English: If I could pick up on that, it's possible that the reduction in the number of live venues is something that happens more in towns and cities, in Cardiff and Wrexham, for example. We know of The Point and Gwdihŵ, and so on and so forth. I'm not sure it's quite the same in rural areas; the village halls are still there, and many people do perform in those smaller halls and venues. But to return to something that Danny said, and also in terms of this point of live venues, for me, in looking at live venues we're putting the cart before the horse. We're at stage 4 when we haven't resolved stage 1 as of yet. If we carry out research into live venues, what happens to that? Where does it fit in to a holistic strategy for the music industry? We don't even have a strategy. We have no body that is looking at the industry in its entirety. The other media do have such things - the books council, film, opera, but the Welsh Music Foundation doesn't exist anymore, and there's been a vacuum since it was abolished. So, I think we need to start with a body and then to create a strategy for how we develop the industry, and then part of that strategy would be to look at venues. So, that is the third step, and as Danny said, he'll be going to America on Monday, and North America Folk Alliance is something that's very valuable for folk musicians to get a foot under the table, and to travel in north America. VRï are going there now; they've had some success, and one member of VRï is also a member of Calan - they had to play in a number of bands in order to make a living. But what happens then? Who's supporting them? Who's there speaking on their behalf? Is there an agent? Is there a manager? Who's going to be recording them? Who's going to be managing their tours? We need a strategy - who are we developing? The best example I can give you is Finland. Finland for many years have had an excellent strategy in place. Music Finland chooses six artists per annum that they will develop. They send them out across the world - to the music fairs and festivals - and then, they help to develop their careers, and they will know that they are going to be exported, and in exporting them, they attract interest in their music and in their nation, and they know that that will benefit the Finnish economy. That works because they are investing and they have a comprehensive strategy for their industry, be it heavy metal or Sibelius, it doesn't matter - they support their music.
Welsh: Os gaf i bigo i fyny ar hynna, ie, mae'n bosibl bod y lleoliadau byw, y lleihad ohonyn nhw, yn rhywbeth sy'n digwydd mwy mewn trefi, yng Nghaerdydd a Wrecsam, er enghraifft. Rydym ni'n gwybod am enghreifftiau fel The Point a Gwdihŵ, ac yn y blaen. Dwi ddim yn meddwl ei fod cweit yr un fath yn y cefn gwlad; mae neuaddau pentref yn dal yna, ac mae lot o bobl yn perfformio mewn neuaddau llawer llai. Ond i fynd yn ôl at rywbeth y dywedodd Danny, a hefyd o ran y pwynt yma o leoliadau byw, i mi, wrth edrych ar leoliadau byw, rydym ni'n rhoi'r cart o flaen y ceffyl. Dŷn ni ar gam 4, lle dydyn ni ddim wedi datrys cam 1 eto. Sef, os ydym ni'n gwneud ymchwil i leoliadau byw, beth sy'n digwydd i'r ymchwil? Lle mae'n ffitio mewn i strategaeth gyflawn ar gyfer y diwydiant cerddoriaeth? Does gennym ni ddim hyd yn oed strategaeth. Does gennym ni ddim corff sydd yn edrych ar y diwydiant yn ei gyfanrwydd. Mae gan y cyfryngau eraill gyrff - y cyngor llyfrau, ffilm, opera. Does gan gerddoriaeth ddim un corff fel oedd y Sefydliad Cerddoriaeth Gymreig yn arfer bod ers talwm. Ers hynny, mae yna wagle, vaccum, wedi bod, ers i hwnnw gael ei ddiddymu. Felly, dwi'n meddwl bod eisiau cychwyn efo corff, wedyn rôl y corff ydy creu strategaeth - sut dŷn ni'n datblygu'r diwydiant? Wedyn, rhan o'r strategaeth yna buasai edrych ar leoliadau byw. So, cam 3 ydy hwn ar hyn o bryd. Fel oedd Danny yn ei ddweud, mae o'n mynd i America ddydd Llun; mae North America Folk Alliance yn rhywle sydd yn werthfawr iawn i gerddorion gwerin er mwyn cael traed i mewn a theithio yng ngogledd America. Mae VRï yn mynd yna rŵan, ac mae VRï wedi cael eithaf llwyddiant, ac mae un o aelodau VRï hefyd yn aelod o Calan - maen nhw'n gorfod chwarae mewn sawl band i drio ennill bywoliaeth. Ond beth sy'n digwydd wedyn? Pwy sy'n eu cynnal nhw? Pwy sydd yno'n siarad ar eu rhan nhw? Oes asiant? Oes rheolwr? Pwy sy'n mynd i gael yr asiant? Pwy sy'n mynd i'w recordio nhw? Pwy sy'n mynd i gynnal eu teithiau nhw? Mae angen strategaeth - pwy dŷn ni'n datblygu? Yr enghraifft gorau medraf i roi i chi ydy'r Ffindir. Mae'r Ffindir ers blynyddoedd efo strategaeth arbennig o dda. Mae Music Finland yn dewis chwe artist bob blwyddyn y maen nhw'n mynd i ddatblygu, ac maen nhw'n eu gyrru nhw allan i'r holl lefydd ar draws y byd - yr holl ffeiriau a'r holl wyliau - ac wedyn, maen nhw'n helpu i ddatblygu eu gyrfaoedd nhw, ac yn gwybod wedyn eu bod nhw'n mynd i'w hallforio nhw, ac wrth eu hallforio nhw, maen nhw'n denu diddordeb yn y gerddoriaeth ac yn y wlad, ac maen nhw'n gwybod bod hwnna, wedyn, yn dod nôl i economi'r Ffindir. Mae hwnnw'n gweithio achos eu bod nhw'n buddsoddi ac mae ganddyn nhw strategaeth gyflawn ar gyfer eu diwydiant, boed o'n heavy metal neu Sibelius, dydy o ddim yn gwneud gwahaniaeth - maen nhw'n cefnogi eu cerddoriaeth nhw.