Rabbi Moshe Weiss Practical Halachic Guide to Tekias Shofar at Scheiner's Shul

dish. Especially when it comes to buying a shaer, you could see it in the store. If you go into the store with the shaers, people pick up a shaer. It's a good chauffeer. They wouldn't know what's a good shaer, what's not a good shaer. The prices, what does it depend on? [snorts] And then you find stickers for cash. Just 20 years ago there was the shaers were being sold without any stickers without any cautious but today every sha you could find is with with a what is that what is this actual about why do we need a and if we need a today what was till now why what was what's what was the awareness about so let's start everyone knows the basic what's Sha has to be from aos mean have a mic. >> No, >> it's good. It's good. >> I lost my voice a little try to project that says that it has to be a has to be from a kasha mean any animal that you could eat kosha. You could take the if it has a has a horn you could use it but it has to have a has to have a horn cow is not kosher because it's not considered a why isn't it considered a because a has to be a natural hole from one long like a pipe and uh the way it works is that the the horn has two parts show it over here. You can see there's a part that could come out when it sits for a while, dries up, or if you cook it in hot water for a few hours, it's going to pop out. That's the bone. And then there's like I would say like a nail like a different part that grows on the bone. And that keeps on adding more and more pieces. The older it gets, the longer it gets, and the bigger it gets. So naturally, it has a hole. This comes out. There's a natural hole over here. That's why it's called a and even before that it's brought down from that's the says the word means a pipe which is going to make a big difference. A para doesn't have that mila but all the other ones are kasha. There's another reason why we wouldn't use a para because it's going to remind us of the eel. That's the last thing we need onash. We're looking just for therefore says to remind us to remember we're looking for besides that is another mile what the says that it's kof it's bent which is to tell a person to hint to a person that you shouldn't feel you're okay you're good comfortable should feel broken in your heart bent Kiffus interesting the schl uses that the kiff says I it should be bent downwards and that's t of the way the sha grows downwards it's bent downwards it's interesting now many people are always asking this question what's about the ta that longa is that kosha kash mean it's kasha doesn't have that miler from isle but it's and it's from it's just missing the how come the t use it I asked but the t the rabb over here he says we don't use it he takes out a this is what we use on we use that different times in the year they blow other times too [snorts] but then I heard other do use it whatever it is but it's a It doesn't have that mala. It's uh called in kudu or in English it's called the antelope. Antelope is a kosher animal. The lamb happens to say that says it'll drop different from happens to be and is the same thing. Not even the same family the same thing. Kev is in benes and then when it becomes after benesana becomes two years old they grow up very quickly these animals then it starts getting horns that's the aisle so really avas when the ra saying a kvis it means a younger aisle which if you want to know if you go into the store if it's a kevas or not if it's going to be a large shaifer a regular normal size chifer it's not going to be from a crevice it's going to be from aisle This may be it's quite small. Maybe this is still could be considered from a cavas. It's quite small. >> What? >> Softer. >> Yeah. >> No. >> I'll show you pictures. I'm sure everybody knows what this looks like. This is a regular picture from a sheep. Doesn't have any horns. Small sheep. This is already a next stage. Something in between. Here's the next stage. This is already the next stage. It keeps on adding on more and more pieces and it keeps on pushing it further and further and the tools keep on getting bigger and bigger. So if you want to know if it's aisle, if it's big enough, it's aisle. If it's small, then it might be a crevice. Just interesting. I said it plays itself. We know there's alus about holes and cracks. Cracks really the real past is if it cracks in the length of the sha this way even a little bit because it could open up more. But really if it's a crack and you close it says closed well it could be good but the problem is if it'll open the is it's going to open straight and open up the whole thing. So what's the problem if it's opened? The problem is that it loses the sham sha not a pipe anymore. That's why it's bustle mean even if you tighten it but still it doesn't have the shamifa. So the vish says very clear that the shamifer means a pipe and therefore if it's a crack it's fossil. So talking about the crack that's very important to know. That's one of the reasons why there's on the chauffeers because they happen to find there's a few few reasons but one of the main reasons was the cracks. We're going to soon see later how you make the shaifa. When you make the sha it's very easy. It should become a crack when they make it. Now it's very easy. It's it's almost imp possible shouldn't become a crack if you don't know what you're doing. You have to really know what you're doing. How to make a shifa. If not it's automatically going to crack. So this happens the masj that stands over there showed me a whole box from one day that he put aside because it happened cracks. It means he's standing and making sure every single shaer doesn't have a crack because if it gets a crack and you just pull it right back when it's hot you're not going to see that I ever had a crack. So if the maj is not standing there when they make the sha there's almost no way you're going to be able to figure it out. So you really need to have a mash there to make the and standing you know when they make when they bend it in the way that it could get a crack [snorts] just the interesting thing the history of a we know in instruments there's two >> don't you have back together >> so if you want to go in the just said before really if it cracked totally through then it's pel if it's cracked partially we are m because it could crack more but really technically it could be good but you don't want to buy a shaer especially spend $100 to $200 on that has a crack right if it's a you don't want to have such a sha so the history from is very interesting the first there's two type of instruments means many type of instruments but they all go into these two categories. Either it's a wind instrument or string instrument right all instruments go into one of these two categories. The first wind instrument happens to be was the Shaifer naturally you know popped out. first one that first person that found such a shaifa and if it became a hole or he made a hole and he blew in it and he saw it blows like a shifa blows and it could be that's the if you go back in the times of m it could be that's what they did they just made a hole and just blew in right so and then if you slowly if you add on more holes you're going to see like a um like a flute every single hole is going to change the note So that's really that's the history of the is the history of all wind instruments. Then they started they made a manmade cha which is called it's just not made it's not a natural thing they imitated it. They made it out of metal and that's and could have sound exactly the same or very similar and they used mdish both they interchangeable. He used to use this and then the shab says that he used to mix up used to call it was basically the same thing. This was man-made and this was a natural thing points out why do we have to blow with a natural and we're going to see the also go around this idea. He says because the main point message that wants to give us with the mitzvah is that whatever we do a whole year even good things it's all we're doing it it's our stuff that mim from a person we comes to we have to go back the way to go back to chuva and to go back to from the branch is to go back to the to what the made the nature of the bunch himself something has no was not touched was not produced by man. And that's what a is. It's a it's a horn that a sound that you're making out of something. It's a natural thing versus could have the same sound but it's made by a man. And he says that purity that's the that's what we have to get to. That's the message from theash and [snorts] that's the way you connect to through that nature. So therefore, if you you go through all the you're going to see are very much around this point. You can't add on anything to the can't be I can't add add on anything to the change the way the is make this narrow and this wide and so on. You can't pick the sha and make it into your own thing. You could take off make it a little nice. You could take off the roughness that you could do. But if you're going to add on anything to the that's going to change the sound of the that's going to be and that's going to be personal or change the nature of the benders, >> right? You could straighten out the sha. Yeah, that you could do what? or band it but but you're not changing the actual cha itself is not being changed. If you're changing the whole way the works then it's a problem. [clears throat] Real sha is the natural hole that's there. That's the real sha. This part really is just an added piece. We're going to soon see what they do today is is different than what they used to do. If you go to the in Morocco and Tamman, what they used to do, they used to cut off the sha by the place where there was a hole or close to that place and then just dig a little hole to get to that that natural hole and they used to blow in just like that. It the way cha looked then it was very thick. The place where he blew in was very thick. So it didn't fit into the mouth. You had to put it on the mouth. Similar to a trumpet, you'd put it on the mouth. And if you look at there's a whole that you could see it really matches up with that because the is talking about if you put silver or gold which is going to change the sound is going to be puzzle. But if you put it on the side where the mouth is there it's going to depend. If it's going to be the place where it touches the mouth then it's a but if it's a place where it doesn't touch the mouth there's one that the makaba says that is not going to be a problem because not a and it's not going to change the sound. It's just sitting on the side. And to understand such a thing today is very hard because all the shaers today go straight into the mouth. So it has to be you're talking about there's a thickness to the on the side of the over here. There's a thickness to it where you could put on the lip and still stay with extra part of the sha that it's possible to put over there. Um some gold the is let me see if I have it here. It's a goes further the thickness of the inside of the thickness from the thickness itself the outer side if you don't know this fact how it used to be it's very hard to understand the words of the you you can't make out what is what is he talking about but if you understand that The shea had a thickness then you could the over here but the way the tment used to do when the mira they used to just you know cut it till close to where there was a hole and blow in and finish used to leave the sha very you would say naturally people are very busy they want a natural sha and not touch but that's the way it used to be over there but in Europe where the ashkanazin came from they work they made the sha is nice they they they used to p not polish it but they used to work till it used to look like it was polished polishes another reason Why you need a because if you put polish on the it's again you're adding on something to the which is going to make it personal and there isn't a market and imagine it still is but this is one of the reasons they found sha that had lack on it look nice and uh nice and um and looked nice and shiny and it was really added on which is a And that's why you need to have a good hash. It's not enough to have a you have a good hasha because it was in the market a lot of that have problems. It's interesting we said before about making a hole in the if you look at the maba itself he really doesn't have an issue with the hole. It's basically the ram bringing a cowboy that has a problem with making a hole in holes in the but really if it's just the hole itself it shouldn't be a problem according to the maba and someone would ask the question what's the difference between a hole and a crack why should a hole be better you can have many holes at least it's not rub boy it's not a problem why because what's the problem if you're making a hole it's still a natural thing it's just you make a musical instrument out of it so what what would be the issue if you have rub boy holds then it loses the whole shem crack the problem is because it loses the sham even though it's not missing missing anything so it's not the problem is not that it's missing something the problem is it loses the shaman but the if you hole you close up that hole then it's going to be a problem because what are you putting your finger you're putting a then it's already if you're putting the mean from itself then there's a talk about it if it's going to be or not. As you see over here, the shaer also has a shine. But this shine that you're seeing in the shaer is not nothing added onto the sha. When they buff up the shaer, similar to shoe palish, the buffing itself, they put such a chemical as the buffing it and that makes that shine. But it's there's nothing added on to the shaer. But many surfers were in the market maybe still are that had you could see a extra layer of shine. >> We're trying to keep the ship natural. So why is it not better to do the way they did it again where the hole is now we're drilling a hole? The Gmorrah says the says that if you you take off all the layers and even it's a very thin layer it's still considered a so and over the years we saw that they used to make the very nice and thin and they used to you know make it with nice crowns today they don't do anymore crowns and all kind of stuff in the sha to make over here indentation used to engrave in the sha and it says the makab it's not a problem as long as you're not adding on to the sha it's the sha itself is what it is and it's okay. We go a little bit into how to make a sha. [clears throat] So like I said before the they used to just cut it over and finish. There was no problem. But what we want is to be able to put the put the shea what what the did all the years they wanted to be able to put the sha in the mouth and be able to make from a small mouthpiece put into the mouth. So they needed to drill a hole because once you go into the narrow pot over here it's clogged up here is not there's no natural hole over here. So they would have to cut it off over here. It's a small shifer but you get the idea. And then from over here drill a hole into here. And even today, forget about years ago, it's almost impossible to be able to do such a thing. To drill a hole from over here into here because every sha is drilled in a different way and to get some to get a a bit to go in such a kind of angle every time a different kind of angle is almost impossible. So the only way they were able to do it is to straighten out this part. They would take this part and pull it back lit like straightening a banana. They would pull it back, but because it's hard, it's impossible. So they would make it soft. How do you make it soft? They would put it in the fire in heat and that heat makes it softer. And once it's soft, you could really play around with it. You could pull it and do whatever you want with it. But at the same time, if you're going to make it too soft, it's going to lose the whole shape. So you really have to know what you're doing. They put it into heat. And the second it gets soft enough that they're able to make it straight. They're going to pull it out and put it on a piece of metal and try to pull it backwards. Now to get it exactly it shouldn't be too hot and it shouldn't be too cool is a big mim shaft and you have to right away do it and many times by pulling it back it gets a crack over here one crack sometimes even a rub boy you know crack that goes mish through the whole most of the pot and that's a serious issue see pictures. So, here I have the show how it looks after. Let me first try put in the fire. One second. >> What? >> Hot water. Hot water is never good for a if you ever put in waterl especially hot water is going to kill the it's going to make the blow up and expand and then then um um become uh what's it called again >> retracted again that's going to make fuller cracks in the here you have a picture of a it's being sold today many people blow it's the they don't know hus they have the tradition of blowing This is being sold today such kind of that have silver what says you he shouldn't use because he have a picture putting the is in fire literally in fire like like a frankfooter in fire and then right afterwards he puts it on such a press and pulls it back here you could See when it's straightened already with his hands they pull it back until it straightens. So to be able to do this it shouldn't get a crack. It's a big masha. Once you straighten that now you could drill a hole. You have to take off this piece on the top once it's straight over here. Cut this off or you they sand it off and then they could drill a hole. There's two holes in the chifa. There's a narrow hole which is around a/4 of an inch. Then there's a wider hole in the top like a funnel. And both of them you have to be a big me. The the hole over here number one it can't be too big. It can't be too small. If not it's not going to blow well. And to get it on the right angle is also a mesh shaft. And then the funnel. This is also a thing. You have to get the chifer when you blow in. If it would just be a small tiny hole it's very hard to blow in. So they have to make this funnel hole to be able to catch the coal. And then it goes into the narrow hole. This thing itself is also it's not you know everybody makes them different and every comes out different and when you're buying a sha it's kada to know for everybody different would be good for you. Not everybody means for one person this could be a very easy good there are shaers that are problems that they're not made well for everybody. But even the good shaers not every is good for everybody. is like a ask the rook for you, for your lips, for the way you blow. And there's many factors that play itself in. One of the factors is the mouthpiece. They're round mouthpieces. They're more oval ones, bigger ones, smaller ones. And you're going to find if you start playing around with shifus on your lips, you're going to see that some work better. People have thicker lips, usually rounder and thinner lips, thinner. But everyone's going to find it depends how you tighten your lips. It depends on many things. If you have wide lips, narrow lips, it's going to make a big difference what mouthpiece you should take. So you can't say I can't say any cloud for anybody. You know, it's individual thing what's going to work for you. [snorts] Then there's another important thing you should know. The size of the cha. Now bigger chaas are more expensive but there is a certain mile and bigger shaers too besides maybe good maybe hidden mitzvah you find other places that hidden mitzvah is always to take something that's bigger but besides that it's going to blow different if you take the smaller versus the larger you can see they blow totally different they catch a different note sha is not like you know it doesn't have it's not a flute it just has one two three, usually not more than three notes that are going to catch well. And every shaer blows a different note. And every person has a different note that is comfortable between the notes that the sha is going to blow. Some people are easy to blow high notes. Some people it's hard for them. They have to blow the low note. Now, if you're not, it's not very hard for you to blow the high hard note. I would tell you to buy a big chifer, a large chifer, cuz the larger shifers, they blow the low notes easily. Think about a trombone. The longer the pipe is, the lower the note. The shorter the pipe is, the higher the note. So the longer chaus are going to easily blow a low note and give you more volume on the low note versus the shorter chifers are going to blow more higher note. So you have to know it's another thing that you can play around with to see what works for you. with all of us. We spoke about the sanding already. Okay. After they finished all that, they sand the chaer sanding with, you know, they make it nice and shiny. And uh only other thing is important to mention. Some say that you should even take off the sticker. Anything that could change the color of the shaifer. It's hard to me to see that the sticker should make a difference. But they write in it you should take off this the sticker just in case the sticker is going to make somewhat of a difference in the in the color of the sha. If it's going to change the sha, the color of the sha slightly, it'll be a problem. The itself, it's another important. It does not make a difference what sound it makes. Some people say it doesn't sound good. Really, even if it's a raspy, not a gushaka sound, it's still kosher is a whatever blows. But like we said before, if you're going to catch the note of that, it's going to be nice. If you have a normal shaer, if you're going to go off the note of the shaifa, it's going to start scratching. the shea is going to start sounding very um staticky and hazy. It's not going to sound clear, but that does not mean the sha is not good. That might mean you're not blowing the shea with the note of that. If [clears throat] that is a whatever note, you have to blow in that note. >> How do you decide which note you blow? >> You can't the decided you have to figure it out. You have to test the and see where it sounds clear. When you hear to show if that note is clear, then you know that's the sound. Usually you're going to hear a cling that's clear. This is not so clear, right? It could be worse. If you're going to hit the note, it's going to sound it's going to have such a squeak, such a clearness in the sound of the sha. So just by a little test like that is enough to figure out the note of the st. It's a good way if you want to start a test the first you'll get the note. Once you get the note, just continue on to that note. It's a very good trick for people if they can't figure out where to start the give a little test and then continue. H any questions? What? No questions. >> What about the people that put the gold and silver? >> They're just now, >> right? They just now showed a picture of it. So if it's ne the mouthpiece it's you have to put the sha on your lips. If it's on the side over here if it changes the cul and the it's a problem it's puzzl the ones that would say to take a thicker off they would say for sure not to put golders over. >> Sure. >> Even the lack that we said before that shine could also change the color. Now if you have a good ear and you could test the shea before and test it after and you see no difference then it should be caution. >> Does it make a difference if the crack is through and through or just crack on the outside of the shaper? >> If it's only a crack on the outside. Many shaers have cracks now outside and it's it's not a problem at all. Happens to be bangers. Bang on the box. >> No. Interesting because a lot of people have issues with something that if they know how the we just said before how the how the shea works. It keeps on adding on let's say every week or every month another piece and another piece another layer and that's what keeps on making the sha for longer and longer. So these bumps end up being like big grooves going up and down mountains up and down and when it comes in when you start taking off the layers of Yeah. A lot of times that in that engraved end is still left. So it looks like a crack but it's really not a crack. So a lot of people bring such a lines in the which look like cracks. It's not cracks at all. I wish that he would bring in the to show something. >> What's the difference between gildy gildy which is and >> right? So the gildy gildy is pieces. It's pieces. It's not one long pipe. It's like someone put two separate pieces here. It's still considered one piece even though it's adding on but it's still considered one big piece. It's not if you look inside it's it's like one long piece. It's not like separate pieces. >> Yeah. >> Look like a few pieces. See if I have a picture of No, I don't have but you look at it you'll see it has it looks like separate pieces. >> Do you think it's a problem to take off this bigger taking off a sticker on on Shabas. Take off a sticker. Have to ask someone. It's a question for the Ger. Okay, this could see lately they're busy with natural. People are very busy with natural. It's not a it's it's a feeling, but some people like it. They like when it looks natural. So here you see they didn't take off all the layers. So you see over here cracks, right? This crack is natural. If you would see it before that, it would look like this and bigger and a bigger version. So if they would keep on taking off more and more layers, it would become like this. Sometime sometimes you're going to see the layers like over here. If you look over here, you see the colors. That's really the layers. You can see a little white. You can see little like it keeps on chain changing the shades. That's because it's really like this. It's really added pieces on like another piece, another piece, another piece. But if you leave it like this, it's going to look like a crack. But this crack does not go through. It's not an issue at all. How would I know if a does go if the crack does go through? It doesn't go through. It's a very good question. I asked it and they threw it back at me, you know, and I kept on running around asking people how they used to check. Some said with a light, some said with water, this way water, putting in water, putting the thing in water or putting water in it. All kind of malim. The only thing that I see now that I realize that works is blowing an ear means you have to close up the top tightly and you blow an ear. Someone's going to be blowing in. If you feel that there's any place you can put your finger on that place, let's say where it you think it's escaping air, put your finger over there and see if you feel anything is escaping. If you feel a strong resistance and nothing is coming out from the air, then I would say it's not a crack through and through. H. >> Wait, you said you said it could have been a crack, but it closed. >> No, if you're worried that a crack happened >> or the cracked and you don't know if the you don't know if it's through and through. If it will be through and through, then some air would be escaping, right? If no air is escaping, then there's no it's only on top that crack. It doesn't go through and through. Okay. Blowing. What? How do you blow shaifa? Has she took the practical how to blow a sha? What? Okay. I think everybody knows the is the is the main thing is a it's a day of tr is is a cry. Not a cry, a sad cry. If we're crying out loud, we're crying. We're calling it's like whailing the whailing wall. The whailing whailing is a sound. It's a type of sound. We're talking about the sound of cry. We're not talking about the sadness of cry. It's a big mistake. People think it's crying or sad. It's not sad. It's the wailing sound of crying. That's a sound that you make when you want to wake someone up. Think about anything. If it's alarm clock, if it's uh the emergency vehicles, any sound that you want to get catch someone's attention is going to be such a kind of wailing sound. It's going to be a sound that doesn't stop, keeps on starting and stopping. That's the sound of a true. A little child, little child wants to get the mother's attention. He cries because the mother can't ignore after 5 minutes. She goes mug that crying sound. It's it's some it's very demanding. It demands a person's attention. But the but the English malik but the the the in England the malik they have of their person he's called a whaler his job is when the when the malik when the me comes in he takes that thing and makes a sound like sound like a wailing type of sound and everyone knows to keep quiet it's such a kind of a it's a we're making a we're waking everybody up and everyone knows what we're the message is very clear we know what the message is that's And therefore the main thing is a what a is is a question if a is what we call a if it's aim or together those are all the what a true is but the main thing is it's the and only I would say like to accompany the that's the says the main thing that is just accompany the therefore the has to be as long as a tour whatever the tour is If it's a or it's a with the that's going to be the length of the now it has nothing to do with seconds not nothing to do with time people are busy with the stopwatches nothing to do with times man says clearly has to delay as to how you blew a truer if your true is so long that's how long your has to be you could measure it with time how long your thing is how long your true is but you can measure it if you're going to make a a long long tuer p this you have only make nine. You have to measure only the nine. You didn't have to measure if you can make you know 18 brings such a kind of you have to only count the sh that you need. So that's going to be your um I'm sure you went through there's all types of there's the straight one, there's the broken shar, right? the one that uh say the litfisher there's the straight ones that go like this and then there's the right so some say this is better because even if you're going to make longer it's still not going to be considered a ka we have always a problem the sham is going to be too long it might be considered a kia if it's straight it sounds just like a kia then it might be becoming a kia if it's too long but if you're going to make it broken some say it's better I guess it's never going to come then you have the litfisher they make also makes something similar to it it's more the Russian literwams and interesting and the elephan that everyone knows that he says you can measure the it doesn't have to be only three you could add on if you have fourwam you could count it in because the three shwam have to equal the same as true according to the the has to equal to nine right but others hold that it doesn't have to be it doesn't have to be equal to to it doesn't have not other says that it's if you're going to make it more than three it's going to not going to be good so it has to be less than three so it's impossible to make it exactly it's very hard so the came up with this idea that you can make four smallw and the fourth one you can add on to the shia you can add on to the sheia thewm that's what the brisket do >> two what >> four >> four small ones they go ut fours yeah the elephant moan brings it also if you look in the mat frame in the bottom they have elephan he brings the same thing >> five >> four two I think we spoke about the tuas everyone knows the yakasha the tman and the yakasha both have the came truis most probably those truis are the original truis which is very hard to do and later on came the truest that we have that's what I imagine there's a lot of if you go through the sham pas you see almost all the sham it's sounds like the sham had that kind of trua because it the lion when it comes to trua you see the lion when the maba says that you could make more truas it says the lion you could be moif as much as you want. When it comes to tea, it says you could be because tea is a long one long thing. So it says the you could be and by it says the same thing. You could be malik. So it seems like the tr was one long thing. It was bumpy but it was one long thing. I have to demonstrate. I think was already demonstrated. What? >> What? I'm not I'm not perfect at it. You have to go to the KJ between and you'll hear it over there. They know how to do it very well. Sounds something similar to this. It's shaky. It you don't use your tongue. We use the tongue to make the to chop it up. They use the stomach muscle. They keep on shake shaking up and down to stop and start in the in the thing itself. Let me see if you can do it with this maybe better. >> [screaming] >> something like that like a wobbly sound. >> If you're going to blow either the or the extra, is there any reason then after the do a round of rashi to be different? >> If you want to be y of different shittas, you could >> made the different was in order to be >> if you want to be all the you could but you don't you don't have to. You could be that you you're ma whatever you're for your father for your you could be if you want to be you could try all of them you could rash you just have to do the the true is the same because rashi doesn't have a problem if you add on he says it's three is a but if you make more it's not a problem so you're only going to have to change the you're going to have to redo the and the tash the tras because that's a that you don't have to do over the truest. If you want to do overshould, >> right? Cuz Russia has to be just has to be less >> to the differences in nuances. How do that help? >> What do you mean? >> Demonstrate the >> which the rashies and >> rashies is like this. >> That's the sham rashi. If you want to make the it's like this three rashies it's one and a half or two has it has to be around two kus so you're going to be making the the key is also going to change now because if you have a short the key is going to be short so it's going to sound like this this going to be rash's like that I made it a a little too long. >> And the tash is going to sound like this. Anything else? >> If true, then rash is true. >> So Ram says it has to be nine and Rasha says three is enough. No, >> but Rashi also agrees if you make nan it's good. So it shouldn't be a problem. >> Okay. >> Huh. >> That have to for the keys have to be longer. Yeah. >> Right. That's the says if the if your whatever let's put it like this. Let's put it like this. the inside. If you have a max of you'll see the inside, whatever the inside, the length of the inside, that's how much that has to be. You could record the inside, see how long it takes you. Most people, it doesn't take more doesn't take more than a second and a um all the three years together. It shouldn't be more than 3 seconds. Three between three and four seconds usually. Some people make it quicker, some people make it a little slower, but that's around that around that. It should be around three between three and four seconds. >> What should be three seconds? >> You that should be not should be usually is there's no should be. If you want to make it if you want to make you want to blow like this or it's also someone can't doesn't have a quick tongue. It's also kasha. It doesn't have to be shooting out like you some people could shoot out the two in one second like 20 doesn't have to be but the person that makes it quicker he could have a shorter the person that makes it longer is going to have to make a longer so you have to measure how long it takes you >> so you said the two or three seconds is the whole the two three seconds I was talking about the whole truth >> now is there's two there's the That's a hard one. >> What the means? The is without taking a breath. You're stopping the amount that you would take a breath. Says you have to actually take a breath, but not it has to be a very short breath. It's going to be like this. Sniffle in Kaz says it's not enough that you're making one after another. It has to be with one. It means one push. Giving one push and you're pushing the whole thing out at once. So it might be very very similar but he's saying it has to be one for one push. It's one push. You're not you're giving one push at once. It's it's something I would say it's more what >> you can't do if you do the >> mabi you could do it if you >> if you want only pushing that muscle more than up and down >> so you're going to have to start shaking right you're going to have to start shaking that muscle right >> it's maybe like >> he's saying it's an extra push I hear so doesn't work with the yaku okay it's a good one okay >> mistakes what mistakes they help what's the biggest mistakes kind of like >> let's put it like this if you wanted to blow whatever it is and it just didn't work usually I'm not saying if you wanted to blow whatever it is if the door usually what you wanted to blow and it didn't come out what you wanted to blow you could continue blowing if you made a mistake you thought that you're supposed to blow one thing or you really blew something else then you have to always go back to the beginning of that line you have to start again. But there is exceptions. There is certain exceptions. Okay. So, >> huh. >> Start stop. [laughter] >> If you're mopsick, it's not at >> kia. You could start again. Start again. If you wanted to make a T and you were in Niskal, it didn't came out a little bit and it didn't. You just start again. That's not a problem. >> Even the second. >> Yeah. It doesn't make a difference which K you up to. If you started only problem would be by if you started making and you made three and then you stopped. So you according to Rashi and you want to make ream there are exceptions. That's what I'm saying. There are exceptions. If you made let's say three and then you stopped. So according to rash you already have a truer. It already is a real thing because according to rash it's a real trua and you want to be. So then I'm going to tell you to start over again the start again. >> Yeah what the tr is you know the way the is crying. Why is it we have the swarm the true and the swarm truer >> together. This should be the true story. >> When someone starts crying, he usually starts first and then that's the first start. You understand? I'm trying to say actually cries all the way around. >> No, first they start crying a lot of songs and then they finish and catch their breath. Then it's more like a >> you're saying a person usually cries like a like a breath like a >> if it usually escalates. It starts off slow and then it starts escalating more and more and more. >> They catch their breath and they start >> you want to say they catch the breath should be based for >> I think it goes the other way. Usually a person starts slowly and then it gets worse and worse. A crying usually starts and it starts slowly and it starts escalating more and more. Think about the the mother of sister. She started firstly first you know thinking it's not good. Oh my it's getting worse and worse and worse. It's still not coming. So she started going into another level level of crying. Okay, everyone.