Waching daily Sep 25 2018

There are tons of compression tutorials out there, but if you feel like you've seen

them all and your mixes still lack punch or impact, you probably need to take a step back

and focus on the fundamentals.

That's why in this video we're going to cut through all the noise, and cover the only

ten compression tips you'll ever need.

But before we dive in, make sure you download my free compression cheatsheet, which will

help you make the most of all these tips while you're mixing.

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

Tip number one is to know why you're using it.

Now it sounds obvious, but whenever you add compression, you should have a reason for

it.

And if you're applying compression but you're not really sure why you're using it, you're

probably pointing yourself in the wrong direction.

So one of the challenges with compression is that there are so many different effects

and sounds that we can achieve with it, and it makes it confusing to figure out when we

should actually use it and when we shouldn't.

The way that I think about compression is that it's a very specific tool for controlling

two things - macrodynamics and microdynamics.

Now macrodynamics are the larger shifts in level or volume that occur over the course

of a performance or a song.

So a great example would be - let's say you record a vocal, and maybe in the verse

the vocalist is singing kind of quietly, and in the chorus they jump up in level, and they're

singing more passionately, and so the level or volume of the vocal increases dramatically.

So those are macrodynamics, that big shift in level from the verse to the chorus.

And we can use a compressor to even this out so that there isn't as big of a different

between those verses and those choruses, and that can allow us to balance the vocal more

effectively in the song that we're mixing it into.

Microdynamics on the other hand are the smaller shifts in volume that actually occur on a

very small timeframe.

So a great example would be - let's take a look at just the individual hit on a kick

drum.

And if you were to actually look at that, you would see that at the beginning of that

hit, there's a big spike in volume.

We call that the transient.

And then there's this smooth roll-off that happens as the note, or the hit, decays.

And so we can use a compressor to actually manipulate these microdynamics, these little

millisecond moments of dynamics that happen over the course of that individual hit.

So for example if we want to bring out the punch or the impact on that kick drum hit,

we can use a slow attack time to actually accentuate the transient, or that initial

punch, or that thwack, right on the beginning of the kick drum hit.

So we can use a compressor to manipulate the microdynamics of sounds as well as the macrodynamics.

So these two very specific cases are when you would use a compressor.

And you really want to be clear when you're using compression - are you using it for one

of these two purposes?

And if you're not, there's a pretty good chance that you don't need to be compressing.

Tip number two is to think in extremes.

Now one of the things that trips people up about compression is there are so many different

parameters on a compressor.

We have the attack time, release time, ratio, threshold.

And it can be a little bit overwhelming because there are so many different options on each

one of those controls.

So when you're first adding compression to a track, and you're trying to get that

compression just kind of set up right in the beginning, one thing that you can do to make

your job easier is to think in terms of extremes.

So rather than trying to dial in the exact right setting for the attack time, and thinking

very small in terms of these little moves, start by thinking in terms of fast and slow.

Just ask yourself, you know, do I want a really fast attack time or a really slow attack time?

And maybe you want to listen and try both, and see which you prefer.

And same thing with release time or ratio.

And you can start thinking in terms of these extremes just when you're applying those

initial moves when you're first setting up the compressor.

And then as you get a sound that's kind of right in the ballpark, you can start zeroing

in a little bit and moving in terms of a little bit finer adjustments on each one of these

controls.

Tip number three is to avoid presets.

Now presets can be very tempting because we're not really sure what all the parameters do

on a compressor.

It can feel like it's much simpler to just pull up a preset depending on the track that

we're working on.

So if we want to apply compression to a vocal, we just pull up the vocal compression preset

and it's kind of done for us.

But the truth is in many cases, presets will actually take you in the wrong direction.

A much better approach is you want to get to a place where you really understand number

one - why am I applying this compression?

What am I really trying to do or achieve?

And then, what do these different parameters do on a compressor?

And how can I manipulate those parameters to give me the sound that I'm looking for?

And that way you can fine-tune those parameters to achieve the goal that you're trying to

achieve, instead of just hoping that you stumble upon a preset that gives you what you're

looking for.

Because in some cases presets will help, but in many cases they might actually be the exact

opposite of what you're looking for.

So instead of using presets, focus more on what the goal is, why you're applying the

compression.

And then start to develop an understanding for what the different parameters on a compressor

do, and how they interact to achieve various different results.

And that way you're going to be able to get to the exact goal you're hoping to achieve

instead of just hoping you stumble upon the right answer with a preset.

Tip number four is attack equals punch.

Now when you're thinking about attack time, a great shorthand way to simplify what the

attack knob actually does is to think about it in terms of punch, or impact.

So slow attack times are going to allow the initial punch or impact of notes or hits to

get let through the compressor before the compressor clamps down on a sound, and that's

going to actually accentuate the punch or the impact of a track.

So if you want to make something sound punchier, more impactful, if you really want to hear

for example the thwack right on the beginning of a snare drum, or if you want the vocalist

to sound like they're really spitting out the consonants and the percussiveness of their

vocal performance to come through very clearly, then a slow attack time is going to give you

that type of sound.

On the other hand, a fast attack time is going to actually turn down - and in many cases

remove - a lot of that punch and impact, resulting in a sound that sounds softer and much less

impactful.

So if you have a track that maybe sounds a little bit too punchy, maybe you want to mellow

it out a little bit, you want to kind of push it back in the mix so it doesn't sound like

it's so, the impact is so aggressive, then using a fast attack time will give you that

type of result.

So in this case, it's a matter of having a clear goal, right?

Knowing what am I trying to do with this track?

Do I feel like there's too much punch or not enough punch?

And then using that attack knob as a tool to manipulate the punch of the track that

you're working on.

Tip number five is release equals low-level detail.

Now one way to simplify thinking about the release time is to think about it as a control

that allows you to determine how much of those low-level details, those quieter moments in

a track, get brought up.

So the release control controls how quickly the compressor lets go after it compresses,

and a fast release time is going to tell the compressor to let go very quickly.

And the result is that a lot of the low-level stuff in the track - the quieter parts in

the performance - get brought up.

They actually get much louder.

So if you feel like you want to bring up a lot of that detail - take for example if you're

compressing a vocal - the tail ends of the phrases, the quieter breaths, the little subtle

details on the performance that often get lost, then setting a fast release time will

allow you to do that.

On the other hand, if you don't want to bring up a lot of that low-level stuff and

you want the compression to just kind of control the track, but you don't really want to

bring up a lot of that low-level detail, setting a slower release time can give you that type

of effect.

So again, another great example of having a very clear goal, knowing what we're trying

to achieve, and then using the release time in this case as one of the parameters that

we can manipulate to get there.

Tip number six is ratio equals intensity.

So a great shorthand way to think about ratio is it's a control that basically determines

how aggressive or how intense the compressor is.

So higher ratios are going to tell the compressor to clamp down on sounds much more aggressively,

and that effect is going to be much more noticeable.

You're going to hear the sound of the compression much more.

So if you're trying to really control tracks, and really squeeze things, or if you have

tracks that are wildly dynamic where there are these huge differences between the quiet

moments and loud moments, you really want to rein things in, higher ratios will allow

you to do that.

Much more aggressive of a sound, whereas lower ratios are going to be much more transparent

and natural and gentle.

So if you're really just trying to subtly control the dynamics of something, lower ratios

are going to give you that.

So thinking of ratio as a control that will basically allow you to determine how intense

the compressor is is kind of a shorthand way that hopefully will simplify setting that

parameter for you.

Tip number seven is to avoid the solo button.

Now whenever we're applying any processing in our mix, especially compression, we're

not trying to make tracks sound good on their own.

Really what we're focused on is how do we make all the tracks in our mix fit well together.

How do we make them sound good as a single unit.

Because that's how people are going to be listening to this mix at the end of the day.

No one cares how the kick drum sounds like on its own in solo, all that matters is how

that kick drum sounds with everything else.

So when you solo a track - let's say a vocal - you start compressing it, you're no longer

hearing how that vocal track is fitting in with all the other tracks in your mix.

And so while your compression decisions might make that track sound better on its own, oftentimes

those same decisions can make things sound worse in context with everything else.

So a better approach when you're compressing is to avoid the solo button, and make all

of your compression decisions in context.

Meaning when I'm compressing a vocal, I'm not soloing the vocal and listening to the

vocal on its own, I'm listening to the vocal with everything else in the mix.

And oftentimes you find that you have to compress a lot more aggressively when you do this.

And maybe you solo the vocal and suddenly it sounds a little bit over-compressed, but

in context it's exactly what was needed.

So avoid the solo button when you're making compression decisions.

Force yourself to make these decisions in context, and your compression decisions will

improve dramatically.

And this goes not just for compression; for any processing you apply within the mixing

process, avoid the solo button.

It's one of the easiest ways that you can improve the sound of your mixes.

Tip number eight is don't forget about automation.

Now when it comes to achieving mixes that sound professional, compression is undoubtedly

a very important part of the process.

But automation is the other half of that process that often gets lost.

So sometimes we think that if we just compress things enough, we won't have to actually

go in there and ride the fader, or kind of use automation to move things around.

And compression becomes this lazy way that we just make everything sit really well together,

and we don't really have to do anything beyond that.

The truth is that in terms of achieving mixes that sound really professional, compression

will get you maybe 80 to 90% of the way there, but automation is a really important part

of the process too, especially when it comes to vocals.

Because even the best compressor is not going to do the job 100% perfectly.

So for example on vocals, if I'm trying to get that really radio-ready vocal sound

where I can hear all the subtle details very clearly, I'll get 80 to 90% of the way there

with compression.

Then towards the end of the mix, I'll go through and I'll actually ride the fader

on the vocal, and I'll turn up the little details the compressor might have missed,

the little moments that might've gotten lost.

And so compression in conjunction with automation gives me that sound that I'm looking for.

So don't be afraid of automating.

Don't feel like you shouldn't automate.

It's absolutely an essential part of the mixing process.

You can use compression, I certainly encourage you to use it, but don't be afraid to really

go in there and get your hands dirty with automation.

And oftentimes the two together is the key to achieving mixes that sound professional.

Tip number nine is to be careful with multiband compression.

Now for those of you who have never used multiband compression, it's basically like a compressor

on steroids.

It's actually multiple compressors strung together in a single plug-in, and each compressor,

instead of affecting the entire frequency spectrum of a track, only works on a very

specific part of the frequency spectrum.

So there might be one compressor that just takes everything in the low end, and one compressor

that takes the midrange, and one compressor that takes the high end - so multiple compressors

working together on a single track.

And at first glance you might think, well this seems like it's better than a single-band

compressor, right?

It seems like it's more impressive, or it might do more for us.

But in many cases I've found that multiband compression can create more problems than

it solves.

So while it's tempting to feel like you should always use multiband compression over

a single-band compressor, I find that in most circumstances a single-band compressor is

all you need.

And I would avoid using multiband compression on the mix bus in particular, because there

are lots of problems that are created with multiband compression - phase, artifacts that

get created between different bands and the different compressors - and it's just not

a very natural way to approach compression.

So I find that multiband compression is a very specialty tool I use for very specific

circumstances.

If you want to learn more about that, I actually have a whole video on multiband compression.

You can check it out by clicking the link above or in the description below.

But I would say in the vast majority of circumstances, single-band compression is more than enough.

Don't feel like you have to use multiband compression just because it's available.

Sometimes the simpler tools are the best ones.

And tip number ten is to test every fix.

Now by and large when it comes to making decisions in the mixing process, we are way too overconfident.

We all feel like every decision we make is making things better.

But in reality, there's a good chance that a good portion of your decisions in the mixing

process are actually making things sound worse.

So part of becoming better as a mixer is not just making more good decisions, it's also

about becoming better at catching yourself in those moments where you're making things

sound worse, and avoiding those mistakes.

Now the best way to do this when it comes to compression is just by using the bypass

button.

So flipping the compressor in and out of bypass, and asking yourself - do I prefer the version

of the track before the compression was applied or after the compression?

But there are a couple of caveats specifically when it comes to compression that you want

to pay attention to when you're doing this.

The first is that you need to level-match the before and the after versions of the track

so that when you flip that bypass button in or out, there's no difference in level.

And because compressors turn things down, oftentimes you'll find that the version

after the compression was applied is much quieter.

So you need to apply in many cases what's called makeup gain on the compressor, and

many compressors will have a knob called makeup gain or output gain.

And you have to boost that so that when you flip that plug-in in or out, there's no

difference in level, and that will allow you to make a fair comparison.

So making sure that you're always level-matching when you're making this comparison is really

important.

The second thing is that we all have this natural bias when we're staring at the screen

and we're watching that bypass button go in and out.

We're going to feel, our brain is going to trick us in many cases into thinking that

the version after the compression was applied sounds better, just because we're looking

at that screen.

And the reason for this is because we just spent the last five minutes tweaking all the

knobs on this compressor, and so why would we have wasted our time doing that, right?

We have this bias to feel like we're making good decisions, and so that's going to trick

us in many cases into thinking that the compression sounds better than the uncompressed version.

So you want to make sure that you're protecting yourself against this bias that we all have

when you're making this comparison.

And the best way to go about this is to use a technique that I call the blind bypass.

So basically what you do is you close your eyes.

You hover your mouse over the bypass button, and you click the mouse - you know - a million

times, whatever, so you don't know whether the plug-in is in or out of bypass.

And then with your eyes closed, you click that bypass button once and you ask yourself

- do I prefer the sound now or the sound before?

And then you click it again and you ask yourself, do I prefer it now or before?

And so you do this a couple times, and you make a decision with your eyes still closed

about which one you preferred, and then you open your eyes and you actually see whether

the plug-in is in or out of bypass.

And this is a much better way to test for these types of decisions, and oftentimes you'll

find that you actually come to a different conclusion if you just close your eyes and

do it this way than if you were actually staring at the screen.

Now if you're ready to dive deeper, don't forget to download my free compression cheatsheet,

which will help you make the most of all of these tips within your mixing process.

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

compressor plug-in?

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 tips like these right here

on my YouTube channel or at BehindTheSpeakers.com.

For more infomation >> The Only 10 Compression Tips You'll Ever Need - BehindTheSpeakers.com - Duration: 18:50.

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Online Reviews: Tips for Responding to Reviews - Duration: 2:31.

Negative reviews are gonna be the hardest because in the moment you're

gonna be upset. So, probably my first tip would be step back, take a moment just to

cool off and come back within a few hours. Usually we recommend 24 hours of

response time just so it's in a timely manner but, definitely getting insights

from other people so it's not just you coming to the review, ready to tell

them why they're wrong. Definitely keeping it short and simple but also

validating their review whether it's dishonest or not. So letting them know

that you appreciate their feedback, that you're really sorry to hear about this

experience that they had because you never want a customer to feel this way,

but letting them know that you really want to talk through this one-on-one and

trying to get that offline. So letting them know will you please reach out

directly to so-and-so giving them their you know direct email or phone number

that they can contact and really just trying to keep it simple because no

matter what you're saying even if you're writing a novel, chances are they're

either one not going to read it because they wrote the review and they're done

or two it's just gonna make them mad and they're gonna go on other channels and

continue to rate you negatively. For positive reviews we usually recommend

that you respond to those as well especially when you respond with

keywords about your business indicating to Google the services that you actually

provide. So even if someone says we experienced you know wonderful customer

service thank you so much we'll be back soon, if you're a hardware store you look

up who that customer is and know specifically they purchased a lawnmower

well when you respond you can say thank you so much we're really glad that you

are enjoying your new lawnmower. You could even put the specific title of

that product and brand and then saying you know something nice just about we

hope to see you soon. TBhat is telling Google that not only are you a hardware

store but you provide equipment and this specific lawn equipment is this model of

lawn mower and so chances are if someone searching that specific lawn mower in

the future you're going to show up. That's really good and you mentioned

keywords it also brought up the idea that on the Google knowledge panel that

sometimes it calls out certain reviews and it bolds that.

For more infomation >> Online Reviews: Tips for Responding to Reviews - Duration: 2:31.

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Beautiful Perfect Cookies Food and Drink Design 2018 - Amazing Cookie Art Decorating 2018 - Duration: 3:16.

For more infomation >> Beautiful Perfect Cookies Food and Drink Design 2018 - Amazing Cookie Art Decorating 2018 - Duration: 3:16.

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I See You - Duration: 0:47.

I see

I come

I conquer

I see you everywhere

I see your eyes

I see your point

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I see blue

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For more infomation >> I See You - Duration: 0:47.

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Take action! Even when you don't know all the steps! - Duration: 4:33.

Hi everyone, so I was talking about this with a client today, but it's also really important for you guys all to realize,

That the importance of taking action and the importance of taking one step after the other without knowing everything that needs to happen,

for you to achieve what you're looking for.

The importance of that is because you never know what the next step is gonna be. If it was revealed to you now,

everything that is possible for you. You would reject it. Your mind would not believe,

the enormity of what you could actually do. And what would happen is you would reject it outright you wouldn't pursue it.

This happens over and over and over to people. And

when that happens... when you reject it, when you forget about it, you go back into your comfort zone,

you decide not to pursue it. You stay where you are.

But in fact, you're limiting what is possible because you don't believe what it is. When I was 13 years old I was

challenged to do a speaking

competition. So, you know public speaking and my English teacher who happened to be my mom...

tried to talk me out of it and she didn't really mean to she just thought that that was not something that I should pursue,

she didn't see it for me. And so I decided not to

listen to her and go for it anyway. When I was on that stage, I was shaking, I was nervous

but I gave a great speech and I ended up winning first prize and then I went to regionals and

I ended up winning first prize again.

I did it two years in a row now if I had listened to my English teacher, she happened to be my favorite teacher,

she was also my mom, if I had listened to her

I wouldn't have pursued that and I wouldn't have realized how much I actually like speaking. But that was a glimpse.

That was the first glimpse of what is gonna be possible for me and I ended up speaking on many stages since.

I've done it in different roles where I was. I even when I was 17

and I was working at McDonald's. I have ended up giving a speech at a staff meeting one day and

I've kind of always been doing that, but there's been other

glimpses in my life of what I was going to be doing.

I was the person that everyone and everyone wanted to come to for advice around sex.

Why is that? Because I have no judgement around it. I'm very comfortable talking about it. I

see solutions where people see problems all the time.

I was the girl in high school that came up with all kinds of ideas for people. The same thing is happening for you,

you've been shown little glimpses all along the way. Oprah had said if anyone had told her she would be where she is now

back when she was a little girl, and she wouldn't have believed it.

There was no way she would have believed it, but she did believe that there was greatness in her.

She did believe there was something more that was possible. So what is possible for you?

Where can you be taking action taking, steps forward?

Moving forward without knowing the whole path. Without without having the whole thing lit up for yourself.

Where can you take that step? If I had listened and not did my first speaking engagement,

I wouldn't know how much I actually loved public speaking.

I was 13. That could have been the end of me. That could have I could have convinced myself that in fact

I wasn't good at giving speeches. And you need to take that step forward.

You need to trust you, need to take the leap before you know

what's next. And be open to what is gonna happen?

Because

when you have a goal, when you have a vision in mind, when you believe something, you wouldn't have the desire if it wasn't possible

for you.

You would not be given that idea

if you could not achieve it!

Talk to Muhammad Ali if someone had told him that he couldn't be the boxer that he was. He believed it before he saw it!

You have to do the same thing. You have that little inkling because you know, what's possible, the universe knows what's possible for you?

You are the only one that can believe that. Other people don't have to buy in right away.

It doesn't matter in fact, if they buy in. Just ignore them move forward anyway. Take a step. You just never know

what the next steps gonna open?

You know, Oprah gave an interview and told the story about how she ended up being the actress that was in The Color Purple.

She had read the book. There was nothing lined up in her life

that could have given her that opportunity. But someone saw her on a local Chicago news

station and said she is the one for that role. And she ended up having that come out of it after. she wasn't Oprah

Winfrey when she got it. Not the way we know her anyhow.

So where can you take a step? That's gonna lead to the next step... that's gonna lead to the next step?

Where can you have faith? Where can you believe before you see?

Believe before you see. And you don't need anyone to validate that idea guys!!!

And if you do need someone, if you're convinced yourself that you have to have someone buy into it talk to me.

Put the comment, put in a comment below and I'll be the one that believes that before you see it. Cuz I do that!

Talk to you soon

For more infomation >> Take action! Even when you don't know all the steps! - Duration: 4:33.

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Why I Knit Trailer | Debbie Bliss | LoveKnitting - Duration: 0:25.

I love knitting for people that I love

I like the challenge

It's that warm fuzzy feeling

You can do anything

and that's why I knit

That's why I knit

Yeah that's why I knit

And that's why I knit

For more infomation >> Why I Knit Trailer | Debbie Bliss | LoveKnitting - Duration: 0:25.

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Mandy Moore Rates 'This Is Us' Season 3 – Based On Tissues Needed | TODAY - Duration: 5:00.

For more infomation >> Mandy Moore Rates 'This Is Us' Season 3 – Based On Tissues Needed | TODAY - Duration: 5:00.

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Solutions4- 7-Day Cleanse -Amazing Life Chiropractic and Wellness - Duration: 1:51.

Hi, I'm Dr. Gabrielle Soucy with Amazing Life Chiropractic and Wellness.

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If you've been experiencing any insomnia, any chronic fatigue,

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For more infomation >> Solutions4- 7-Day Cleanse -Amazing Life Chiropractic and Wellness - Duration: 1:51.

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How to lighten skin naturally and permanently in 3 days - Duration: 2:40.

banana flower P flower first half

bananas will be required

then take the flower in it

then take the P flour in the elements

then add four tablespoons of water to it

they have to transform the paste then

use the paste on your skin

wash the paste after drying

if you use everyday your skin will be

bright and beautiful

For more infomation >> How to lighten skin naturally and permanently in 3 days - Duration: 2:40.

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Avril Lavigne - Head Above Water (lyrics) - Duration: 3:27.

AAM MUSIC

For more infomation >> Avril Lavigne - Head Above Water (lyrics) - Duration: 3:27.

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How to Be Happy with Yourself | The Nobody Gives a Sh*+! Rant - Duration: 3:40.

We all have those days, you know, the ones your life doesn't seem to have a direction that makes sense

You feel like you're not where you wanted to be by now and you don't want to make the wrong decision

So you just write it out until an answer comes along you're feeling like a sad panda right now, huh?

Well, hold on to your fucking tissues because I'd like to introduce to you a new and exciting way of thinking nobody gives a shit

From the makers of fuckit comes a new approach that will revolutionize the way you think about life

I recently found a little illustration that opened my eyes to a whole new approach to life. I would love to credit this illustrator

so if you know the illustrator, please please please comment below because

I couldn't find anything but a whole bunch of old reddit threads so I am useless in it

It says there are two ways to look at life first

You see a sad little blue person and a little storm cloud and it says nobody gives a shit

but directly below it is an illustration of a happy person bursting out of an explosion and he says

Nobody gives a shit now instantly. I set back in my chair and thought oh

my

God, okay. I know where glass is on a regular basis and that was a little dramatic

But you get the point

I felt like I had found my life's purpose and my life's purpose was to spread the gospel of nobody gets to shit

Here's how it works

This is you now don't be offended that I chose this life to be you. I don't think you're lazy or slow

I just think this guy is super cute

And so are you this is someone else an equally cute little mouse and these fuzzy balls?

Represent your choices in life now, as long as you keep your balls to yourself and don't throw your balls at other people's faces

It's not a big deal what you do with them. Nobody gives a shit

It's only when you start making other people deal with your balls that it becomes a problem

You are allowed to make mistakes in your path. You are allowed to not know what you want to do with your life

You are allowed to work part-time jobs until you find something that works for you

You are allowed to change jobs every seven years until you thought that got a little intense, but you get the point

Yes, people will be offended by your balls. Some people may even be worried about your balls

but

At the end of the day your balls are yours and you shouldn't be ashamed of them do the damn thing make an accomplishment

Oops, and task is okay get up and do again and you know

I just want you to feel empowered in your own life if you aren't hurting anyone if you're happy if you're

Respectful of your mind and body and at ease if you are taking care of your own business

Nobody should give a shit nobody and I mean nobody has a right to make you feel like you're inadequate

Because you lead a life that they don't understand that is ridiculous. That is insanity

That is the making of a very boring world if someone tries to make you feel bad about where you are in life

You just laugh in their face and say hahaha

Nobody gives a shit

Your opinion of me is none of my business and then shoot mind bees directly into their eyeballs

it works or just

Coffin them until they leave you alone

That works too

Alright guys, that's all I've got for you today. Mmm. Peace babycakes. I love you

For more infomation >> How to Be Happy with Yourself | The Nobody Gives a Sh*+! Rant - Duration: 3:40.

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Brick Wall Repair | Masonry work you shouldn't ignore - Duration: 2:10.

This project was to remove the old steel siding that was nailed into the

old deteriorating brick, replace the vapor barrier and then reinstall new

brick on top. An old deteriorating brick can contain a

lot of micro fractures in it and it's not always visible to the naked eye. This

type of brick becomes a lot more porous and, as a result, there's an elevated risk

of water infiltration. Also, when your brick is a lot more porous and you have

fluctuations in temperature between winter and springtime, you have an

elevated risk of running into a frost boil. A frost boil essentially is a bulge in

your brick. It weakens the wall and the integrity of your structure and can

eventually lead to an elevated risk of the entire wall collapsing. When choosing

the brick that you're going to be using for your building, it's very important to

verify with the city to see what the bylaws are regarding the different types

of brick, the model, the color because each city has its own bylaws. The corner

is going to be finished with an expansion joint. The reason is because

the new brick doesn't evenly meet with the height of the existing brick on the

building. There's also a small check in the corner that leads into the backyard.

Here, there's going to be an interior 90-degree corner that's being made. The

expansion joint will be fitted with an Ethafoam and then later covered with a

polyurethane covering. The contractor will be using galvanized steel anchors

that are pre-bent and are gonna be screwed right into the framing of the

building. Choosing a good masonry contractor means ensuring that you have

somebody who has all the appropriate licensing, all the insurance to do the

job, as well as someone who's governed by the appropriate body. The advantage in

working with Reno-Assistance is that all of these steps have already been

taken care of. In addition, Reno-Assistance also

verifies the financial stability of the company, also looking into the judicial

history of the company, as well as client references - making sure that the company

has a good history of satisfied clients. Also, you'll have your own dedicated Renovation

Advisor that will help you through the process of not only finding

a contractor, but then also assessing the different estimates that you receive. And,

so, they'll be able to walk you from the very beginning of your

project straight through the very end.

For more infomation >> Brick Wall Repair | Masonry work you shouldn't ignore - Duration: 2:10.

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Do What You Can| A Lesson I've Learned - Duration: 3:25.

Hey Mood fam. Welcome back to our channel if you are new to the family

We are the Moody's and we post videos sharing our experiences as we go through life

With you all if you want to be a part of this journey then go ahead and hit the subscribe button

and let's get into the video

If you are part of our family

Video that I posted last night than you know that the past couple of weeks have been tough for me

My spirits have just been downcast and it's been really hard to be productive

Let alone creative as I'm dealing with everything that I'm dealing with

I've decided to implement a new mantra

Into focus and it was magic and it was actually inspired by the movie - of course I ever loved

In the movie Laura Jean, I'm not going to go ahead and chemists boilers, but she says this quote in and really stuck with me

She said my life was a mess, but I remember and that reminded me that for so long

I've been focused on doing the things that I can't do not that I didn't have the ability or anything like that

it's just they're gonna be different times where you can and cannot do things and

I was very focused on the things that I can't do and so my new mantra has been to do what I can

That list of things that you can do

It don't look a little bit different for everybody and it's going to look different day to day

So for me personally today, the things that I could do were put on makeup make coffee

Clean things as I saw they need

Resetting the apartment

Baking my bed

They may all seem like little things but sometimes the little things are the things that are the best

Because they're the things that you can't do and for me personally

I'm focusing on doing my best and sometimes your personal best is all that you can do and that's okay

If you haven't already going with the subscribe button if you want to see more content from us

Just so you know, if you work in the video last night or in the life with us

Then you'll know that I am planning on posting shorter videos

Monday through Friday, I don't know times yet

They'll be out when I edit them, but you can get used to content like this

so if this is something that you want to see more of and go ahead and it the subscribe button if you want to follow

us hit the

Notification bell and you can also follow us on social media to be updated as to when we are posting a new video

I think that's it. So I'm gonna go ahead and head out because it is extremely hot in this room

For more infomation >> Do What You Can| A Lesson I've Learned - Duration: 3:25.

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Have you heard of car sharing? - Duration: 2:36.

- Do you remember the first time you had a ride

by an Uber or Lyft driver?

Did the idea perhaps push you

out of your comfort zone a little?

But in the end, it was so easy that you almost wonder

why you hadn't done it before.

Most everyone was happy of course, except

for the entrenched taxi industry that had grown unresponsive

to changing market demands.

Just as Uber and Lyft helped usher in a new chapter

of the sharing economy, Utah has recently seen the arrival

of companies redefining the car rental market.

Thousands of people in Utah are sharing cars

through new companies called Turo and HyreCar.

Think Airbnb except instead of sharing a room

in your basement, you're sharing your car.

Turo and HyreCar help you share your vehicle

when it's not being used and help you

find vehicles available for use in your area when traveling.

Most major cities in the state have multiple cars available

on these platforms offered by Utahns who live there.

Yes, it's legal and the companies work out

the insurance issues.

But possible future legislation in Utah could make it

difficult for companies like Turo and HyreCar

to compete with existing car rental companies

who, like the old taxi industry, are not too excited

about this new sharing economy competition.

Rightly so, because this new approach reduces overhead,

capital costs, and other bloat.

Rentals using Turo and HyreCar can end up costing

around 30% less than a typical car rental company.

These companies are mimicking arguments used by taxis

against Uber and hotels against Airbnb expressing concern

over public safety and wanting to level the playing field.

But these arguments are often a mere mask for protectionism,

an effort to regulate their competition out of existence.

The sharing economy empowers micro entrepreneurs,

enables people to lift themselves out of poverty,

and helps Utahns transact directly and happily

with one another.

Regulating these new models into oblivion is a net negative

for our society even if it helps

the existing entrenched industry.

The Utah legislature should resist the temptation

to impose additional burdensome regulations

on a brand new industry,

letting the free market system work its magic.

For Libertas Institute, I'm Nichelle Aiden.

(swooshing wind)

For more infomation >> Have you heard of car sharing? - Duration: 2:36.

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Are Your Instruments Staying Sharp? - Duration: 2:34.

One of the most common questions I hear from dental professionals is,

"How long will my instruments last?"

Seems like a complicated question, but it really isn't.

Every patient, every tooth is different. We can feel when our instrument is getting dull.

But do we catch ourselves occasionally, just gradually, applying more pressure to get through?

When an instrument is dull, you have to apply more pressure.

So, it is harder on your body and harder on your patient.

An instrument without a sharp edge can burnish calculus instead of taking it all off.

Would you like to apply less pressure and be more efficient? Save your hand?

So, the real question we should be asking is, "When is our instrument beginning to dull?"

How about a quick check to re-calibrate on a Ping Ring™?

The PDT Ping Ring works just like any other standard test stick,

except it's much easier to hold and it's less likely to slip as you're testing.

To use it, simply apply your instruments at the same angle you adapt to a tooth.

If it slide across or slightly scrapes the surface of the ring, your instrument

will likely burnish calculus when you use it during a normal procedure.

In these cases, you'll need to resharpen your instrument or,

if the instrument you're using can't be resharpened, you will need to recycle it and replace it.

When an instrument cuts into the Ping Ring and you hear the "ping,"

you know you have a health cutting edge for both you and your patient.

By using the Ping Ring to test your instruments at the first sign of dullness,

you can quickly hone the edge using your PDT Gleason Guide™.

Sharp in seconds, you'll be able to spend less time resharpening

and your instrument's will have a much longer effective life.

In addition, your hands will feel better, your procedures will be much more efficient,

and you will know that you have gotten all of that calculus.

For more information, please go to PDTdental.com to see all of our terrific products,

and thank you so much for your support, and I hope you have a fabulous day.

For more infomation >> Are Your Instruments Staying Sharp? - Duration: 2:34.

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2 SPOOKY HALLOWEEN SLIME DIYs: You Will NOT Believe What's INSIDE! - Duration: 4:46.

Perwoll

Clear glue

Baking Soda

Water

Acrylic paint

A fairy skeleton

Cockroaches from the swamp

Gremlin brains

A giant's tooth

A bat from the dungeon

Perwoll

Clear glue

Baking Soda

Water

Acrylic paint

Cadaver worms

Bloodsucking flies

Eye of newt

A creepy rat

For more infomation >> 2 SPOOKY HALLOWEEN SLIME DIYs: You Will NOT Believe What's INSIDE! - Duration: 4:46.

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Sprint Zero | Angela Johnson - Duration: 1:53.

Hi. I'm Angela Johnson, Certified Scrum Trainer and Agile Transformation Coach

with Collaborative Leadership Team.

Today, I want to talk to you about something that people think sounds like a good idea,

when in actuality , it's an anti-pattern. I'm talking about Sprint Zero. That's right.

Why do people make up this thing called Sprint Zero?

I maintain because it actually delivers zero value.

No, seriously, it's just comfort.

It's just muscle memory kicking in from our old way of doing work,

which involved big up-front planning.

We're not doing that anymore.

When you make things up like Sprint Zero, it does two things.

Firstly, it confuses people because the definition of a sprint is to produce something that's

potentially shippable. Something that's potentially releasable to the end-user.

Something that can be used in the way of a product, a service, so we're back to Sprint

Zero delivering zero value and you've confused people with the vocabulary.

Secondly, it prevents real change.

Scrum means doing work differently.

When you just use Scrummy language to talk about something that

you've always done like big, up-front planning.

Once again, it prevents you from delivering that business value faster.

If you'd like to learn more about how to avoid anti-patterns, such as Sprint Zero, please

visit us at CollaborativeLeadershipTeam.com.