimes you can get

this edgy kind of harsh sound.

And so I like typically trying to boost a little bit higher up the frequency spectrum,

because that way we get a lot of nice air and presence on the vocal but we don't get

that kind of edginess going on.

So in this case I've found by rolling things up a little bit higher, I got the presence

and the clarity that I wanted on the vocal, but things still sound smooth.

They don't sound edgy and bright.

So let's take a listen.

Well actually, before we compare I want to make sure that the level is actually similar

because we boosted a lot of EQ here, and we want to make sure that the level both before

and after our processing is consistent.

So I'm going to just flip this, and I'm going to bypass and adjust the output gain

on this EQ so there's no change in level.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you - ♪

It's a little tricky, because it does sound a lot more present with that vocal EQ in.

But to my ears, this is a great change.

It sounds just clearer and has more impact.

It really cuts through the mix more.

So let's take a listen before and after this EQ boost.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

♪ You say "you wanna play games ♪

♪ I'm going to the Soho ♪

♪ Take me to the roof ♪

♪ We'll get high on the low low" ♪

Cool.

So I think that's a great improvement.

Okay so step number four is to de-ess.

Now in the last step in this process we heard that when we boosted the top end on our vocal,

the S's got brought out in a way we really didn't like.

So this part of the process is all about turning down the level of those S's so that they

sit appropriately within the track.

Now let's take a listen to this vocal first, and I want you to notice how prominent the

S's are right now.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you -" ♪

So I hear a lot on this first word here, on the 'tuh' in diet.

♪ Diet coke can ♪

♪ Flipping - ♪

So I'm going to go ahead and add a de-esser plug-in to this track.

Now I've tried lots of different de-essers, and the truth is when it comes to de-essing,

plug-in choice does matter.

I'm not a big fan of saying you need this plug-in or that plug-in.

The truth is, there are lots of great choices out there, but when it comes to de-essing,

I really do think it matters which plug-in you choose.

So I've tried them all - or most of them - and this FabFilter Pro de-esser is, I think,

one of the best tools out there.

They're not paying me to endorse them, I just think it's a fantastic tool.

So if you're looking for a great de-esser or if you're struggling with the current

de-esser you have, I definitely recommend checking this de-esser out.

So the first thing we're going to do is make sure that we've set the sidechain filter

appropriately.

Now the whole idea is that de-essers typically don't listen to the full frequency spectrum

on the vocal when they're making decisions about when to de-ess.

They just listen to a very small part of the vocal where the S's are, and they use that

information to make decisions about when to turn down the track.

So you want to make sure that that sidechain is set appropriately so that the de-esser

is hearing the part of the vocal where the S's are.

If you don't take the time to set that, then the de-esser's not going to be hearing

the right information, which means it's not going to be able to make very good decisions.

So what I'm going to do is just solo this vocal.

I know I'm breaking my rule here, but the truth is this doesn't really have any relationship

to how the vocal sounds with the rest of the track - so another circumstance where I think

it may be helpful to use the solo button on your vocal.

And I'm going to turn on this audition button - which means we're just listening to the

sidechain - and I'm going to play the vocal track and adjust these high-pass and low-pass

filters or knobs here so that I'm hearing as much of the S's as possible, and as little

of the good stuff on the vocal that I don't want the de-esser to listen to and react to.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got - ♪

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey -" ♪

In this case, it's already set to a place that's pretty good to me.

But notice when I pull this way down here -

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

See how we're hearing a lot of the part of the vocal that we actually don't want

the de-esser to respond to?

So that's a case where the sidechain filter would be set incorrectly.

So I'm going to bring it back to where it was, and I think that's pretty good in this

circumstance.

But you want to take the time to set this appropriately for every vocal that you work

with, because depending on the vocal, the place that the S's appear can actually vary.

So the next thing I'm going to do is un-audition the sidechain filter.

So now we're just listening to the entire vocal track, and I'm going to un-solo the

vocal so now we're listening to the vocal in the mix.

And I'm going to adjust the threshold and range control until those S's feel like

they're sitting at an appropriate point or spot within the vocal itself.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

Sounds pretty good to me.

Let's take a listen before and after bypass.

This is without the de-esser.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey -" ♪

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

Certainly much better.

It's a little bit difficult again because I'm on headphones, so I don't know exactly

how this would translate to speakers, which is where I normally mix, but to me the S's

feel like they're pulled down.

They sit at an appropriate level.

They're not taking the enamel off my teeth anymore.

So I think this de-esser is certainly making this vocal sound a whole lot better.

Okay, so step number five is to add effects.

Now at this point, the vocal sounds really good.

It's sitting well tonally, and dynamically it sounds great.

And I just want to add some dimension and depth to the vocal, and make it sound a little

bit more larger-than-life.

So what I'm going to do is I'm going to create a new aux track in this session.

And instead of adding the reverb directly to the vocal track in the mix, I'm going

to add it to this aux track.

And the reason why is because I have lots of different vocal tracks in this session.

So I have the lead vocal, harmonies, doubles, background vocals, and I'd rather have one

global reverb that I can send all of the vocals to rather than having to add reverb plug-ins

on each one of those individual vocal tracks.

And this aux track will allow me to do that.

So I'm going to label this vocal reverb, and we'll put a reverb plug-in on here.

I'm going to try the EMT-140.

There are lots of great vocal reverbs, this is just one that I really like.

And I'm going to set the input of this track to bus 23-24, and the output to C Sub, which

is where all of my vocals go.

So now I'm going to send out on this vocal track bus 23-24, and basically we're now

sending a piece of this vocal through to this aux track so it's getting sent to the reverb.

So what I'm going to do first is just send some level into this reverb, and just listen

to what the reverb sounds like with the default preset pulled up.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said - ♪

Okay.

So right off the bat, the vocal reverb sounds too long.

I'm hearing that the reverb is kind of blurring the percussiveness of the performance, so

I kind of want to shorten that up a little bit.

I'm also feeling like the reverb is sounding very dark.

It just sounds very thick and like it has a lot of low end energy.

So those are really two things right off the bat I'm going to try to address on this

reverb.

So what I'm going to do here is I know this plug-in really well, and it has three different

plates that you can select.

And the A one is actually the brightest one, so I'm going to switch over to the A one,

and let's take a listen now to how that's sounding.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said - ♪

Okay, so already I'm feeling like that sounds a little bit better, and it's a little bit

brighter.

It's still too long to me.

And really what I'm listening to is I want the reverb to cover up the space between the

notes, but I want it to get out of the way before the next phrase or word hits.

So I don't want it to be ringing out so long that it's blurring, it's kind of

continuing to ring out through the next word or the next phrase, because that's just

going to get kind of messy and muddy.

So I'm going to use this control right here to shorten the decay time so the reverb gets

out of the way more quickly.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got -" ♪

Okay, so that sounds much better to my ears.

So the last thing I'm going to do here is I'm going to turn down the level all the

way back to zero, and then I'm going to listen to the sound of the vocal in the mix

and bump up the level of the reverb until I start to hear it, and then I'm going to

back off a little bit.

So the idea here is you want in most cases reverb to be something that you feel rather

than you hear.

It shouldn't be something you notice in most cases unless you're going for a deliberate

effect.

But it should be something that if you mute it, you would go oh, that doesn't sound

as good.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

Okay, so that sounds good to me.

So I bumped that up until I started to hear it, and then I backed it off a little bit.

So let's take a listen before and after the reverb.

This is dry without reverb.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said - ♪

Cool, sounds pretty good to me.

Now the last thing I'm hearing is that the S's are getting a little bit caught on the

vocal reverb.

So I'm hearing the S's kind of rattle around in the reverb a little bit, and it's

a little bit distracting to me.

So I'm going to actually apply a de-esser before the vocal reverb on this aux track,

and I'm just going to copy this one over here.

And that way we're de-essing the sound going into the vocal reverb.

So let's play this.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey -" ♪

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going -" ♪

Cool, that sounds good to my ears.

So that way we're bringing down those S's going into the reverb and they don't get

caught on the reverb a little bit, because that can be distracting hearing all those

S's rattling around in the reverb.

So I'm going to boost the reverb a little bit more now that those S's are taken care

of.

I feel like we might be able to use a little bit more level.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got -" ♪

Again, it's a little bit difficult on headphones, but to me that sounds good to my ears.

So we're hearing a little bit of that dimension and depth, but we're not really noticing

the sound of the reverb itself.

Okay, so we're finally at step number six, which is the last part of this process, and

that's to automate.

Now if you really want that radio-ready vocal sound where you can hear all the subtle nuances

in the performance clearly, the key often lies in this last step.

And that's because even the best compressor plug-in is not going to do the job 100% when

it comes to bringing up all those subtle details in the performance.

So oftentimes the key is to get 90% of the way there with compression, and then to use

automation to bring up some of those low-level details that the compressor might have missed.

And so using automation in conjunction with compression gives you that radio-ready larger-than-life

sound.

So the way that I go about this is I typically wait to automate until the end of my mix.

I try to get as far as I can with compression alone so the vocal's already sounding really

good.

And then towards the end of the mixing process I'll turn down the level of my speakers

very quietly so that if somebody was typing, the sound of their fingers hitting the keys

would be distracting, it would get in the way - so very, very quietly.

And I'll go through the track ten seconds at a time - I'll loop ten seconds - and

I will listen to the sound of the vocal and try to identify if there are any words or

phrases, syllables, little moments that might be getting lost.

And if they are getting lost, then I'll bring them up by riding the fader, by drawing

in automation, by doing whatever it takes to make those subtle details cut through the

mix.

So that's what I'm going to do right now.

Let's just take a listen to this vocal phrase right here.

And I'm going to turn down the sound in my headphones so that things are very quiet,

and we'll see if there are any subtle details that are getting lost.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey -" ♪

Okay, so there are a few little details I'm feeling like could come up a little bit.

The first is these few words here.

♪ - can ♪

♪ Flipping off a taxi ♪

Flipping off.

When he hits that word off, I feel like things kind of drop in volume a little bit.

So I'm going to go ahead and draw that up a little bit.

♪ - can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

Cool, that sounds better to my ears now.

And let's take a listen over here.

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

When he hits that low note when you got into the backseat, I feel like that kind of drops

out a little bit to me too.

So I'm going to bring that up.

♪ - way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?" ♪

♪ " - got a name?"

♪

Same thing here when he kind of trails off that on got.

I feel like some of that detail can come up a little bit.

So I'm going to draw up this little moment between these two words.

♪ "- got a name?" ♪

♪ "- got a name?"

♪

So that sounds better to my ears.

Now it's important that you listen to these things both at low volumes and at high volumes.

Sometimes you need to kind of counter your moves a little bit or you can be a little

bit too aggressive when you're listening at such low levels.

But the idea here is I'm going through this vocal one phrase at a time, and making sure

that all these subtle details are coming up.

And again, by doing this in conjunction with compression, that's what's really going

to give you that radio-ready sound where you can hear all the subtle details on the vocal

performance.

Okay so we've finished mixing the vocal, and the last thing I want to do is give you

a before and after comparison.

So first, let's take a listen to the vocal dry before we added any of our processing.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

And now let's take a listen after the processing that we added.

♪ Diet coke can ♪

♪ Flipping off a taxi ♪

♪ "you going my way?"

♪

♪ When you got into the backseat ♪

♪ I said, "hey, you got a name?"

♪

So to my ears, obviously the vocal sounds much better with our processing.

So hopefully this has been useful to you.

And if you want to dive deeper, don't forget to download my free vocal mixing cheatsheet,

which is packed with tips that will make your vocals sound more professional today.

Click the link above or in the description below to download this free cheatsheet now.

And before you go, leave a comment below this video and let me know - what's your go-to

plug-in chain for mixing vocals?

I'd love to hear your replies, so leave your answer in the comments section below.

Thanks so much for watching, and you can check out more mixing tips like these right here

on my YouTube channel or at BehindTheSpeakers.com.

For more infomation >> How To Mix Vocals Like A Pro (From Start To Finish) - BehindTheSpeakers.com - Duration: 38:36.

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How to Monitor Your Thiamin (Vitamin B1) Status | Chris Masterjohn Lite #63 - Duration: 7:50.

Vitamin B1. You may have heard it called

thiamin. This is all about how to manage

your thiamin status.

Hi. I'm Dr. Chris Masterjohn of

chrismasterjohnphd.com.

And this is Chris Masterjohn Lite,

where the name of the game is

"Details? Shmeetails. Just tell me what works!"

And today we're going to talk about

managing vitamin B1 status.

Thiamin is very important for energy

metabolism in general, but it's especially

important for carbohydrate metabolism.

So one of the things that you'll see in a

moderate thiamin deficiency is poor

glucose tolerance, hyperglycemia,

or doing better on a low-carbohydrate diet

than on a high-carbohydrate diet.

Classically there are three thiamin

deficiency syndromes that dominate what

we know about thiamin. These are

beriberi, Wernicke's encephalopathy,

and Korsakoff's psychosis.

These generally involve signs and

symptoms like peripheral neuropathy,

which is weakness, numbness, pain, or

tingling in the hands and feet,

impairments in your reflexes, weakness, or

paralysis of the muscles around the eye,

sometimes changes in your heart rate

and heart output. And in the case of

Korsakoff's psychosis, you can get very

severe cognitive changes like amnesia,

making false memories, and being

overcome by apathy.

In these severe cases, thiamin

deficiency can cause seizures, paralysis,

and death, but what we're more likely to

encounter are the moderate deficits that

lead to poor glucose tolerance and poor

ability to handle carbohydrate in the diet.

Why might you get a thiamin deficiency?

Well, this is the interesting

case because most of what there is to

say is not about diet. Dietarily you need

several servings per day of meat, legumes,

whole grains, or enriched grains, meaning

refined grains that have been fortified

with thiamin, which is most refined grains.

If you don't get these foods, you could

have a dietary thiamin deficiency.

This was common back in the day when refined

foods started dominating the diet before

we started fortifying them with thiamin.

It's not so common anymore. Nowadays, you

can imagine that if you're on a high-fat,

ketogenic diet, and you are scared of

protein, and so you're not eating very

much meat, then that, a diet that is

mostly fat, could give you a thiamin

deficiency. But a carnivore can get

enough thiamin. Eat the meat. A vegan can

get enough thiamin. Eat the legumes and

grains. So most people are not going to

have a thiamin deficiency from diet.

With that said, there are several cases where

we know very well that non-dietary

phenomena can lead to thiamin

deficiency. That's with persistent

vomiting, alcoholism, and HIV or AIDS.

In diabetes, the need for thiamin goes up.

There are other things that are less

well understood but are still quite

fascinating that can cause thiamin

deficiency in the environment.

These include thiaminases, which are

enzymes that break down thiamin, and

these can be found in raw fish and

shellfish. Not all of them—we don't

really know all the things that causes

the level of thiaminases to vary in

raw fish and shellfish, but if you eat

a lot of raw fish and shellfish, that

could theoretically contribute to a

thiamin deficiency. Microbes in your gut,

indoor toxic molds, amoebas polluting the

water, varieties of microbes can produce

thiaminases that degrade thiamin.

Sulfite, which is used as a food additive

and which we also produce in our body

when we don't have enough of the mineral

molybdenum in our diet, can also degrade

thiamin. So if you have any signs and

symptoms of thiamin deficiency, and you

have any of these plausible risk factors

that make it make sense that thiamin

could be your problem, the best thing to

do is to verify this with blood testing.

The simplest and easiest test to get that

I would recommend is LabCorp's

thiamin pyrophosphate test in whole blood.

I do not recommend the test that Quest has.

If you want to dive deeper into this

than that, there is a company called HDRI,

or Health Diagnostics Research Institute.

Your doctor would have to order this.

Your doctor can go to their website, get

the requisition form, and check off the

box that says ETKA. That stands for

erythrocyte transketolase activity.

And if that's low, that's an indicator

of poor thiamin status.

In addition, if you get plasma

amino acids or urinary organic acids, you

could look for elevations of the amino

acid alanine or pyruvate or more

commonly lactate. And in the urine, you

could look for lactate, pyruvate, and

alpha-ketoglutarate, which is also called

2-oxoglutarate. If you see these patterns,

or if you simply see low whole blood

thiamin pyrophosphate, those are all

consistent with thiamin deficiency.

The ultimate test is to see whether these

symptoms and the blood work or urine

work respond well to fixing the thiamin

deficit. If the problem is dietary, fix

the diet first. If the problem is a

medical condition, work with your doctor

on the medical condition. Either to get

better faster or because the underlying

solution is not clear, thiamin

supplementation is a safe and effective

way to replete thiamin status. So in

most cases, 100 milligrams of

thiamin hydrochloride is probably

adequate. There's also a thiamin

supplement called benfotiamine that

might work better for the neurological

problems seen in alcoholism and

diabetes. And there's a thiamin

supplement called thiamin

pyrophosphate, TPP, or thiamin

diphosphate, TDP. This is the active form,

and that's best if you have a problem

activating thiamin to the active form.

We don't know if that happens outside of

alcoholism, but we know that it does happen in

alcoholism, so maybe it also occurs in

other situations. So the simplest thing

is to start with thiamin hydrochloride,

but if you want to trial-and-error your

way through these other thiamin

supplements to see if they give you

more benefit, then that makes sense.

There are no known risks to taking

thiamin supplements. You can find more

information about monitoring thiamin

status in my e-book,

Testing Nutritional Status: The Ultimate Cheat Sheet.

The audio of this episode was enhanced

and post-processed by Bob Davodian of

Taurean Mixing. You can find more of his

work at taureanonlinemixing.com.

This episode is brought to you by

Testing Nutritional Status: The Ultimate Cheat Sheet.

Everything you could ever need to know

to optimize your nutrition all in one place.

Easier to find and use than ever before.

Get your copy at chrismasterjohnphd.com/cheatsheet.

Use the code LITE5, that's all

capitals, L-I-T-E, the number 5.

LITE5 to get $5 off.

All right, I hope you found this useful.

Signing off, this is Chris Masterjohn of

chrismasterjohnphd.com. This has been

Chris Masterjohn Lite, and

I will see you in the next episode.

For more infomation >> How to Monitor Your Thiamin (Vitamin B1) Status | Chris Masterjohn Lite #63 - Duration: 7:50.

-------------------------------------------

WARM UP: How to & benefits (الاحماء قبل التمرين) | AflatonTraining - Duration: 3:53.

Your life is choices started with perceiving then a decision..

Decide to be.. Decide to start.. Right now!

You finally decided to train?? Whatever your goal,

whatever your training style, it is very important

to warm up your body before working-out

to gradually increase your heart rate, and increase blood flow to your muscles

so, more oxygen and nutrients will reach them

prepare your joints properly to the movements

and this will improve your performance and prevents most injuries

The pre-workout warm up consists of dynamic stretching.

And here is an example on how to warm up

Finally, don't forget to LIKE,SHARE,

SUBSCRIBE, and turn on the NOTIFICATIONS bell

so you never miss a new video from us. I'm Hamdy Goda. God bless you.

For more infomation >> WARM UP: How to & benefits (الاحماء قبل التمرين) | AflatonTraining - Duration: 3:53.

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How Far Is Too Far? | Boundaries in Dating | Christian Dating Advice - Duration: 7:39.

Hey friends! Tiffany Dawn here and I am really excited for today's video. I've

actually tried filming it four times now so I'm hoping that this time it will

feel like it clicks. But um I want to talk about how far is too far and how

to set boundaries physically in dating relationships! And I have four

tips that helped James and I as we set our boundaries and I'm hoping that they

can help you too as you're setting your personal boundaries. So let's get started.

So tip number one is: Reframe the question. So when James and I started

dating, we started asking the question: How far is too far? So we knew what the

Bible said about saving sex for marriage and that was something we decided as

kids that we wanted to do, but there's a whole range of things you can do before

you get to actually having sex, right? Like can you hold hands? Can you kiss?

Can you make out? Can you sleep in the same bed? Can you take each other's

clothes off? Like what can you do? And so we started like trying to figure out

like, what's the right answer here? We want to make sure we're doing what's

right and as we're looking through the Bible again we realize like there's not

a specific Bible verse that's like, "Thou can hold hands but thou must not kiss

before the wedding night." Like there's just not something that's so specific

like that. And so James and I were like, "What's the right answer here? How far is

too far?" And that's when James said something that I thought was really

insightful. And he said, "Maybe we're asking the wrong question. Maybe instead

of asking, 'How far is too far?' -- which is kind of like how much can I get away

with without sinning -- maybe instead we should be asking, 'How

can I honor God in this dating relationship? How can we honor God even

in our physical relationship in dating, with what we do and what we don't do?'" And

I love that because it totally changes the focus. Like how far is too far is

kind of me centered, right? It's like, well what can I do, what can I get away with?

But how can I honor God becomes very God-centered, like Lord I want to honor you

in this area of my life. Teach me how to do that. And that helps

push you closer to God as well. And I think as you seek God for that, He'll

start to make that clear to you through your conscience, through conversations with

other people, as you read His word, that will start to become clear. So that

brings us to tip number two, which is use the biblical principles. So there's a lot

of principles you see in the Bible that can be applied to this situation.

So three in particular that come to mind are number one: Fleeing temptation. So are

the boundaries that you put in place, are they encouraging temptation? Are they

putting you in the way of temptation or are they encouraging you to flee from

temptation? So one example for us personally was we decided not to sleep in

the same bed before we got married, not to stay overnight sleeping in bed

together. And the reason for that was because we felt like that for us would

not be fleeing temptation; it would be opening a door for us to want to run

through toward temptation instead of away from it. Especially because like the

more tired you get and at night your inhibitions go down a little bit and

you're more inclined to do things that you might not do in the middle of the

day. And so we found that for us, fleeing temptation meant not sharing a bed

together. Another biblical principle is really loving the people around you. So

asking the question like, "Am I loving my significant other in the way we're going

about our physical relationship?" My mentors once told me: "A guy should be

sending you home with a clean conscience every night; that should be

one of his goals." And that's a way to love somebody. So asking. "Am I sending

James home with a clean conscience? Is he sending me home with a clean conscience?

Are we loving each other by not pushing each other's boundaries, but by helping

each other be faithful to them?" And a third biblical principle that we found

was looking for wise counsel and not trying to make all these decisions on

our own, with what felt right to us, but really getting wise counsel from other

people that we trusted. And that brings me to tip number three, which is

interview some wise trusted people. So this might sound super weird and like

nothing that a normal human being would ever do, and that's okay because I'm not

normal, I have never claimed to be, and I never will be. And I love going around

and asking people questions about their life so I can learn from them. So one of

the weird things I did that was actually super helpful is James and I sat down

with several couples who were married and asked them, "What were your boundaries

before you got married and what do you wish they had been and why?" And it was

actually really interesting to hear all their answers. So I'll just share with

you a few of the thoughts that we got from people. So one couple actually

waited for their first kiss on their wedding night.

I think they held hands before they got married but they saved the first kiss

for the wedding. Another couple had wanted to save sex

for marriage but ended up having sex with each other before they got

married. And we were really intrigued by this situation because we're like, "Well

you still married each other, so what was that like for you?"

And they said something really interesting. They said for that for them

personally, it actually caused a lot of hurt that they needed to work through,

because they said that they were gonna wait till marriage but then they didn't,

so it felt like a breakdown of trust and communication, and like there was

some hurt that they had to work through even though they ended up marrying each

other. That was really interesting to us. And then we found couples kind of in the

middle. We found couples who didn't share a bed before marriage, couples who didn't

touch each other where the other person's undergarments went, couples who

didn't take each other's clothes off or see each other naked or even

partially naked before marriage. And it was so cool to get to hear from

different people what they had done, what they were glad they did, and what they wished

they had done. That was so helpful. And it's so important to find outside wise

advice and realize that the way that you lived your life now will have an

impact on your future. And that's not to say there's not healing and forgiveness; like

God makes everything new and He forgives and restores and I actually have a video

linked down below called: Sex: If you want to wait again. So if you're in a place

where you're like, "I've had sex before, I wish I hadn't, I want to start over,"

that video's for you. And so there is just - God can make everything new. But the

choices that we make now will affect us in the future. And so instead of trying

to make the choice all on your own, it's so helpful to find people you trust to

get their wise opinions. And the last tip is start the conversation ahead of

time, but make sure it's an ongoing conversation. So you want to start having

this conversation towards the beginning of your relationship so you're not like

in the moment, the heat of the moment, and you're like, "What are our boundaries? I

have no idea; we haven't talked about it yet!" Actually talk about it before

you get into that place. But you also want to keep talking about it; keep

having the conversation to check in with each other like, "How are things going? Is

there anything you've been convicted about? Is there anything on your heart or

that you're feeling guilty about or that you think we should do differently to

really honor God in our relationship?" And just keep that conversation going. And

that's a way to love the person that you're dating. So in closing, a question

that I get a lot is: Was it worth waiting to have sex until your wedding? Because

that is what James and I ended up doing. We saved sex for marriage and our wedding

night was the first time we got naked together, the first time we touched each

other in certain places, the first time we shared a bed together for the night,

and it was so beautiful and special and intimate. And my answer that question

is I have no regrets about that. Yes it was worth the wait, with all my heart I

say yes. And that doesn't mean that it was the best sex we'd ever have in our

lives because sex is something that you practice and you get better at, but it

was so special to get to start that journey together. And we didn't wish we'd

practiced with other people, because sex is very personal and so it's me learning

what James likes and him learning what I like. And it's been so special to get to

go on that journey together. And so if you are also a couple who's engaged and

you're saving sex for marriage, I have a video series for you. It's called The

Wedding Night Talks and it is $24.99. It's linked down below and it's basically ten

videos that share everything we would want you to know about sex before your

wedding to help you have a great sex life in marriage, because that is our

goal and our heart for every married couple to have an amazing sex life in

marriage, and that's what this video series is all about.

So girls I hope that this can encourage you. Comment below your thoughts, what you

would add to this conversation about setting boundaries in dating

relationships. Love you girls and see you next week. Bye!

For more infomation >> How Far Is Too Far? | Boundaries in Dating | Christian Dating Advice - Duration: 7:39.

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How Long Do I Have to Pay the NVC (After USCIS Approval)? - Duration: 2:05.

For more infomation >> How Long Do I Have to Pay the NVC (After USCIS Approval)? - Duration: 2:05.

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HOW TO SIMPLIFY SQUARE ROOTS | quick & easy + printable guide - Duration: 6:12.

Today on Math Hacks, I am showing you the fastest easiest and simplest ways to simplify square roots, so

Roll up your sleeves grab a pencil and paper because we are solving five problems in five minutes

Now the fastest way to simplify square roots is always to look for

Perfect square factors of your number. So we're looking at this square root of 45 here

And the first thing that I notice is that 9 is a factor of 45

So to begin we're going to split

45 into it's two factors, which is 9 times 5

Now something handy you can do is you can rewrite this as

two separate roots

So this is the same as the square root of 9 times the square root of 5

Now once you see this, you may realize that the square root of 9 is 3

And because 5 is prime we can't take the square root of it and get a whole number

So we're just going to leave it as square root 5

All right, and before you know it there you go you've simplified square root 45 into 3 square root 5

Now let's take a trickier number how about something larger like the square root of 216 now this number it may not be as obvious

what factors it has and if any of those factors are perfect squares

So you could just one guess and check here and try to see if the perfect squares go into it

But I want to show you a technique

That is really quick and simple and what you're going to do here is you're going to use a factor tree

Now we've got the complete prime factorization here so you can think of this as

2 cubed times 3 cubed

because we have

Three 2s that we'll multiply together and three threes that we'll multiply together to get

216

One a little trick you can do here is because we are looking for the square root

I'm actually gonna instead of writing it as 2 cubed when I write it is 2 squared times 2

2 to the first but off to write the 1 and

I'm gonna do the same thing with 3. I'm gonna write it as 3 squared times 3

Now that looks a little bit funny but it's actually gonna make it really easy when we go back over to the square roots

And just like in our first example here we can go ahead and split this into separate routes

Now two squared and 3 squared we can simplify they become 2

& 3

Then our last step now is to go ahead and multiply like terms together so that means

2 times 3 here is going to get multiplied together and then the square root of 2 and the square root of 3 can be

multiplied together

When I do that I get 6

square root 6

Once again, I'm going to

Break 28 into two convenient factors. I know that 7 times 4 is 28 and because 4 is a perfect square

that is a great set of factors to simplify 28 into

Once again, we can break these into two separate routes

Now I notice that I have two 7s here. So I'm actually going to combine those back into a square one square root

Conveniently, both of these can be simplified and we get seven times

two

And go ahead and multiply those together so the answer to this one is 14

Now for this example, the quickest way to get started here is to rewrite this as one square root

So whenever you're working with multiplication or division

You can choose to separate the square root or put it together. This is the same as the square root of 72 divided by two

This is really handy because if I divide 72 by two I get the square root of 36

In the square root of 36 is of course six

Our first step is to split it into convenient factors just like we've been doing

Next I can choose to split all of these values into separate square roots

I'm gonna take the square root of whatever I can

There we go, so our square root of 18 over 25 becomes 3 square root 2 over 5, I

I hope that gave you a good feel for the different types of techniques you can use to simplify square roots

Remember that there is no one-size-fits-all

Some techniques just work better with certain numbers than others but they basically all boil down to the same idea

You're looking for those hidden perfect squares and when you find them you can reduce by them

If you'd like notes on today's lesson head on over to the Math Hacks blog where I've got some extra problems and printables there for you

And as always if you enjoyed this video

Please give me a big thumbs up and don't

Forget to subscribe so that you can find the tutorials you want when you need them

Until next time I'm Brett Berry and this has been Math Hacks

For more infomation >> HOW TO SIMPLIFY SQUARE ROOTS | quick & easy + printable guide - Duration: 6:12.

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How do scientists know so much? - Duration: 7:28.

(phone ringing)

- Hi, it's Doug.

Have you ever been walking, like in a park or a forest,

and you found something that really got your attention?

Well, that happened to me recently.

I was in a forest, and I found this.

It's a pine cone,

but I'd never seen a pine cone like this before.

I was so curious, I had all kinds of questions.

So I came home and I got out some

of my books that I have about trees.

These books were written by scientists

who study things like pine trees.

Now, sometimes when I have a question,

I find out that nobody knows the answer,

and that's always exciting, too.

But a lot of times,

there are answers to things that I'm curious about.

And it's scientists who figured them out.

Someone named Barina has a question about scientists.

Let's give her a call now.

(phone ringing)

- Hi, Doug.

- Hi, Barina.

- I have a question for you.

How do scientists know so much?

- That's a great question.

To answer this question, it might be helpful to think

about what scientists do when they work.

Let me tell you a story about two scientists

whose discoveries changed the way

people think about the world.

You see this thing right here?

You might know what it is.

It's a telescope.

And you know what a telescope is used for,

to look up at the night sky.

But it wasn't always used for that.

In fact, when the telescope was first invented,

one of the main ways people would use it

was to watch for enemy ships coming from far away.

No one had thought to point a telescope up at the sky.

No one, until this person.

This was Galileo.

He was a scientist.

Galileo was curious, and we wondered what he might see

if he pointed the telescope up at the sky.

One of the first things he decided to look at was the moon.

Night after night, he looked at the moon

through his telescope.

He wrote notes, and he made drawings of what he saw.

He was amazed by all the details that he noticed.

You see, before Galileo, most people thought

that the moon was this round, perfectly smooth ball.

More like a beautiful nightlight,

rather than some actual place.

But by carefully looking at the moon,

Galileo noticed lots of pointy bumps and shadows.

He compared his drawings to things

that he noticed here on Earth,

and he realized what he was seeing on the moon

were mountains, valleys, and hills.

The moon wasn't some perfectly smooth light;

it was an actual place with mountains and hills,

just like the Earth.

Galileo realized, maybe we could even

go walk around on the moon someday.

Galileo gave us new ideas

about what the moon was really like.

Now, here's another famous scientist.

Her name was Mary Anning.

She's known for being one of the greatest fossil hunters

in all of history.

Mary spent almost every day of her life,

ever since she was a young girl,

searching along the beach for interesting fossils.

One day, there was a landslide.

A huge piece of the cliff near the seashore had fallen down.

Mary wondered, "What if I go look over there?

"If I look carefully, will I find anything new?"

Digging through the rubble,

Mary noticed some really strange markings in the rock.

It was the fossil of a large skull,

with lots of sharp teeth.

As she unearthed the entire fossil

and put its bones together,

Mary realized that it was the fossil of a giant reptile

that had once lived in the ocean.

This was unlike any creature alive today.

It was an animal that had gone extinct.

All her life, Mary kept looking carefully,

finding more and more fossils of extinct animals.

Mary Anning gave us new ideas

about what animals on Earth had been like a long time ago.

Mary Anning and Galileo were looking

at very different things.

But take a moment to think about

what their stories have in common.

What did both of these scientists do that was similar?

Now would be a good time to pause the video and discuss.

Okay, you ready?

One thing you might've noticed is that both Galileo

and Mary Anning started out being really curious

about things around them.

When they noticed something interesting or surprising,

they didn't just say, "Oh, that's neat," and then move on.

They noticed things, and then paid really close attention.

And here's the thing,

when you start paying close attention to something,

you start wondering a lot more questions.

Galileo started wondering things like,

"What are those little bumps and shadows?

"What is the surface of the moon like?"

Mary wondered, "What kind of animals

"did these fossils belong to?

"What does that mean about life a long time ago?"

You don't have to be a scientist to think like this.

This is a drawing made by a young girl named Fiona,

who decided to purposely take something plain and ordinary,

these leaves, and look really carefully at them.

As soon as she started paying close attention,

she realized, she had all these interesting questions.

Drawing and paying careful attention to something

is kind of like training your brain

to discover interesting new things and ask questions.

You should try it yourself.

You can train your brain, too.

For this week's episode, we have a special activity

where you'll practice noticing something,

and asking questions like a scientist.

See how many questions you come up with.

I think you'll find it's a lot of fun,

even if you don't figure out the answers

to the questions right away.

That's totally okay.

Scientists sometimes spend years figuring

out the answers to the questions they come up with.

Even when you do figure out the answer to a question,

you'll find it always leads to new questions.

That's actually one of the fun things

about noticing something interesting and asking questions;

it just gets more and more interesting,

and you start having more and more questions.

That's why at the end of each video,

I always say, "Stay curious."

There are so many interesting things

out there to notice and wonder about.

There are so many questions worth asking.

So, in summary, the reason scientists know so much,

is because they pay close attention to lots of things,

and they ask lots of questions.

By doing this, sometimes they discover things

no one has noticed before.

That's all for this week's question.

Thanks, Barina, for asking it.

Now, for the next episode, I reached into my question jar

and found three questions submitted to me

that I'm thinking about answering.

When this video's done playing, you'll get to vote on one.

You can choose from:

"How do hot air balloons rise?"

"How do trees give us oxygen?"

Or, "How close could an astronaut get to the sun?"

So, submit your vote when the video's over.

I wanna hear from all of you watching.

There are mysteries all around us.

Stay curious, and see ya next week.

For more infomation >> How do scientists know so much? - Duration: 7:28.

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How Do I Love After I've Been Hurt? - Duration: 34:42.

For more infomation >> How Do I Love After I've Been Hurt? - Duration: 34:42.

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How to Relieve Constipation in Infants Quickly - Duration: 5:05.

Weight Lose Fast & Naturally No Exercise No Diet

Diabetes Signs & Symptoms That You Should NoT Ignore

Hepatitis Ka Ilaj Hepatitis C Treatment Pneumonia Ka Ilaj Nazla Zukam Ka Ilaj

For more infomation >> How to Relieve Constipation in Infants Quickly - Duration: 5:05.

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How to make realistic and easy paper roses 🌼 Beautiful Origami Flower - Duration: 4:25.

Thank you for watching! Like, share & subscribe

For more infomation >> How to make realistic and easy paper roses 🌼 Beautiful Origami Flower - Duration: 4:25.

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How to build City Fire Helicopter with Lego bricks - Duration: 11:15.

For more infomation >> How to build City Fire Helicopter with Lego bricks - Duration: 11:15.

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How to get Push up and Pull up - Duration: 3:53.

Sorry for the overlapping text, my bad.

For more infomation >> How to get Push up and Pull up - Duration: 3:53.

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How to Make Raised Garden Beds From Steel - Way to Grow - HGTV - Duration: 1:34.

For more infomation >> How to Make Raised Garden Beds From Steel - Way to Grow - HGTV - Duration: 1:34.

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WHAT I DISCOVERED THAT GROWS YOUR HAIR SUPER QUICK|CUCUMBER|HOW.. - Duration: 7:16.

hey guys there's something that I had to share with you guys um well I discovered

something that I just I mean just

figured out that was helping grow my hair like to the point that I couldn't

even explain it myself what the hell was going on beside me

using this liquid biotin that I do believe also played a role in my hair

growing as well he is a mess right now I'm gonna actually do a video really

soon it's gonna be an awesome video I'm gonna do a video where I take my head

out excuse me oh my god I take my hair down it's gonna

be in a silky silk wrap and I want you to see the texture and the natural shine

that I do contribute beside me haven't naturally shiny here and healthy here

that I contribute to making my hair even more healthier but I discovered and now

I'm gonna use it and I do use it it's not now I'm going to use it let me

rephrase that but I'm gonna make sure that every juice that I use beside the

base of my juice is always being celery and cucumbers always I mean always

making sure that I have the base of my juices to be cucumbers as well I

couldn't quite put my hair why am i here was growing like a wheat and

continuously does and I had looked up what fruits and vegetables cause you

here to grow I couldn't look up anything or couldn't find anything on like

juicing and I found a couple of juicing videos and it was a combination of what

you can use to make your hair grow and in those two or few videos that I find

was cucumber was one of the ingredients I looked on Google I said what

um fruits and vegetables can grow your hair out when juicing I did some type of

research and then I think I put canned cucumbers were you here and those kind

of searches and long and behold one of the because cucumbers have seen so it's

a fruit and some people look at it as vegetable because it's not sweet but I

look at it as fruit vegetable whatever you wanna call it it's a raw produce

that I use in my juice I just found out that it must be the cucumber that's

growing my hero quickly fast I mean like a weed I'm not gonna make a video on

something that I think that is contributing to my hair growing but it's

at this you know you know lease of hair growth you know I'm just not gonna make

a video about something that's not worth talking about when I made this video it

was a conscious decision to make this video to let people know that if you are

here you know journey you want to grow your hair out or whatever the situation

might be using the base of all your juices being cucumbers you I'm telling

you do this for 30 days making sure that you have a cucumber a day I would do it

juicing not smoothie because it goes directly in the bloodstream when you do

juicing but using a cucumber a day for 30 days I guarantee you come back to

this video your hair will be wicked mom not long wicked long and wicked means is

another way of saying really long so I just want to share that beauty tip with

you guys that I just discovered myself figured it out it is my biotin yes

that's helping because my body's not all clogged up but the cucumber that I'm

putting in all my juices is the culprit the good culprit that's growing my hair

out like a weed and this is another reason

I'm doing a hair loss I mean I hate lost I hear I don't want no lose no more here

a hair journey all my channel as well as because I want to let you guys know that

you do not have to wait a whole year for your hair to grow even to the middle of

your back I'm going to be living proof that within a year you can still get

your hair to shoulder length and touching your back and by maybe a year

and a half to the middle of your back it's not going to take you years to get

shoulder length hair it doesn't if you if you're eating and drinking and

certain supplements but I'm talking about raw stuff things that you consume

in your daily eating habits if you're eating the right foods because juicing

is a form of eating just in liquid form you will grow your hair out faster

alongside cleansing the body in the blood and the lymph and the kidneys and

everything the whole body out the skin but yes keep that in mind that if you

are trying to grow your hero cucumber juice if you just want to drink cucumber

juice all good it's just like drinking water but it has I think it has a better

flavor than water what has no flavor to it but just cucumber juice or mixed

cucumbers with the fruit or vegetable of your liking and honey you're here

disguises the limits depends on how long you juice for I I say the only way I

would recommend that you do it to get optimal results is juicing it not

smoothies or not eating it in a salad I would juice it so that it goes

directly in the in the bloodstream so the nutrients whatever those nutrients

are and that cucumber that causes that hair to grow you'll be able to get the

nutrients like that and get that hair growing so I'm gonna show you guys my he

has been up for a few weeks and then also in a lot of videos but I'm gonna

show you that you definitely can grow your hair

out and the main ingredients that I use I buy at least 20 to 25 cucumbers a

month though in celery and I don't really see too much reading on celery

growing you're here I'm quite sure it has nutrients in it and it also plays a

factor too but cucumber which I use in the base of all my juices alongside

celery is why my head is growing so with all that being said please subscribe to

the channel like and share this video and make it a favorite and I'll see you

guys in the next video bye for now

For more infomation >> WHAT I DISCOVERED THAT GROWS YOUR HAIR SUPER QUICK|CUCUMBER|HOW.. - Duration: 7:16.

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How Colours Affect Lighting Design | ARTiculations - Duration: 6:40.

If you're ever pick up a paint colour chip and flipped to the backside, it probably says

the name of the colour, the colour code, and often also something that says

Light Reflectance Value.

Most people will probably never pay attention to this number.

But if you're a curious individual, which I assume most of you watching this video are,

you might wonder, what does this number mean and what is it used for?

Light Reflectance Value is a measurement of the amount visible light, when illuminated

by a light source, that's reflected by a surface in all directions and all wavelengths.

It's a value that's generally used by Interior Designers, Lighting Designers, and Architects

to determine what is the most appropriate colour to use on a surface.

Of course, it's not the only factor that matters in colour selection, but it is one of

the most important, yet also often overlooked aspect of design.

Light reflectance value not only affects how light or dark a space looks and feels

It also dramatically affects the performance of lighting sources, the ability to reflect

and absorb natural day light, the energy efficiency of the building, as well as accessibility

for people with visual impairments.

To understand how Light Reflectance Value works, we first have to be clear about what

the word "value" means in the context of colour.

There are three main properties of colour: Hue, Saturation, and Value.

Hue is the classification of colour on the spectrum, these are your reds, blues, greens,

oranges, yellows, etc.

While Hue is generally important in determining the aesthetic feeling of a space, to someone

with colourblindness, they may not see a difference between colours of different hues.

Saturation is the intensity of the colour, how dull or muted a colour looks

vs. how intense or vivid it is.

Saturation is often confused with Value, as it may seem like an intense colour is

"brighter" than a dull colour.

But saturated colours vary in value and often can be very dark when it comes to

the amount of light it actually reflects.

Light Reflectance Value is expressed from 0 to 100.

0 means the colour absorbs all the light and reflects nothing.

100 would reflect 100% of the light.

In everyday reality though, nothing will absorb all the light.

I mean, unless your wall is, like, a black hole, but that would be a big problem.

Even the darkest paint will usually have an LRV of about 3 to 4.

And generally the highest LRV you'll see are in the low 90s.

A designer will evaluate what is the functional requirement of the space, how much access

is there to windows and natural light, what lighting fixtures are used in the space

what is the energy requirement of the project, and use these factors to determine what is

the appropriate LRV each surface needs to have.

So lights come in varying levels of lumen output.

But how much of the light emitted from a source ultimately ends up being usable depends on

a lot of different factors.

One of these factors is how reflective the surrounding environment is.

A room, especially the ceiling, that's painted in low LRVs colours will dramatically reduce

the amount of light that's in the space.

Some environments require higher light levels than others.

For example a designer will typically specify ceiling LRVs of 85 or more, and wall LRV of

70 or more for office environments where detail tasks are being performed.

In a boutique retail shop, or nightclub, lower LRVs may be used

to achieve a darker, more intimate atmosphere.

However the designer will still need to ensure that the light levels are appropriate for

employees to perform their tasks and for everyone to get around safely.

In most commercial projects, an interior designer will coordinate LRVs with a lighting designer,

who will carry out lighting calculations and other photometric assessments in order to

develop a lighting plan that achieves required light levels.

Some property owners and/or municipalities may also have energy requirements

such as wattage restriction on artificial lighting, or requiring the use of daylighting.

In this case, increasing the LRV of ceilings and vertical surfaces may be needed to maximize

the reflectance of natural light and reduce the amount of artificial lighting needed for

the occupant to safety and effectively perform their tasks.

After all, it's literally a sustainability strategy that costs nothing.

Designers also use LRV to design spaces that are inclusive of people with disabilities.

Contrary to popular belief, most blind people have some level of vision, but many will have

trouble distinguishing one surface from another if their values are too similar.

Thus, using high value contrast between surfaces is crucial in ensuring occupants

can get around safely and efficiently.

For example, handrails, stair-nosings, start of ramps, edge of platforms, and signage graphics

should have a high level of contrast against their surroundings

to be visual apparent to the viewer.

Most accessibility standards recommend a 70% contrast for these locations.

This is the formula for calculating 70% contrast.

While in most places it's only a recommendation, in some locations, such as in detectable warning

surfaces in California, it's a mandatory building code requirement.

It's important to remember that these design decisions not only helps blind people

it makes the environment more accessible to everyone, including near-sighted people like me

when I'm not wearing my contacts or glasses, or any person in low-light conditions

such as during a power outage when only the emergency lights are on.

In my many years of being a designer I've definitely heard people joke about how

all we do is pick colours.

And honestly I don't take it as an insult.

While it's obviously far from all that we do, choosing the right colour is

a really important job.

It affects the environmental experience of the space, contributes to human comfort,

influences energy efficiency, and is crucial in ensuring safety and accessibility.

Thanks for watching everyone!

If you liked this video, here are some more like it that you can check out.

And don't forget to subscribe for more to come.

Bye for now! *snap*

For more infomation >> How Colours Affect Lighting Design | ARTiculations - Duration: 6:40.

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How To Get Over Your Ex Fast | Get Through Heartbreak | 7 Hacks To Move On - Duration: 9:28.

My name is Eric Michael, founder of the Power Life System and today you're

going to learn hacks to get over an ex or to get over a heartbreak. Before I

start with the hacks, I really want you to understand that I know how it feels

it's literally a physical pain as if someone's tearing your heart out or

punching you in the stomach. The great news is that what I'm going to share

with you are solutions and incidentally by doing them it also increases

the chance that whoever did whatever it was that caused this issue may even turn

around 180 degrees and start doing the things that you most desire. In order to

get the best results from these methods there are two things that we need to

keep in mind. First of all, when we apply these we need to go in with complete

faith that they're going to work great for us and expectation of phenomenal results.

The second is that if we're ever feeling bad because someone did

something or didn't do something, it comes down to the fact that we're

placing or depending on our sense of confidence or Worth on somebody else and

what they do and it really needs to be our confidence our sense of value and

Worth and love is coming from a place of infinite source beyond ourselves or

somebody else or the events or actions that occur in. Hack number one is

communicate what you feel in a positive way focusing on a positive intention for

both of you, for example, I feel really sad when you say or don't say this

because I'd like to have a great connection between both of us

incidentally, the other person may not know or they may but they may not know

that what they did actually cause you to feel this way and by expressing it in

a positive caring from your heart with a positive intention they may actually

start doing what it is that you most desire which would be a fantastic

outcome. Hack number two is become really clear on what it is that you most desire

for example, let's say if it's a breakup ask yourself what is it that I desire in

a dream relationship physically emotionally spiritually qualities of

personality and so on really be honest with yourself and answer what is most

true to your core. Hack number three is now that you've defined what you most

desire start experiencing and feeling all the positive things related to

already have that type of relationship so you can start out and simply relax

yourself from your head to your toes place your attention on each part of

your body from your head continuing down to your feet and as you

do and you relax each subsequent part of your body allows the prior parts to relax

even deeper now and continue doing this until the only thing you're thinking

about is your presence and how you feel deeper and deeper relaxed in the moment

then visualize and experience what it is that you most desire this ideal

relationship this ideal interaction really see it happening to see yourself

experiencing this here what this being said add in as many details lights

colors sounds smell maybe their perfume or their cologne and expanding as many

details as possible and really enjoy you're experiencing what it is you most

desire and now connect with the positive feelings you have you're having what you

most want in your dreams and that's art feeling even happier more connected more

loved or you may even feel more peaceful more centered because of you already

experienced it in connecting with this individual or this person or this

experience of having it be exactly as you most want to allow these feelings to

grow you could give the feeling a color for example white light that becomes

representative of the feelings these positive feelings you have then allow it

to glow become even brighter and more intense as your feelings expand or it

could be a blue maybe a little more peaceful red more passion and allow it

to glow and become even greater and more intense as you start to feel even more

positively more confident and more loved every time you do this

activity. Hack number 4 is expand your positive feelings even more by

connecting with the positive infinite energy in the universe

now you can visualize yourself as a white glowing light where you're white

color represents a combination of all of the colors of chakras all of the types

of positive emotions and feelings you can have and now in the universe beams

of light radiate into you radiating and empowering you even more with the

feelings that you most desire feelings of connection love confidence connection

worth value being cherished allow these beams to radiate into you as you glow

and are even more brilliant as a radiant Sun continue doing this and

allow your emotions and your feelings to continue to increase and become even

more positive from this infinite source in the universe. Hack number 5 is

go do something that's going to result in getting what you want for example if it

was a breakup ultimately you have you just you defined your dream relationship

and apply the same concept too if it was a situation well go somewhere where

there's a likelihood of actually having it is your ideal way and now go there

and enjoy yourself for example if you go to where there's some music or some

light music and dancing for example and what you would be focusing on is

connecting with this infinite positive energy in the universe allowing yourself

to feel wonderful feel this radiant white light emanating from you

positivity and then when you get there ask yourself how can I enjoy the moment

even more, make this even more positive well if there's music you can start

feeling the music ideally its music you like you can start moving to it you can

start dancing to it regardless of what other people are doing if there's music

you have permission to dance and really starts feeling it and you can look

around and see maybe there's like a fish tank or something else that is

interesting what you can go and explore and increase your joy and your enjoyment

even more by noticing things around you and then if you feel drawn it to

interact with other people you can do so from the presents from the

moment and already feeling so wonderful. Hack number six is to separate them

negative emotion from whatever the experience was that occurred and you can

do this by imagining whatever the event was that caused you to feel a certain

negative way I mean the heartbreak and close your eyes after you stopped doing

whatever you're doing that needs your attention and in visualize this in front

of you this event this activity and then you want to scramble your eyes and move

your eyes all different directions and keep on doing this until the emotion is

reduced and the more you do it get to the point where it's a memory it's

something that you when we can learn from however that negative emotion from

it can be read significantly reduced or eliminated. Hack number seven is to cut

the energy ties of that person or whatever the event was from having those

ties and connections to you and affecting you so what you can do is

again stop doing something if you need your attention and then you can close

your eyes and visualize whatever it was and maybe a blue radiant energy coming

seeing of representing this energy its connection with you and then you could

take your scissors and then cut that energy and you see it separate where

they have their own energy and now you're glowing even brighter you can

start with the white lights infinite positivity feeling wonderful and yours

ready it's even glowing brighter and brighter and brighter then you can

visualize and imagine them going off into the distance smaller and smaller

and smaller their energy completely separate from yours and then

disappearing the greater your ability to visualize and mental experience the

greater results you're going to have so click below the video now and gain

access to how to visualize and mental experience it's a hundred percent free

just put your name your email in and you get instant actors you can immediately

download and start applying it so that you can ultimately get over that X or

that break up and start really living the fantastic life that is meant for you

that's just waiting for you to have any the wonderful experience is to which

hack work best for you question

suggestions please share those in the comments below give the video a thumbs

up and subscribe to the channel and make today a fantastic day I know how it can

be painful and frustrating and distracting to have something happen

like a breakup or some type of heartbreak and I'm confident by applying

these hacks that you're going to have an improvement and I want you to live today

with the most positivity in the most fantastic day possible and then have it

be more and more fantastic every subsequent day.

For more infomation >> How To Get Over Your Ex Fast | Get Through Heartbreak | 7 Hacks To Move On - Duration: 9:28.

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How Do I Build My Credit - Duration: 3:24.

Hi, I'm Shelly and I am here with Sarah

We want to talk a little bit today about some questions that she's been receiving from friends of hers.

Yeah, so a lot of my friends know that I work at a credit union and always ask me

You know, how can I build credit as you know, a young person starting out the world right out of college and everything?

That's a great question. So

one of the things that I did for my daughter's when they turned 18,

was to deposit some funds into a savings account and then I made a loan in their name against those funds.

It's a great way to begin to build a credit history, very low interest rate

no prepayment penalties, and basically you're essentially borrowing from yourself. So that does go on your credit report.

Another thing that I did was when they were ready to buy their first car I co-signed for them. Mm-hmm

They got a really great rate and they're establishing that payment history and building their credit score.

Something else that can be done would be a student Visa.

We offer secured credit cards with very low interest rates, and we also offer student Visa's. So if you're in college

you just need to show us your proof of income and

we'll grant you a two hundred and fifty dollar credit card to start building that credit history. Now with the secured Visa you would

essentially borrow against your own funds there as well

but you would have that Visa credit card in your name. The thing that you need to be careful of though

Is that once you begin to establish that positive payment history

especially with credit cards, you're gonna start getting offers in the mail on a daily basis.

And so when that happens you have to be very careful that you don't

accept all those offers because number one, you're gonna lower your credit score

because they're gonna run your credit history every time you apply for a credit card and

number two, most of those cards have very high interest rates and very high fees.

You don't want to get into any type of debt where your interest rate is gonna be twenty one or twenty four percent.

Because those minimum payments that you're making, while that's great, and it's great to build your credit history that way

those minimum payments are mostly gonna go to interest and you're gonna find that that balance is not gonna move.

So for those of us that might have fallen into that

How do we get ourselves out of that debt and get our credit back to where it needs to be?

Well a couple of things there, if you've been making those minimum payments, that's a great thing

so you would probably qualify for small consolidation loan.

It's a simple interest loan where as credit card interest is compound, and so with that simple interest loan

you pay off all of your credit cards and then you just make one payment. The key

there though is you have to stop charging. Mm-hmm

So quite often people will make consolidation loans free up those credit cards and then go and charge themselves back into debt.

So you do have to have some discipline there

The other thing that you may want to consider would be to apply for a six point nine nine percent

interest rate credit card with GNO

Our credit card rates are from six point nine nine to eighteen percent

And so with that, you know having that much lower interest rate than what you're currently paying

will help you to get out of debt as well. Absolutely. Great.

Thank you so much. I think that's all the questions I have. You're welcome. Talk to you soon. All right

For more infomation >> How Do I Build My Credit - Duration: 3:24.

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Mars in a Minute: How Did Mars Get Such Enormous Mountains? - Duration: 1:01.

[ ♪ ]

Mars in a Minute

How did Mars get such enormous mountains?

Mount Everest may be the

ultimate climbing challenge on Earth,

but it has nothing on the volcanoes of Mars.

Olympus Mons on Mars is more than twice as tall!

How did these mega-moutains form?

Early on, Mars had really active volcanoes,

fed by hot, rising blobs of rock from deep inside.

But Mars doesn't have tectonic plates that move over hotspots,

like in Hawaii.

So instead of getting a chain of volcanoes,

you could keep building one huge one.

And, with the lower gravity on Mars,

that magma could be pushed to great heights.

On any planet, a lot of what it looks like outside

is tied to what goes on inside.

Studying how heat flows out from a planet can tell us a lot.

NASA's InSight mission carries a special probe

to burrow down and measure heat flow.

That can teach us not just about how Mars works today,

but how it - and all rocky planets - form,

including Earth, and even planets in other solar systems.

NASA Jet Propulsion Laboratory

California Institute of Technology

For more infomation >> Mars in a Minute: How Did Mars Get Such Enormous Mountains? - Duration: 1:01.

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How to Achieve the Sustainable Development Goals | SDG Academy on edX - Duration: 1:23.

For more infomation >> How to Achieve the Sustainable Development Goals | SDG Academy on edX - Duration: 1:23.

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Survival MD PDF Review-Survival MD Book By Dr. Radu Scurtu-How To Treat An Ill Person In A Disaster - Duration: 2:49.

Robert Grey, a mechanic who is about forty years of age, has put together a new survival

guide which is quite comprehensive and can help an ordinary person to acquire the skills

and knowledge which can be useful when confronted with emergency situations, especially in times

when providers of health care and hospitals are not easily accessible.

Click the link in the description below this video for details.

According to Robert, the primary cause of death from emergencies arises because of infection

and disease, and this is where the system in America is lagging behind first world countries

in its ability to cope with such situations.

This has been amply demonstrated when the natural disaster Katrina struck, it found

Americans not having access to enough of medical supplies as well as providers of health care.

According to his claims, that is what inspired him to collaborate with a Romanian doctor,

Radu Scurtu, to create a course that could impart knowledge to ordinary Americans, so

that they could use the techniques used in third world countries to prevent illnesses

and diseases that are a consequence of major disasters.

Besides the main Survival MD guide, the two authors, Grey and Scurtu also offer as a bonus,

a report with a title, �How to Survive Without Prescription�.

This information can be very useful in finding alternative medicines that can help you to

remain healthy, when prescription medicines cannot be accessed.

Survival MD can allow you to survive and remain healthy during a disaster, even when medical

professionals are unavailable.

You will learn how to put together a first aid kit, how to make a quick diagnosis so

that the right treatment is administered, how to use alternative medicines, and a lot

of other things.

This course, the Survival MD, has been written so that it can be easily understood by the

layperson and does not require you to be a medical professional.

Reading this can equip you in just the quarter of an hour to be prepared for medical emergencies

and be more knowledgeable than many professionals from the developed world.

The information is based on Research and Experience.

It took Robert Grey ninety days and the expenditure of some money before he could put together

the information given in this guide.

According to him, he traveled for months through different countries to gather the information

relevant to medical survival, and the guide also takes Dr. Radu�s experience and knowledge

into account.

That is why this guide is pretty unique and contains information that we didn�t see

in other survival guides.

The program laid down in Survival MD is cost effective.

It can give you knowledge and skills that will help you to deal with any disasters without

requiring any reference to hospitals and medical professionals.

If acquire the Survival MD guide and you are in any way dissatisfied with it, Rob Grey

promises that you will get a full refund.

Click the link in the description below this video for details.

Cong Minh blog

Thứ Ba, 28 tháng 8, 2018

Youtube daily how Aug 28 2018

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