techiaith/cofnodycynulliad_en-cy huggingface dataset:
English: Well, Andrew's touched upon this already, I think. Generally speaking, the rock scene in Wales and the scene more generally in Wales is 'do it yourself'. The bands, generally speaking, record themselves. There are companies, of course, but very often they will have gone through the recording process themselves. And then, they get out and perform. But the promoters aren't there, the organisers aren't there, or the agents, if you like - those agencies such as those that you have over the border. The managers aren't there for these groups in order to provide them with direction, and, to a certain extent, it's an ad hoc process. Would you agree?
Welsh: Dwi'n meddwl bod Andrew wedi cyffwrdd ar hyn. At ei gilydd, mae'r sin roc yng Nghymru a'r sin gyffredinol yng Nghymru yn do it yourself. Hynny yw, mae'r bandiau yn recordio, at ei gilydd, eu hunain. Mae yna gwmnïau, wrth gwrs, ond yn aml iawn, maen nhw wedi mynd trwy'r broses recordio eu hunain hefyd, felly, ynghlwm â chwmni. Wedyn, maen nhw'n mynd allan i chwarae. Dydy'r hyrwyddwyr ddim yna, dydy'r trefnwyr ddim yna, na'r asiantau, os liciwch chi - yr asiantaethau fel sydd gennych chi dros y ffin, felly. Dydy'r rheolwyr ddim yna ar y grwpiau yma i roi cyfeiriad iddyn nhw, ac i raddau, mae o'n digwydd ad hoc. Fuaset ti'n cytuno?
English: Yes, on the whole, and certainly in terms of the support services on the night in terms of sound technicians and so on. I'm sure there are a lot of sound technicians around, but the scale of these events don't allow them to come in because they just don't have the budgets for it. So, they're trying to pay as little as possible because it's usually for a charity, which is fair enough, but then when you tell them, 'Well, I would prefer it if you would pay someone £200 or £150 to come on the night and do it', well, they say, 'Do we really need to?' Because they don't want - . Professionalising the scene is not important for a lot of organisers because it's not professional. They're trying to raise money for some charity or something like that. So, there's certainly a need for some way of allowing these nights to look and sound better.
Welsh: Ydy, ar y cyfan, ac yn bendant o ran pobl sy'n cefnogi ar y noson - peirianwyr sain a phethau fel yna. Dwi'n siŵr bod yna lot o beirianwyr sain o gwmpas, ond dyw scale y peth ddim yn caniatáu cael un mewn, mewn ffordd, achos dyweda bod gan rywun - wel, does ganddyn nhw ddim budgets, na? Maen nhw jest yn trio talu cyn lleied ag y maen nhw'n gallu achos mae e fel arfer i ryw elusen - digon teg - ac wedyn, pan wyt ti'n dweud wrthyn nhw, 'O, reit, wel, byddai'n well gennyf i pe buasech chi'n talu rhywun £200 neu £150, neu beth bynnag, i ddod ar y noson i'w wneud e', wel, maen nhw'n dweud, 'Oes angen?' Maen nhw'n trio - . Dyw proffesiynoli'r sin ddim yn bwysig i lot o'r trefnwyr achos dyw e ddim yn broffesiynol. Maen nhw'n trio gwneud ychydig bach o arian i ryw elusen neu rywbeth. So, mae angen, yn bendant, mwy o, efallai - rhyw ffordd o ganiatáu nosweithiau i edrych a swnio'n well.
English: The PYST agency has been recently established, and from what I see, that is starting to knock things into shape because it's an agency covering a number of bands, and it's professional. It's easy for us as a festival to approach an agency that manages half a dozen bands and say, 'Yes, we'll take that one, that one, and that one', rather than going directly to band members who perhaps won't answer your messages as quickly as an agency would. So, yes, things are moving, but very gradually. And this business of promotion is also something that needs to be developed in Wales, as Andrew's already mentioned, in terms of producing material. In terms of CDs and so on, well, the digital scene has affected this, but there are still sales of CDs at concerts at the moment, and who knows how long that will last. That is, the distribution mechanisms aren't effective enough to take that material to all parts of Wales, in my view.
Welsh: Mae asiantaeth PYST wedi cael ei sefydlu yn ddiweddar, ac o beth welaf i, mae honno'n dechrau rhoi siâp ar bethau o safbwynt ei bod yn asiantaeth i nifer o fandiau, felly, sydd â gwedd broffesiynol. Mae'n haws i ni fel gŵyl, er enghraifft, fynd at asiantaeth sydd yn rheoli, efallai, hanner dwsin o fandiau - 'Ie, cymerwn ni hwnna, hwnna a hwnna', yn hytrach na gorfod mynd yn uniongyrchol at aelodau sydd efallai ddim mor sydyn yn fy ateb i yn ôl a fyddai asiantaeth. Felly, ydy, mae pethau'n symud, ond yn raddol. Mae'r busnes yma o hyrwyddo hefyd yn rhywbeth sydd angen ei ddatblygu yng Nghymru, yr un fath ag y mae Andrew eisoes wedi crybwyll, o safbwynt y deunydd. Roeddech chi'n sôn am gynhyrchu'r deunydd, y CD; mae'r ochr ddigidol wedi effeithio ar hwn, ond yn sicr mae yna dal werthiant mewn cyngherddau i grynoddisgiau ar hyn o bryd. Dydw i ddim yn gwybod am faint barith o, felly. Hynny yw, dydy'r dosbarthu, dydy'r peiriant dosbarthu, ddim yn ddigon effeithiol i fynd â'r rheini i bob rhan o Gymru, dwi ddim yn teimlo, ar y funud.
English: So, the meat is there but you don't have the skeleton to form a healthy body, then.
Welsh: So, mae'r cig yna ond mae eisiau'r sgerbwd er mwyn cael y corff yn iawn.
English: I understand that. Now, of course, there is the young promoters network in south Wales. I don't know whether you're familiar with that, and perhaps that might be -
Welsh: Dwi'n deall hynny. Mae yna gorff, wrth gwrs, o'r enw 'hyrwyddwyr ifanc' yn y de. Dwi ddim yn gwybod os ydych chi'n gyfarwydd â hwnnw o gwbl. Wel, efallai bydd hwnna'n rhywbeth sy'n werth -
English: What's it called, sorry?
Welsh: Beth oedd yr enw yna, sori?
English: The young promoters network. It's a scheme in south Wales in order to support young promoters to get them to enter the profession. I won't go down that route because you didn't know about it. And it's obvious that there is a problem, and it's also obvious that there's at least one model that can be spread throughout Wales. But I just have one question to conclude: you said that the standard is high, and that there's no problem with the talent pipeline - we're talking about the other problems - is there, therefore, enough geographical spread in terms of that talent? Because Gwynedd is an engine that creates Welsh-language music, and we see that, but then, is there enough talent coming through from other parts of Wales? For example, if I look back at the 1960s and 1970s, in south Wales, there was Edward H. Dafis, there was Ryan Davies, Mary Hopkin, and Neil Rosser. They're no longer there, and I don't see the talent coming from other parts of Wales, which then leads to a weakness in terms of young people enjoying themselves in their own language. Is that true? I know that Gwynedd is enthusiastic about creating music in Welsh, but is there more that we can do in terms of promoting the Welsh language through music in other parts of Wales, particularly in the Welsh heartlands outside of Gwynedd?
Welsh: Hyrwyddwyr ifanc - cynllun newydd yn y de er mwyn cefnogi hyrwyddwyr ifanc i ddod mewn i'r proffesiwn. Af fi ddim lawr y llwybr yna, felly, os nad ydych chi'n gwybod amdano. Ac mae'n amlwg bod yna broblem ac mae'n amlwg bod yna un model o leiaf all gael ei ledu ar draws Cymru. Un cwestiwn gen i jest i orffen: rŷch chi wedi dweud bod y safon yn uchel a bod dim problem gyda'r ffrwd o dalent - rŷn ni'n siarad am y problemau eraill - oes yna ddigon o led daearyddol ynglŷn â'r talent? Mae Gwynedd yn enjin sydd yn creu cerdd yn Gymraeg, ac rŷn ni'n gweld hynny, wrth gwrs, ond oes yna ddigon o dalent yn dod trwyddo o fannau eraill o Gymru? Er enghraifft, os edrychwn ni ar y 1960au a'r 1970au, yn y de roedd Edward H. Dafis, roedd Neil Rosser, roedd Ryan Davies, roedd Mary Hopkin. Dŷn nhw ddim yna ddim rhagor, a dwi ddim yn gweld y talent yn dod mewn rhannau eraill o Gymru, sydd yn creu gwendid wedyn, wrth gwrs, ynglŷn â phobl ifanc yn mwynhau yn eu hiaith eu hunain. Ydy hynny'n wir? Rwy'n gwybod ei bod hi'n wir fod Gwynedd yn frwdfrydig ynglŷn â chreu cerdd yn Gymraeg, ond oes yna fwy i'w wneud ynglŷn â hybu'r iaith Gymraeg yn y byd cerdd mewn rhannau eraill o Gymru, yn enwedig rhannau traddodiadol Cymraeg tu fas i Wynedd?
English: I think there are examples of bands from across Wales succeeding in different ways, but it all comes down to the scale of the industry, doesn't it? So, when there are fewer opportunities, then, generally, there will be fewer artists, and more and more bands do reach a point where they are invited to play at the Eisteddfod, and that's great, and they can play on a large professional stage or do a few other gigs, but then they quickly realise, 'Well, that gives us five good shows a year, and that's not enough, is it?' So, it is difficult and maybe it does vary in terms of where the talent does develop, but I think it's important to realise that live music, the gig - that is the finished product, in a way. But that's just one part of the industry. The process, from the outset, when you're composing a song, right to the point where you have a CD or a song on Spotify, or whatever else it may be - there are a number of stages to that, and there are a number of bands, particularly young bands, that have no idea where to go, or what to do next. The support isn't there.
Welsh: Dwi'n meddwl bod yna enghreifftiau o fandiau ar draws Cymru yn llwyddo mewn gwahanol ffyrdd, ond mae e i gyd yn dod lawr i scale y diwydiant, onid yw e? So, pan mae yna lai o gyfleoedd, yn y bôn, mae yna lai o artistiaid yn mynd i fynd ymhellach, ac mae mwy a mwy o fandiau, efallai, yn cyrraedd pwynt lle maen nhw'n cael gwahoddiad gan yr Eisteddfod i chwarae, ac mae hwnna'n grêt - maen nhw'n cael chwarae ar lwyfan proffesiynol mawr, neu ambell gig arall rownd y lle - ond wedyn maen nhw'n sylweddoli yn glou, 'Ocê, mae hwnna'n rhoi tua phump sioe dda i ni bob blwyddyn, a dyw hwnna ddim yn ddim byd, nac ydy?' So, mae e ychydig bach yn anodd, ond efallai ei fod e'n amrywio o le mae'r talent yn dod, o bob man, ond dwi'n meddwl ei fod e'n bwysig sylweddoli bod cerddoriaeth fyw, y gig - hwnna yw'r final finished product, mewn ffordd. Mae hwnna jest yn un rhan o'r diwydiant yma. Mae'r broses o'r dechrau, pan wyt ti yna'n cyfansoddi cân, reit at y pwynt lle mae gen ti CD neu gân ar Spotify, neu beth bynnag - mae yna sawl gwahanol gam fanna. Ac mae lot o fandiau, yn enwedig bandiau ifanc - does dim syniad gyda nhw lle i fynd, a beth i wneud nesaf, so dyw'r cymorth -
English: Are they there to begin with? Are there enough bands? Well, you could say that there are never ever enough bands. But are there bands coming through, is there talent coming through, from Ceredigion, from Carmarthenshire, from Glamorgan, as there should be?
Welsh: Ydyn nhw yna i ddechrau? Oes yna ddigon o fandiau? Wel, efallai taw'r ateb yw, 'Na, does byth digon o fandiau.' Ond ydy bandiau yn dod trwyddo, a thalent yn dod trwyddo, o Geredigion, o sir Gâr ac efallai Morgannwg, fel y dylai ddod?
English: There are fewer.
Welsh: Mae yna lai.
English: In terms of numbers, I would certainly agree that there are fewer, but in terms of the standard - we've just had Adwaith, from Carmarthen, getting the album of the year recently. So, they do exist, certainly, and the standard is there, but in terms of the numbers, I would agree - there are fewer of them.
Welsh: O ran nifer, buaswn i'n cytuno, mae yna sicr yn llai, ond o ran safon - dŷn ni newydd gael Adwaith, o Gaerfyrddin, yn cael albym y flwyddyn yn ddiweddar, rŵan. Felly, maen nhw'n bodoli yn sicr, ac mae'r safon yna, ond yn sicr o ran nifer, buaswn i'n cytuno - mae llai ohonyn nhw.
English: But the lack of opportunities contribute to that, of course. It's difficult, if you don't have a circuit of places where you can play, or a culture of people coming to gigs in a particular area - it's difficult to see why somebody wouldn't just move away, and try and do it elsewhere.
Welsh: Ond mae'r diffyg cyfleoedd yn cyfrannu at hynny, onid yw e? Mae'n anodd, os nad oes rhyw circuit o lefydd i chwarae neu ddiwylliant o bobl yn dod i weld gigs yn yr ardal - mae'n anodd gweld pam fyddai rhywun ddim yn jest symud i ffwrdd a thrio gwneud e'n rhywle arall.
English: There is an element, and I think it's true - it certainly is true to an extent - that the rock scene in Wales is a kind of hobby that one carries out when they're in college, and then for a few years after that, because there's some sort of awareness in the back of your mind: 'Oh, I can't make my living from this, so I'll do it whilst I'm enjoying it, or I'll try to do it.' And I think we need to do something about that mindset, to get them to think, 'No, I can make a living from this. My music is good enough to stand against any other music in the world, and I can take it out.' But it's about taking that step, because it tends to be a hobby that someone does whilst they're in college, then for a couple of years, perhaps when they've left school. It just lasts a few years, and then they think, 'I'd better get a job.'
Welsh: Mae yna elfen, a dwi'n meddwl bod o'n wir - yn sicr mae o'n wir i raddau - fod y sin roc yng Nghymru yn rhyw hobi mae rhywun yn gwneud tra mae o'n y coleg, ac efallai rhyw ychydig o flynyddoedd wedyn, achos mae rhyw ymwybyddiaeth tu cefn fan hyn: 'Fedra i ddim gwneud bywoliaeth efo hwn, so mi wnaf i o tra dwi'n ei fwynhau o. Mi wnaf i drio ei wneud o.' A dwi'n meddwl mai i fanna dŷn ni eisiau mynd. Dŷn ni eisiau mynd o'r feddylfryd yna i feddwl, 'Na, mi allaf i wneud bywoliaeth efo hwn. Mae fy ngherddoriaeth i'n ddigon da i sefyll yn erbyn unrhyw gerddoriaeth yn y byd, ac mi fedraf i fynd â fo allan yna.' Ond mae mynd y cam yna, achos mae o'n tueddu i fod yn hobi mae rhywun yn gwneud yn ystod coleg am ychydig o flynyddoedd - diwedd ysgol, coleg, ac am ychydig o flynyddoedd wedyn - 'Gwell imi gael job.'
English: They say, 'Okay, there you are, you've had your fun. You need to get on and get a job now.'
Welsh: Mae'r rhieni yn dweud, 'Dyna fe. Ti wedi cael dy sbri. Mae eisiau iti cael jobyn nawr.'
English: Well, it's a matter of structure, isn't it, that people take it seriously as a career, rather than just something that's a hobby that they do -
Welsh: Mae e'n dod i strwythur, wrth gwrs, ond yw e - bod pobol yn ei gymryd e o ddifri fel gyrfa, yn hytrach na rhywbeth sydd jest yn hobi, rhywbeth mae nhw'n gwneud -
English: - in their spare time?
Welsh: - yn eu hamser sbâr?
English: Yes, and if we compare that with the English-language scene, where bands have to work and work and work, and they have to play every night, anywhere they can get a gig, just to get any attention, the tendency, perhaps - and this is not to do down the situation - is that bands can get quite a lot of attention quite easily in Wales through the medium of Welsh.
Welsh: Os ydyn ni'n cymharu hwnna wedyn efo'r sin di-Gymraeg, lle mae bandiau'n gorfod gweithio a gweithio a gweithio a chwarae bob nos mewn unrhyw le fedran nhw gael, er mwyn cael unrhyw fath o sylw, y tueddiad efallai ydy - dydy hwn ddim yn rhedeg y sefyllfa lawr - fod bandiau'n gallu cael sylw'n eithaf hawdd yng Nghymru trwy gyfrwng y Gymraeg.
English: But it doesn't have to be that way, because other minority languages can work across the world, so the way that we sell ourselves and promote ourselves outside Wales is also important.
Welsh: Ond dyw e ddim yn gorfod bod fel yna, achos mae ieithoedd lleiafrifol eraill yn gallu mynd dros y byd, so mae'r ffordd rŷn ni'n gwerthu'n hunain a phwshio'n hunain allan y tu allan i Gymru yn bwysig hefyd.
English: Exactly, yes.
Welsh: Wel, yn union, ie.
English: A Welsh language song.
Welsh: Cân Gymraeg.
English: My background is in the field of education, and I think that that has happened, to a large extent, because there's been so much emphasis on the STEM subjects over the past few years. And I do understand why, but that has meant that the arts and humanities have suffered, and there are many secondary schools that can now no longer maintain music departments, which is an extremely sad state of affairs. I am very glad that the arts and humanities is going to be a central part of the new curriculum, and I hope that that will develop, and that will mean that there will be a reestablishment of music in secondary schools, because music and arts in general are extremely important in terms of mental health and well-being, and many other aspects, and, certainly, as we've already mentioned, in terms of reaching this million of speakers through the medium of music.
Welsh: Mae fy nghefndir i yn y byd addysg, a dwi'n meddwl bod hynny wedi digwydd, i raddau helaeth, oherwydd bod cymaint o bwyslais ar wyddoniaeth a mathemateg dros y blynyddoedd diwethaf. Dwi'n deall pam, ond mae hynny wedi digwydd ar draul y celfyddydau, yn anffodus, ac mae yna lawer o ysgolion uwchradd bellach sydd ddim yn gallu cynnal adrannau cerddoriaeth, sydd yn beth trist ofnadwy, a dweud y gwir. Dwi'n falch iawn fod y celfyddydau yn rhan bwysig o'r cwricwlwm newydd, a dwi'n gobeithio y bydd hynny'n datblygu i'w ailsefydlu fo yn yr ysgolion uwchradd maes o law, achos mae cerddoriaeth a chelfyddyd yn gyffredinol yn rhywbeth pwysig iawn, iawn, iawn o safbwynt gollyngdod, o safbwynt iechyd meddwl, o safbwynt cymaint o agweddau, ac, yn sicr, fel dŷn ni eisoes wedi sôn, o safbwynt denu'r filiwn o siaradwyr yma trwy gyfrwng cerddoriaeth.
English: Yes, and you've worked in the education field before, and I was a primary school teacher as well, and it's true to say that subjects such as music have been sidelined, because teachers are struggling to do everything, and there are so many requirements in terms of the core subjects. So, it is true to say that subjects such as music have been sidelined, but as you said, we hope that that will turn it around.
Welsh: Ie, ac rwyt ti wedi gweithio ym myd addysg o'r blaen, a dwi wedi bod yn athro ysgol gynradd o'r blaen, ac mae'n wir i ddweud bod pynciau fel cerddoriaeth wedi cael eu gwthio i'r ochr, mewn gwirionedd, achos mae athrawon yn stryglan i wneud popeth, a'r holl ofynion yn y pynciau craidd. Mae'n wir i ddweud bod pynciau fel cerddoriaeth wedi cael eu rhoi i'r ochr, ond fel rwyt ti'n dweud, gobeithio y gwneith hwnna droi e rownd.
English: Perhaps you can say something, as I'm a solo act. That's more relevant to for you as a member of a band, isn't it?
Welsh: Efallai dy fod ti - . Achos dwi ar ben fy hun, felly mae hwnna'n fwy perthnasol i ti mewn band, onid yw e?
English: We're fortunate in Dolgellau that we have Tŷ Siamas, and there are practice rooms, rehearsal rooms, and groups such as Candelas, Sŵnami and so forth, and so forth, have started there, rehearsing. And they have gone on to much bigger things than Tŷ Siamas. But I can't speak in general about places. If there is a band - there are a few young bands now; Lewis is the last one that used the facilities and has gone on to create a name for himself, and he's a local lad. If they come to us, we can offer the opportunity to use the space. In general, in other areas of the country, I'm not sure, really, what the situation is.
Welsh: Dŷn ni'n ffodus yn Nolgellau: mae gennym ni Tŷ Siamas, ac mae yna stafelloedd ymarfer, ac mae yna grwpiau fel Candelas, Sŵnami ac yn y blaen, ac yn y blaen, wedi cychwyn yno, yn ymarfer. Hynny yw, mae nhw wedi mynd ymlaen i bethau llawer iawn mwy na Tŷ Siamas. Ond fedra i ddim siarad yn gyffredinol am lefydd. Mi ydan ni'n gallu - . Os oes yna fand - mae yna gwpwl o fandiau ifanc rŵan - wel, Lewis ydy'r un diwethaf oedd yn eu defnyddio, sydd eto wedyn yn mynd ymlaen i greu enw iddo fo'i hun ar y sin, ac sydd yn hogyn lleol. Os ydyn nhw'n dod atom ni, dŷn ni'n gallu cynnig y cyfle iddyn nhw i ddefnyddio'r gofod. Yn gyffredinol, mewn rhannau eraill o'r wlad, dydw i ddim yn siŵr, a dweud y gwir, beth ydy'r sefyllfa.
English: Do they pay for that?
Welsh: Ydyn nhw'n talu am hwnna, neu ydyn nhw'n - ?
English: Well, normally, we have some sort of arrangement with them, and if we need their services, perhaps in a concert, we do come to terms.
Welsh: Fel arfer, dŷn ni'n gwneud rhyw drefniant efo nhw, ac os byddwn ni angen eu gwasanaeth mewn rhyw gyngerdd neu rywbeth, byddwn ni'n dod i delerau efo nhw.
English: I've heard people complain about that as well, that they are struggling to find places to rehearse. It is some sort of cycle, isn't it? If they don't have many gigs, they don't have much money, and then the money is scarce, and the investment they make in equipment and so forth can be expensive, particularly when the technical requirements go up, and the equipment is all very expensive. It depends where you live, doesn't it? I'm sure in the city there are many more places, I take it, to rehearse; in some cites anyway. But out in rural areas, I'm not sure. But yet, people have used - I've used village halls and places like that for low costs: £10, for example, for a couple of hours.
Welsh: Achos mae pobl - . Dwi wedi clywed pobl yn cwyno am hwnna hefyd, eu bod nhw yn stryglan i ffeindio rhywle i ymarfer. Mae e fel rhyw fath o seicl onid yw e? Os nad ydyn nhw'n cael llawer o gigs, dŷn nhw ddim yn cael llawer o arian, ac wedyn mae'r arian yn brin, ac mae'r buddsoddiad maen nhw'n gwneud mewn offer a phethau hefyd yn gallu bod yn ddrud, yn enwedig pan mae'r gofynion technegol yn mynd i fyny, ac mae'r offer i gyd yn ddrud. Ond mae'n dibynnu lle rŷch chi'n byw, onid yw e? Dwi'n siŵr yn y ddinas mae yna lawer mwy o lefydd, dwi'n cymryd, i ymarfer; mewn rhai dinasoedd beth bynnag. Ond allan yn y wlad, dwi ddim yn siŵr. Ond eto, mae pobl yn defnyddio - dwi wedi defnyddio neuaddau pentref a phethau am gostau eithaf isel: £10 neu rywbeth fel yna am gwpwl o oriau.
English: That is, what we can offer is a rehearsal space with sound resources, which is quite important. That is, yes, you may have these locations, but as a rule, people have to take their own equipment to them. Having these spaces that are set up for bands, so that they can play and they can hear themselves at the same time -
Welsh: Hynny yw, beth dŷn ni'n gallu ei gynnig ydy gofod ymarfer hefo adnoddau sain hefyd, sydd yn eithaf pwysig, a dweud y gwir. Hynny yw, dwi'n siŵr bod y gofod allan yna, ond fel rheol, mae pobl yn gorfod mynd â'u hoffer eu hunain i mewn yna. Mae'r gofod sydd yn barod ar gyfer bandiau i setio fyny a chwarae a chlywed eu hunain yr un pryd -
English: That would tie into a situation where halls have support to kit themselves out. That would tie into that, that they can be used as rehearsal spaces, and even, possibly, to record demos and so forth.
Welsh: Byddai hwnna'n clymu mewn i sefyllfa lle mae neuaddau yn cael cefnogaeth i citio eu hunain allan. Byddai hwnna'n clymu mewn i hwnna, eu bod nhw'n gallu cael eu defnyddio fel gofod ymarfer, a hyd yn oed, o bosib, recordio demos a phethau.
English: I'm just thinking out loud here now. So, if you kit halls out - that is, it's not practical to have one person being responsible for a hall, but if you had a group of halls together, it would be practical then to have an individual who was responsible for the sound facilities for 10 halls, or something like that. Now, I could see that that would be something that would work.
Welsh: Dwi jest yn meddwl ar fy nhraed yn fan hyn rŵan, a dweud y gwir. Hynny yw, os dŷch chi'n citio neuaddau allan, hynny yw dydy o ddim yn ymarferol i gael un person yn gyfrifol am yr adnoddau ar gyfer un neuadd, ond os oes gennych chi gylch o neuaddau, efallai, mi fyddai o'n ymarferol i gael un person efallai yn gyfrifol am adnoddau sain i 10 neuadd, neu rywbeth felly. Medraf i ragweld y byddai hwnnw yn gweithio, felly.
English: Yes, it would.
Welsh: Byddai fe.