News on Youtube Sep 5 2018

[music playing]

♪♪♪

I was trying to meditate and trying to climb

to a higher elevation inside of the mind,

beginning to find a place where I'm finally free,

get away from the day and define what is me.

But, I'm not where I wanna be yet.

Every day is a pain in the neck, and it has an effect.

So I gotta project into another land

and try to connect to something that I understand.

I felt lost in a trance, so I took a chance to focus on the heart.

I'm in a circumstance and it could fall apart

in my hands from the start, so it's critical to

focus on the present and the physical will.

I'm headed for a journey that is pivotal

through my subliminal mind and it couldn't be real.

Just focus on the way that you feel.

Nothing could prepare me that day.

I fell into a dream, but was torn away.

I remember all the love overcome by fear,

simple moment so clear, so clear, so clear

and when I go back I know what I'll do then.

I'll try to make everything right again.

I can see it far away, so I know it's still here.

Simple moment so clear, so clear, so clear

right hear, right now.

Infinite images so vivid

bellowing into thick clouds

delivering me where I'm bound,

suspended and floating around past the limit.

I'm in it and seeing a sound that ripples the air

whenever I shout as I call for a way to get out on the ground

'cause I don't know what this is about.

I don't know just where I'm at,

a dimensional parallax and I can't relax.

So I try to return,

but I just collapse my left side like a heart attack and

my eyeball's farther back.

Then I realize

that somebody tries to describe how I can arrive.

I awake to a land of paper mache that's fake,

but I do know that I am alive.

Nothing could prepare me that day.

I fell into a dream, but was torn away.

I remember all the love overcome by fear,

simple moment so clear, so clear, so clear

and when I go back I know what I'll do then.

I'll try to make everything right again.

I can see it far away, so I know it's still here.

Simple moment so clear, so clear, so clear

right hear, right now.

I yearn to return but I see the challenges.

My analysis?

Everything seems so free and fabulous,

but I get stuck in a dream paralysis.

Fact is, I could fly again through the oxygen and the nitrogen.

If I try to win, my mind begins the limiting

product of my own conditioning.

And the people I speak to see a facade

like it's all in my head and I'm being a fraud.

I'm not playing a trick. I'm just being legit.

This whole plane of existence is infinite.

If you disagree, well, eventually when we

leave this place of the sensory, then we'll see.

So I'm not gonna place any bets,

but until then, I'll never forget.

Nothing could prepare me that day.

I fell into a dream, but was torn away.

I remember all the love overcome by fear.

Simple moment so clear, so clear, so clear

and when I go back I know what I'll do then.

I'll try to make everything right again.

I can see it far away, so I know it's still here.

Simple moment so clear, so clear, so clear... ♪ ♪

For more infomation >> Deepwise - Simple Moment (So Clear) [OFFICIAL MUSIC VIDEO] - Duration: 4:04.

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

new sravana masam muggulu | Simple chukkalu rangoli | Latest melikalu with dots | easy kolam designs - Duration: 1:03.

COPY RIGHTS

For more infomation >> new sravana masam muggulu | Simple chukkalu rangoli | Latest melikalu with dots | easy kolam designs - Duration: 1:03.

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

How To Use A De-Esser On Vocals (Quick + Simple) - BehindTheSpeakers.com - Duration: 16:01.

In this video, you're gonna learn how to use a de-esser on vocals.

But before we dive in, make sure you download my free vocal mixing cheatsheet, which is

packed with tips and tricks that will help make your vocals sound more professional.

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

Hey, this is Jason from Behind The Speakers, and I have a song here called "Heroes of

Hope" by Clean Green Music Machine.

And the first thing I want to talk about is why you should de-ess, because a lot of people

use de-essers but they're not really sure what they're for.

So let's take a listen to the vocals in verse one, and I want you to notice how loud those

s's are compared to all the other words and phrases in the vocal track.

Take a listen.

♪ Seein' all we are ♪

♪ With superpower vision ♪

♪ A worried world that needs us to keep it level spinnin' ♪

♪ We're wise and we're ready to try ♪

So those s's just sound like they're much louder than everything else.

And this can happen as a result of mic placement, or boosting top end on an EQ.

But a de-esser's job is to turn down the level of those s's so they sit evenly with the rest

of the words and phrases in the performance.

Now, you might be thinking, well how do I know if the s's are too loud?

I'm not really sure.

The truth is, we all have a natural, intuitive sense for what the human voice should sound

like.

Because we spend so much time every day listening to the sound of the human voice.

So whenever you're unsure, just close your eyes and imagine that singer is right in front

of you.

And ask yourself, if that singer was right there in front of you, would those s's sound

like they were too loud or would they sound like they were sitting at an appropriate level.

And that will always lead you in the right direction.

Now the first thing I wanna mention before we talk about using a plugin de-esser to fix

this problem is that one of the easiest ways to solve s's that are too loud is actually

to go through the vocal and just automate them down manually.

So whenever you have a vocal where there are only a few problem spots, maybe just a few

s's that are poking out, instead of using a plugin, just go through the vocal track

and draw things down with automation.

So what we can do here, if we zoom in, is whenever there's an s…

♪ Seein' all we are ♪

So there's one right at the beginning there that sounds too loud.

I'm just gonna draw that down manually with my mouse.

♪ Seein' all we are ♪

Still a little bit too loud, but sounds much better.

So you can actually do this manually, and in many cases if you're dealing with a vocal

where there's just a couple of spots where the s's are a problem, this is the most transparent

way to do it.

Now obviously, in many circumstances this is gonna take way too much time, especially

if you have a vocal where there are just tons of s's.

So in some cases this is not practical.

But in some cases it can be a great approach.

So I'm gonna talk about how to use a de-esser now.

Which in most cases you'll find is a much more graceful way to go about fixing this

problem.

It just takes a lot less time.

And the first question that people often ask is, where do you put the de-esser in the signal

chain?

Do I put it before the compressor or the EQ?

Do I put it after?

And what I like to do is put the de-esser as the last plugin in the line.

So after my EQ or compression.

And the reason for this is because when we're de-essing, if we add EQ, for example, after

that de-esser and then boost a bunch of top end, oftentimes we'll find that those s's

get brought out again and we have to apply another layer of de-essing or go back and

adjust our de-esser again to fix the problem.

So by putting it at the end of the signal chain, we basically can tackle all the s's

just in one spot.

And we don't have to worry about applying different layers of de-essing or going back

and fixing the de-esser a million times.

It's just a much cleaner way to go about fixing these types of problems.

So I'm gonna add a de-esser here as the last plugin in the line.

And when it comes to choosing a de-essing plugin, now in most cases I'm not a big fan

of telling people you need this plugin or that plugin, but when it comes to de-essing

I have found that plugin choice does matter.

There's a big difference between de-essers.

And some of the stock de-essers, particularly the one in Pro Tools just don't do a great

job.

So I've tried lots of different de-essing plugins and I've found that this FabFilter

Pro-DS is one of the best ones out there, if not the best one that I've tried.

Now they're not paying me to endorse this plugin.

I've just found that this is one of the best tools out there when it comes to de-essing.

So if you're struggling with de-essing, if you feel like you're not really getting the

results that you're looking for, you may wanna look into investing in a third-party plugin

like the Pro-DS.

Now the first thing that I'm gonna do here, once I've instantiated this plugin, is set

up the sidechain filter.

The sidechain filter basically controls what the de-esser is listening to and what it's

using to make decisions about when to pull things down.

Now de-essers don't listen to the full frequency spectrum of the vocal when they're making

decisions about when to de-ess.

They just listen to a very small slice of the frequency spectrum.

And they use that slice to make decisions about when to turn things down, when to actually

apply the de-essing.

So you want to make sure that that slice is the slice of the vocal that contains the s's.

Otherwise the de-esser's not gonna be listening to the right information, and it's not gonna

be able to make the right de-essing decisions.

So on the FabFilter here, this sidechain filter is down here at the bottom left.

On your de-esser it might be in a slightly different spot.

But there's this audition button here that basically allows us to just listen to the

sound of the sidechain.

Which is basically like listening to what the de-esser is listening to in order to make

decisions about when to de-ess.

So I'm gonna solo the vocal.

So now we're just listening to the vocal.

And the whole idea here is we wanna set this sidechain filter so that we're hearing as

much of the s's as possible, but as little of the other parts of the vocal that we don't

want the de-esser to respond to as possible.

So it's this balancing point between we wanna maximize the sound of the s's and minimize

the sound of all the other stuff on the vocal.

So let's take a listen and I'm gonna adjust this.

♪ Seein' all we are ♪

♪ With superpower vision ♪

♪ A worried world that needs us to keep it level spinnin' ♪

♪ We're wise ♪

So I think this is at a pretty good spot right now.

I'm hearing a lot of those s's but I'm not hearing a ton of the good stuff on the vocal

that I don't want the de-esser to start reacting to.

But if this filter was turned down much lower, take a listen now.

♪ Seein' all we are ♪

♪ With superpower vision ♪

So you can hear that we start to hear the character and the tone on the vocal where

the s's are not appearing.

And that's an example of a sidechain filter that's set incorrectly.

So you really wanna make sure to set this appropriately for each vocal that you work

with.

Because the s's can appear in different spots depending on the vocal.

Male and female vocals often will have s's that appear in dramatically different places,

for example.

So you wanna make sure to set this appropriately for every vocal that you're working with.

So we've set that, now I'm going to un-solo the vocal so now we're listening to the vocal

in context with the rest of the mix.

Now the next thing that you might ask yourself is, on most de-essers you have a choice between

wide band mode and split band mode.

These two modes that you can use to de-ess.

Wide band mode basically says, whenever the de-esser hears a problem and turns it down,

we want the de-esser to turn down the entire frequency spectrum of the vocal evenly.

Almost like you were just grabbing the fader on the vocal and turning it down.

Split band de-essing on the other hand, says whenever the de-esser applies de-essing we

just want it to take out a chunk of the vocal.

Ideally, just where that s is in the frequency spectrum and we want everything else to just

kind of remain there.

Now you might think that split band de-essing would be more natural and in some cases it

can sound better but in the vast majority of circumstance I've found that wide band

de-essing is the most transparent way to go about de-essing.

In some cases you'll find with split band de-essing when you start to use split band

de-essing and the de-esser just pulls out a chunk of the s but leaves another part of

the s in the s's can start to sound very odd and unnatural.

They can start to dull out where you still hear the low end and the mid range of the

s but not the top end.

It just starts to sound like the character of the s's changes in a really weird way.

Wide band de-essing on the other hand is just gonna turn down the entire s evenly.

So it's a much more natural way to go about de-essing.

Almost like if you were going through and just turning down the fader whenever those

s's appear.

Split band de-essing I find more useful when I'm using a de-esser for something that isn't

de-essing vocals.

Like you can use a de-esser for example, if you have a electric guitar track where you're

just hearing a lot of that kinda fizzy top end on the top of the track and you can use

a de-esser to just turn that stuff down.

Or an acoustic guitar where I'm hearing too much of the kinda brightness and the pluck

right on the top end.

Those are other circumstances in which you might use a de-esser and in those cases I

think split band de-essing can be more useful.

But when I'm working on vocals, 99 times out of 100, wide band de-essing, I find, is the

way to go.

Okay so now that we've set that up there are two controls here on the de-esser that basically

control how the de-esser reacts.

Threshold and range.

Threshold basically controls when do we want the de-esser to start reacting to those s's.

How loud do they have to be in order for the de-esser to be triggered.

So we wanna set the threshold low enough where we're seeing that the de-esser is reacting

to those s's.

Range control on the other hand says, what's the maximum amount that we want that de-esser

to be turning down those s's.

So the higher the range control is, the more aggressive the de-esser is gonna react to

those problems.

Now, in practice I've found that it's best to adjust these controls in tandem and in

context with the rest of the mix.

So you never wanna be soloing the vocal and making these decisions when you're just listening

to the vocal on it's own.

We really wanna be listening to what that vocal is doing, how it's sitting with the

rest of the tracks in our mix.

So that's what I'm gonna do.

I'm gonna listen to the vocal with everything else and adjust the threshold and range controls

until I feel like those s's are sitting in an appropriate spot compared to the rest of

the words and phrases in the performance.

♪ Seein' all we are ♪

♪ With superpower vision ♪

♪ A worried world that needs us to keep it level spinnin' ♪

♪ We're wise ♪

♪ Seein' all we are ♪

♪ With superpower vision ♪

♪ A worried world that needs us to keep it level spinnin' ♪

♪ We're wise ♪

So to my ears that sounds much better.

So let's take a listen before and after the de-essing.

And again I want you to just listen and zero in on how those s's are sitting in the vocal

track compared to the other words and phrases.

This is without de-essing.

♪ Seein' all we are ♪

♪ With superpower vision ♪

♪ A worried world that needs us to keep it level spinnin' ♪

♪ Seein' all we are ♪

♪ With superpower vision ♪

♪ A worried world that needs us to keep it level spinnin' ♪

So with the de-esser engaged those s's get turned down and suddenly they sound like they're

sitting evenly with the rest of the words and phrases in the track.

So this is how I would approach de-essing a lead vocal.

This is what I find to be the best approach when you're going for de-essing leads.

Now when you're de-essing background vocals or groups of vocals there are some other things

that you need to pay attention to.

So whenever you have a group of background vocals where there's lots of different tracks

that are all kind of singing the same parts, maybe there's some harmonies, or different

parts that are all singing the same line but slightly differently you wanna make sure that

you de-ess on the individual track-by-track level, instead of applying a de-esser to the

group of background vocal tracks.

And the reason for this is because the s's on all of those individual tracks are gonna

appear at slightly different spots.

And so if you just apply one de-esser on a group of background vocal tracks, that de-esser

is not gonna be able to address those s's on the individual vocal tracks when they appear.

Whenever that de-esser reacts it's gonna turn down all of the tracks evenly.

And so what happens is whenever there's an s on one background vocal track all of the

vocal tracks get turned down.

So the de-esser ends up punching a bunch of holes in this big group of background vocal

tracks when really you only need to solve the problem on that one individual track where

that s appears.

So you can see here I have a group of background vocal tracks but I have a de-esser on each

individual track.

And I'm using layers of de-essing on each individual group of background vocal tracks

instead of just putting it on the bus where I have 20 different background vocals that

are all being fed into this group and I'm just applying one layer of de-essing there.

This is gonna give you much more transparent, natural sounding results.

The other thing you just wanna make sure when you're applying de-essing to a stereo track

where there are two vocal tracks, maybe there's a vocal that's panned to the left and a vocal

that's panned to the right, you wanna make sure that you're using what's called multi-mono

de-essing.

So you can see here in Pro Tools, and your dock might be different there are two choices

here when we instantiate a new plugin.

We can use multi-mono or we can use multichannel.

Now multichannel is gonna link the left and the right sides of the de-esser.

So basically whenever the de-esser hears an s, it's gonna turn down the left and the right

sides of this track equally.

But if there are two separate performances, there's one vocal on the left side and then

there's a different take of the vocal on the right side, those s's on those vocals might

appear in slightly different spots.

So we actually want the left and the right side of this de-esser to be reacting independently

of each other.

We don't want them to be linked.

We want the de-esser to make independent decisions about when to turn down the s's on the left

side and when to turn down the s's on the right side.

So whenever you have a situation like this where maybe you have a harmony vocal or a

background vocal where there are left right vocals, where there are two different takes

on the left and the right side, you wanna make sure that you're using multi-mono de-essing.

Now I hope you found this helpful and if you wanna dive deeper don't forget to also download

my free vocal mixing cheatsheet which is packed with tips and tricks that will help make your

vocals sound more professional.

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 plugin

chain for mixing vocals?

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

Thanks so much for watching and you can check out more mixing videos like this one right

here on my YouTube channel or at BehindTheSpeakers.com

For more infomation >> How To Use A De-Esser On Vocals (Quick + Simple) - BehindTheSpeakers.com - Duration: 16:01.

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

Coming soon... DIY // Original and simple Kids safety gate - Duration: 1:27.

To give another idea of housing

ATC in collaboration with Gearbest presents: ANNI

Do it yourself… A free plan available for you in the long video description at MyATCtv DIY!

You like our weekly projects??? Support us by sharing this short video!

Share and subscribe via the link below in the video description.

New DIY videos released every Tuesday

ATC for another idea of housing!

Subscribe and follow us

For more infomation >> Coming soon... DIY // Original and simple Kids safety gate - Duration: 1:27.

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

Simple Kolam Design 7 -1 Dots | Muggulu latest Designs | Rangol - Duration: 11:05.

Simple Kolam Design 7 -1 Dots

For more infomation >> Simple Kolam Design 7 -1 Dots | Muggulu latest Designs | Rangol - Duration: 11:05.

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

How To Stop Hitting Behind The Golf Ball (SIMPLE FIX!) - Duration: 7:51.

Hey, guys, Eric Cogorno here with Performance Golf Zone.

In today's video, we're going to talk about how to stop hitting behind the golf ball.

I want to explain why it's happening, what you need to do to correct it, and then how

you can practice it with a couple simple feedback drills.

So, in terms of hitting behind the ball, let's first sort of define what we want to do, and

then we'll talk about, what are the ways and things you can do to stop that from happening,

and I'll give you some drills to do.

Now, I'm going to pull a simple alignment rod.

Now, we're on a mat here, on which an alignment rod here will work fine.

If you're on the grass, you can use, sort of, spray-paint a line or just have a line

as a reference.

A piece of tape, something like that would work fine.

Now, what I'm going to do is, I'm going to put this alignment rod basically straight

in line with the golf ball on the ground.

So, the point here is, obviously, when we're hitting too far behind the ball, that compromises

our contact, compression, distance the ball goes.

We want to fix that.

So, the goal would be, if I were to take a normal setup here, if we watch good golfers,

their club will come down, will strike the ball first, and hit the ground second.

So, if I remove this golf ball, and that's the line where it normally is on, what we

want to be able to train to do is have the club head hit in front of the line where our

golf ball would be.

That's the first piece of this.

So, when someone would come in to train this in person, if we have solidness of contact

issues, I will put a line on the ground, we'll set up as if the golf ball's right on it,

and we'll start with little short swings, just chip length, and get you getting that

club head to hit the ground in front of it.

So, just little short, foot-long swings just to understand, "Hey, this is what I'm trying

to do here first.

Can I get the club head hitting the ground there in the right spot?"

After you can do this with little half-swings, I'd typically want somebody to be able to

do three to five in a row like that, we'd gradually build up swing length and speed.

So, if I can do it from a little half-swing, I would then kind of build into about a three-quarter-length

swing to do it, and then, eventually, I'd go into my full-length swing, just being aware

of where the club head is hitting the ground relative to the line.

Obviously, you have to be careful with this alignment rod in terms of hitting it and the

feedback you would get.

Just a simple piece of tape or spray-paint on the ground would be ideal here.

But, that's the first concept.

Obviously, we're trying to not hit behind the ball.

We want to hit in front of it.

Now, what are the factors that influence where the club hits?

Well, there's a couple involved, but there's two main influencers here.

The first part is weight distribution and/or where your body is in space, meaning, if I

took a normal setup, let's say I'm 50/50 with my weight in my feet, the more I move me,

my mass of my body, to my right or to the right of the golf ball, the more I do that

anywhere in my swing increases the odds of me hitting behind the ball.

Sort of, loosely, if you were to imagine your low point is associated with where your sternum

location's at, the more that I turn to the right and shift to the right, the more my

chest is to the right, the more I'm going to hit behind the ball, or at minimum, I have

to do a lot to get back to neutral at the golf ball.

So, where I shift where my body is, obviously, if I go to the right, that makes it harder,

but then, also, if I stay to the right, if I'm too far to the right with my body and

my weight in my feet, the odds of me hitting fat shots increase dramatically, where I'll

hit more fat shots compared to if I'm more left.

And then, the opposite of that becomes true, meaning, if I had me being more middle, I

don't want you to be way left when you go back, but if I stayed somewhat centered over

the ball, my sternum location is still right over it, decreases the odds of fat shots.

And then, during my downswing, I want to be moving a little bit to my left.

So, if I wanted to never hit a fat shot again, completely eliminate it, I would be 50/50

with my weight in my feet at address, my head would be right over the golf ball.

As I went back, I'd stay relatively feeling like I'm 50/50.

I'd stay turned pretty much centered, not a big shift to the right, and then I would

shift with my weight and a little bit of my body to the left.

The more I move me to the left, you could imagine, if that line is still on the ground,

more of my body to the left would certainly be easier to have the club hit out in front

of the ball.

More of my body to the right would make me hit more behind it.

That's point number one.

The second part with hitting in front of the line is rotation.

So, in a simple sense, the more I rotate during the follow-through, the more my body is open

to the target.

Again, imagine my sternum location, I said.

Not only where it is in space, right or left, influences where I'm going to hit the ground,

but also, where it is in space, right or left, in terms of rotation.

The more it's pointed to the right, obviously, how am I going to get that club up in front

of the golf ball from here?

It's very difficult.

If I'm pointed to the left, I'm already pointed in front of the golf ball, very easy for me

to hit in front.

So, that would be the second piece I would do, which would be, I would want to have the

most body rotation, or turn my body more towards the target to increase the odds of hitting

in front of the line.

If it was like a life-on-the-line type of thing, I would do those two the most, meaning,

first, I'd get myself to the left of the line with weight in my feet and my body during

the downswing.

I'd also open up a lot.

I'd turn a bunch.

That would make it easiest for me to hit in front of the line.

And test that for yourself.

Put that line down and try and do it where you don't shift left and don't turn your body,

and you're going to have a heck of a time getting it in front.

If I enable myself to turn and shift left, it's going to be a whole heck of a lot easier.

That would be the first part that I think that I would do to get hitting behind the

ball.

Put the line on the ground.

See what feels you need to have to do it.

Look at these two pieces first - weight transfer and turn.

The more you do those two, the easier it's going to be.

Now, the last thing I would do from a drill perspective to check is, I just have a towel

here, and you could use a towel, a head cover, some sort of object behind you.

What I do is take a normal-sized towel, maybe you could just use a beach towel or a bathroom

towel, and I would put this behind the golf ball.

So, if I fold it over once or twice, and I put the towel, typically, I'll put it roughly

about a grip, maybe a little bit more than a grip behind the golf ball and have it somewhat

level, and I'm using this as a reference point.

So, when I make swings, I want to the have the towel just high enough off the ground

where I know, if I miss that towel, I'm going to hit the ball solid and not hit behind it.

So, I'd probably have the ball just slightly farther back here, and I'm going to rehearse

those two feels.

I'm going to want to miss the towel.

I want to make sure I shift left, and open as I go.

Those are going to be my two main pieces.

We'll go ahead and demonstrate while I'm here.

And that was a nice ball, first contact.

And, again, whether you choose to use the towel, you can use the alignment rod as feedback,

you want to have something where you know, "Hey, if I miss this object, I've done this

correctly."

Again, shifting to the left and turning will help me get rid of my fat shots.

And there's another pretty solid ball for a strike there.

So, line on the ground, towel behind for feedback.

Understand that you want to move more of you towards the target.

You want to turn more to decrease the odds of fat shots.

If you catch yourself hanging back on your right or shifting too much to the right in

the beginning, you want to fix that.

If you notice you don't have enough rotation during the downswing follow-through, you want

to fix that piece too.

So, look at those parts first.

Hope that that makes sense.

If you guys liked this video, click the Like button down below, click the Notification

bell.

If you haven't subscribed, please do, and leave us a comment if you guys have any questions.

For more infomation >> How To Stop Hitting Behind The Golf Ball (SIMPLE FIX!) - Duration: 7:51.

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

Simply Simple 2-MINUTE TUESDAY TIP - Double Duty Shammy by Connie Stewart - Duration: 2:27.

Hello everybody its Connie with Simply

Simple Stamping.com. Thank you for

joining me for a two minute Tuesday tip.

Hey, not long ago I shared with you some

information about Stampin' Up! brand-new

simply shammy. This is a great cleaning

cloth. I've loved mine; what I shared with

you is how I keep it here in one of our

clear mount stamps cases, how it stays

wet and I wanted you to see this is what

a well-loved shammy looks like! And you

know what? That's exactly what we're

going for

um yeah it'd be great if it stayed that

nice pretty purple forever but you know

what? It's doing it's job when it's like

this. But you know what? The other day as

I was working I came across an idea

where I was going to buy myself a

second chamois and let me show you what

I'm gonna do with it. I cut it in half! I

know some of you are probably cringing

right now and although I love this great

big shammy for when I'm cleaning off my

stamps; but you know what there are times

that a smaller shammy was going to come

in very handy. One for travel we like to

go camping and it's nice to have

something a little bit smaller to take

with me. I especially love it when I'm

using my stamparatus! So I was working

on cards today and I got some ink here

on the side of the stamparatus. Well

it's nice to have this smaller shammy

that I could just come along and clean.

So much easier! I can just throw this in

a ziploc bag, I can seal it up I'm not

even gonna seal it up all the way. I

want a little air to get to that if I

need it

but look that's gonna store well; not

with a stamp in there, so we'll remove

that but you can see that's gonna store

right there with my stamparatus nicely.

It's kind of nice to always have a

shammy when you're working with your

stamparatus. I wanted you to see the

nice thickness of the shammies; these are

not little wimpy shammies they're really

nice and thick. That's what? Probably a

good quarter-inch thick

and of course since that one's going

with my stamparatus I've got an extra

one here! This is going to be great to

either leave in another area with my

other stamping supplies or in my travel

bag because yes, I do have a stampin

travel bag! So guys there is a great tip

for you, why not buy an extra shammy?

They are only eight dollars here in the

U.S. so they're very

affordable. Go ahead and cut one up that

makes it four dollars a piece, you can't

beat that right?

For more infomation >> Simply Simple 2-MINUTE TUESDAY TIP - Double Duty Shammy by Connie Stewart - Duration: 2:27.

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

simple life hacks - Duration: 5:30.

For more infomation >> simple life hacks - Duration: 5:30.

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

Comment s'amuser avec le prétérit simple - Vlog 68 - Duration: 6:31.

Hello guys and well....

I did forget my sunglasses, so let's just do without

Welcome to this translation contest, in which pupils...

must translate a sentence from French to English.

or how to have fun...

'OH MY GOD'

while using and learning about the simple past.

Here we go!

Welcome to my English classroom.

I was supposed to go outside, but look...!

The class was divided in five groups.

Gimme a name, gimme a name for your team.

New York

Translation contest, we have five teams, five groups:

'OH MY GOD!'

'The best, the killers'

Each group was provided with one dictionary

and one list of irregular verbs

but make sure that you give them the complete list of

irregular verbs, not the simple list of common irregular verbs

The idea is for them to work in groups and to find the best

translation for each sentence.

Give them one sentence at a time.

In this case, their sentence, one sentence is worth two points

Once they have finished, they come to me and then,

I marked their sentence accordingly.

Be careful. They can come only once with their sentence.

Is it fun to learn about the simple past?

Not really, right, but is it possible to make it fun?

Well, it definitely is.

'I caught a mouse'

Great

Number 2

On that note, I'll see you...

...SOON ENOUGH!

And of course,...

...ABONNEZ-VOUS! ^^

For more infomation >> Comment s'amuser avec le prétérit simple - Vlog 68 - Duration: 6:31.

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

Quick Best Easy Simple Vermicelli Sweet Halwa Cooked in Indian Style - Duration: 2:36.

INSTEAD OF SUGAR U CAN ADD JAGGERY MELTED IN WATER

For more infomation >> Quick Best Easy Simple Vermicelli Sweet Halwa Cooked in Indian Style - Duration: 2:36.

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

Cách đong nước nấu cơm đơn giản Simple Cooking - Duration: 1:40.

Simple Cooking Hello to your friends, NBC today Xjn shares

up to you how to estimate the cooking water to not be paste or dry.

The way is so simple you just have to finish the rice in the water.

Shake the rice to divide evenly on the rice cooker.

Then place your finger pointing down the rice face.

The waterline is calculated from the beginning of the finger to a close hand.

If you prefer to eat more or more dry, then you can add or remove the amount of water

if you see or please like and sign up for yourself, thank you.

For more infomation >> Cách đong nước nấu cơm đơn giản Simple Cooking - Duration: 1:40.

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

Simple Linear Regression in Rapidminer - Duration: 4:16.

For more infomation >> Simple Linear Regression in Rapidminer - Duration: 4:16.

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

Tutorial How To draw a Simple Eye and Animate it (eye blinking and moving eyeball) - Duration: 16:46.

OK, without fancy intro, let's start now

First, the important thing you must have is the software, Flash

You can use the latest version of flash such as Adobe Flash CS3/4/5. I'm here just using older one

Make a circle shape

Right click on the circle then 'convert to symbol'

Enter the name of symbol whatever you want

Enter to the symbol (double click on it)

Add a line and follow as I do

Not too precise doesn't matter

Make sure the line goes through the circle

After that, delete the three sides of the circle (make sure to delete three sides first)

Sharpen the corner (optional)

Bend the straight side (pull the sides)

For this not too precise doesn't matter

Copy object

Add new layer

And 'paste in place on the new layer (REMEMBER! paste in place!)

Change the colour to gray or whathever you want

Move the new layer below the old one (drag down layer 2)

After this, the gray not visible because it's behind the white

Move the gray (click on layer 2) with key 'up' and 'right' continously

I changed the colour because gray not cool

Yeah gray a little bit not problem

Next just follow video, hard to explain

Okay, next is eyeball

Don't forget to add new layer to avoid collision (and don't forget to put it in the top order)

Draw other circle shape on the new layer

For position follow video

The size is free you want. Follow video if wanna make it cool

Next step is for make more cooler, make the eyeball 2 colour (menu 'color mixer' click 'solid' then 'linear')

Because vertical is look weird select menu 'gradient transform tool'

Drag the white small circle in the corner of the shape to down (until horizontal)

Drag the white small square too to slightly up for make it even cooler

Adjust color

The next step is add new layer again, and once again make it top order

Make circle again in the eyeball

Free colour

And the position right in the center (not too precise doesn't matter)

Add new layer again and make small white circle (make sure top order)

For position follow video

Or you can free change the position whatever you want

Add one more small circle (optional)

Exit from symbol (double click on the empty area or click on the blue arrow in timeline)

Alright.. because the eyeball still off track, enter to the symbol again

Ups.. please wait XD

After in the symbol again, copy the first white shape

Add new layer and paste on the new layer (top order)

Remember 'paste in place'

What you see is not a mistake, this is the rules

Right click on the new layer, select 'mask'

After that drag 2 layer which still white, drag right below to blue square (follow video if not understand)

The function of the mask is like crop. Plus the crop's shape can be adjusted. And can be for some layer or all layers

Exit from symbol and we done drawing eye. Next is add one more eye

Not necessary to draw over from zero, just copy paste the symbol

Don't forget to paste in new layer

Adjust position

Because the results look symmetrical, right click on the new symbol and select 'duplicate symbol'

Free name you want

Enter to the new smbol and adjust two white small circle (if you can't moving that object, click lock image in the timeline)

A pair of eyes is done, next is animate it

Add frame in timeline, for example I wanna do add in frame 100. Select the three layer then select 'insert frame'

Next is just follow video

This is an eye movement that will close

Add curved line, thicken the line, free line color

This is a movement that eye is completely closed

Because the position is not right, select 'onion skin' in timeline (follow video if you don't know where it is)

'Onion skin' functions as showing two frames before and before, but cannot be edited. That way you can find out the position in the previous frame

If the position is correct, turn off the 'onion skin' function

For eye-opening movements, follow video

OK, The winking movement is complete. Let's test it (ctrl + enter)

Seems slow huh?

Double click on '12.0 fps' and then change frame rate to 30

Test again

Beautiful right?

Next is last step: moving eyeball

I'm removing The winking movement because it will interrupt this step

Enter to the first symbol

Then add frame as usual

And follow video of course

The first movement is done, make sure that you choose the three layer to move is contain the eyeball component

Okay, moving eyeball is done, do the same thing in the second symbol

This is will happen if you just do one of those symbol

Please remember that the timing movements must be right. So remember the number of frame that the eyeball starts to move and stop

So if you don't want pain in the ass just write it in notepad

And adjust the position of eyeball

Okay it's done. Let's test it

Moving eyeball is completely done :D

How's the result? Awsome right? You can create your own eyes, such as shrinking the eyeball, changing color, or combining it with an eye blink, etc.

And thank you for watching this long video, hopefully this video is usefull for you. If there is anything to ask, don't hesitate to leave a comment, good bye~