techiaith/cofnodycynulliad_en-cy huggingface dataset:
English: We'll come on to some of those themes, but thank you for that introduction. Terry, do you have anything to add?
Welsh: Fe wnawn ni ddod ymlaen at rai o'r themâu yna, ond diolch yn fawr iawn am y cyflwyniad hynny. Terry, a oes unrhyw beth gennych chi i'w ychwanegu?
English: Thank you very much for that. That gives us an explanation of the scene as it currently stands. The Welsh Government is undertaking some sort of mapping exercise of venues at the moment. Are you part of that? Do you believe it's going to be of benefit? Or do you believe that there's alternative work that should be a priority?
Welsh: Grêt. Diolch am hynny. Mae'n rhoi rhyw fath o esboniad o'r sîn fel mae'n sefyll. Mae Llywodraeth Cymru yn gwneud rhyw fath o system o fapio'r lleoliadau ar hyn o bryd. Ydych chi yn rhan o hynny? Ydych chi'n meddwl ei bod yn mynd i fod o fudd, neu ydych chi'n credu bod yna waith gwahanol y dylai fod yn flaenoriaeth iddyn nhw?
English: The mapping is something that needs to happen. We were part of the Music Venue Trust bid to tender for the mapping. Music Venue Trust didn't get that - . I haven't heard anything from the company that's doing the mapping. I was of the understanding that it was something that had been completed quite quickly. Has the timetable been - ?
Welsh: Mae'r mapio yn rhywbeth sydd angen digwydd. Roeddem ni'n rhan o'r cais efo'r Music Venue Trust i dendro am y mapio. Gwnaeth y Music Venue Trust ddim cael - . Dwi ddim wedi clywed dim byd gan y cwmni sydd i fod i wneud y mapio. Roeddwn i dan ddealltwriaeth bod hynny'n rhywbeth a oedd i fod i gael ei gwblhau yn eithaf buan. Ydy'r amserlen wedi cael ei - ?
English: We don't know. That's why we we're asking.
Welsh: Dydyn ni ddim yn gwybod. Rydym ni'n gofyn.
English: To think that we are running a venue that is known as one of the most prominent in terms of live music in Wales, we haven't heard anything from them. So I'm surprised at that so far. But in terms of mapping, one of the challenges for us in terms of organising is finding venues where we can put events on, seeing what the resources are out there, and the costs of putting events on, where we need to have additional equipment to be able to put events on, what is the target audience for that area, and how easy is it for the audience to reach those venues - that's very valuable information for people who put events on. Because we in Cardiff are very fortunate. There are lots of venues compared to other places. It's quite easy to get to them. When I lived in Aberystwyth, I didn't think anything of getting a bus to go to a gig in Porthmadog or Bangor. I think that's an element that's been lost now, because there are no events happening so regularly in other places across the country. But, yes, mapping is a good idea, but getting an idea of what the point is, and what the intention and objectives are of that mapping exercise - that would also be good to understand.
Welsh: I feddwl ein bod ni'n rhedeg un o'r canolfannau sy'n cael ei adnabod fel un o'r rhai mwyaf blaenllaw o ran cynnig cerddoriaeth fyw yng Nghymru, dydyn ni ddim wedi clywed dim byd ganddyn nhw. So, dwi'n synnu ar hynny hyd yma. Ond o ran mapio, un o'r sialensau inni o ran trefnu teithiau rownd Cymru ydy ffeindio llefydd lle rydym ni'n gallu rhoi digwyddiadau ymlaen. Mae gweld beth ydy'r adnoddau sydd allan fanna, beth ydy'r gost o roi digwyddiadau ymlaen, lle mae angen cael offer ychwanegol i fedru rhoi digwyddiadau ymlaen, beth ydy'r gynulleidfa darged ar gyfer yr ardaloedd hynny, a pha mor rhwydd ydy o i'r gynulleidfa gyrraedd y lleoliadau yna - gwybodaeth gwerthfawr iawn i bobl sydd eisiau rhoi mwy o ddigwyddiadau ymlaen. Achos rydym ni yma yng Nghaerdydd yn ffodus; mae yna lot o lefydd i gymharu â phobman arall. Mae'n eithaf rhwydd i'w cyrraedd nhw. Pan oeddwn i'n byw yn Aberystwyth, doeddwn i ddim yn meddwl dim byd am fynd ar fws am ddwyawr i gig ym Mhorthmadog neu Fangor neu beth bynnag. Dwi'n meddwl bod hynny'n elfen sydd wedi cael ei cholli erbyn hyn, achos does yna ddim digwyddiadau cweit mor rheolaidd yn digwydd mewn llefydd eraill o amgylch y wlad. Ond, ie, mae mapio yn syniad da, ond cael syniad o beth ydy'r pwynt, beth maen nhw'n gobeithio sy'n dod allan o'r mapio - byddai hynny'n dda i ddeall hefyd.
English: Just a final question from me before moving on to the other Members. It's with regard to the health of the festival sector in Wales in terms of music specifically. You organise the Sŵn festival and I know, Terry, you're involved in festivals in the Valleys as well. So, do you believe that they're working? Do you think that more people can collaborate on them?
Welsh: Jest cwestiwn olaf gen i, cyn symud ymlaen at yr Aelodau eraill, ar iechyd y system gwyliau - festivals - yng Nghymru, o ran cerddoriaeth yn benodol. Yn sicr, rydych chi'n trefnu gŵyl Sŵn, a dwi'n gwybod, Terry, rydych chi'n ymwneud â gwyliau sy'n digwydd yn y Cymoedd hefyd. Felly, ydych chi'n credu eu bod nhw'n gweithio? Ydych chi'n credu y gall mwy o bobl weithio gyda'i gilydd?
English: We organise Sŵn as Clwb Ifor Bach, and I also work for the Eisteddfod organising Maes B, and I've been doing that for 19 years. It's been an interesting experience going to different parts of Wales to see what is held there and what's going on. I get the impression that many of the music festivals are community festivals in Wales. There aren't so many with a national, broader reach. There's Green Man, obviously, and there was Festival No. 6, but that's finished now. It will be interesting to see what the priorities are for the arts council in terms of funding music festivals. Is the contemporary music sector getting as much fair play as the jazz or classical music sectors? That's a question to ask, because it's difficult. We invest more than £100,000 in Sŵn, and we contribute our staff to that, and it's a great investment for us as a small company at this time of year, when a lot of money goes out to prepare for it, particularly after the three months in the summer where it's quite quiet. It has a heavy impact on the cash flow. Knowing that there was more support out there to allow us to develop the festival would be something to be welcomed, because I feel that it's an important festival in terms of giving an opportunity to new artists to perform in a professional festival and also to perform with other artists who tour and to see how it works for artists who have gone a step further on the ladder of their career and how it works for them.
Welsh: Rydym ni'n trefnu gŵyl Sŵn fel Clwb Ifor Bach, a dwi hefyd yn gweithio i'r Eisteddfod yn trefnu Maes B, ac wedi bod yn ei wneud am 19 mlynedd. Mae wedi bod yn brofiad eithaf diddorol mynd i ardaloedd gwahanol o Gymru i gael gweld beth sydd yn cael ei gynnal yna, beth sy'n mynd ymlaen. Does yna ddim - . Dwi'n cael yr argraff bod lot o'r gwyliau cerddorol yn rhai eithaf cymunedol yng Nghymru. Does yna ddim cymaint sydd efo reach ehangach. Mae Green Man, yn amlwg; mi oedd Festival No. 6, ond mae hwnna wedi dod i ben erbyn hyn. Buasai'n ddiddorol gweld beth yw blaenoriaethau'r cyngor celfyddydau o ran ariannu gwyliau cerddorol. Ydy'r sector cerddoriaeth gyfoes yn cael yr un chwarae teg â'r sector clasurol neu'r sector jazz? Cwestiwn i'w holi, achos mae'n anodd. Dŷn ni'n buddsoddi dros £100,000 i mewn i ŵyl Sŵn, a dŷn ni hefyd yn rhoi ein staff ni o'r clwb i mewn in kind. Ond mae'n fuddsoddiad mawr i gwmni bach ar yr adeg yma o'r flwyddyn lle mae lot o arian yn mynd allan i baratoi ar ei chyfer, yn enwedig ar ôl tri mis o haf lle mae'n eithaf tawel. Mae'n cael effaith eithaf trwm ar y cash flow. Buasai gwybod bod yna fwy o gefnogaeth allan yna i'n galluogi ni i ddatblygu'r ŵyl yn rhywbeth y buaswn i'n ei groesawu, achos dŷn ni'n gweld ei bod yn ŵyl bwysig o ran rhoi cyfle i artistiaid newydd i berfformio mewn gŵyl broffesiynol a hefyd i berfformio efo artistiaid eraill sydd yn teithio a gweld sut mae'n gweithio i artistiaid sydd wedi mynd gam neu ddau ymhellach i fyny'r ysgol, mewn ffordd - sut mae'n gweithio iddyn nhw.
English: Sorry to interrupt, but you've said that it's a question for the arts council as to whether the funding would be going to contemporary music, but what's your opinion on that? Is it going to contemporary music?
Welsh: Sori, jest i dorri i mewn, dŷch chi wedi dweud bod cwestiwn i'r cyngor celfyddydau o ran a yw'r arian yn mynd i gerddoriaeth gyfoes. Beth yw'ch barn chi? A ydyw'n mynd - ?
English: I don't know enough about their priorities in terms of music festivals. I was speaking specifically about the funding for music festivals. There is a specific pot for that. My understanding is that jazz and classical music have more priority, but that's not something I've investigated a great deal. As it happens, I'm going to a meeting of the arts council in a couple of weeks, where they will be discussing their priorities, following the recent consultation. So, it was a rhetorical question, in a way.
Welsh: Dwi ddim yn gwybod digon am beth yw eu blaenoriaethau nhw o ran gwyliau cerddorol. Roeddwn i'n sôn yn benodol am y nawdd ar gyfer gwyliau cerddorol. Mae yna bot penodol ar gyfer hynny. Fy nealltwriaeth i ydy bod clasurol a jazz yn cael tipyn o flaenoriaeth. Dyw e ddim yn rhywbeth dwi wedi edrych ddigon i mewn iddo fe. Fel mae'n digwydd, dwi'n mynd i gyfarfod â'r cyngor celfyddydau mewn cwpwl o wythnosau, lle byddan nhw'n trafod beth yw'r blaenoriaethau yn dilyn ymgynghoriad diweddar. Cwestiwn rhethregol ydyw i ryw raddau, i gael ei roi allan yn fanna.
English: Okay. Moving on to support and advice - John Griffiths.
Welsh: Ocê, symudwn ni ymlaen yn awr at gyngor a chymorth - John Griffiths.
English: Yes, certainly. As it happens, we're members of the Association of Independent Festivals. So, we go to their events to see what issues are facing the sector in general. We're quite a different festival at Sŵn, because we're urban rather than being a greenfield festival, but I'm always of the opinion that the more discussion, debate and engagement there is between different people in the industry then the better in terms of understanding how things work. And the hope is that everything grows as a result of that.
Welsh: Ie, yn bendant. Fel mae'n digwydd, dŷn ni'n aelod o'r Association of Independent Festivals. Felly, dŷn ni'n mynd i'w digwyddiadau nhw i gael gweld beth yw'r problemau sy'n wynebu'r sector yn gyffredinol. Dŷn ni'n ŵyl eithaf gwahanol efo Sŵn, gan ein bod ni'n un ddinesig, yn hytrach nag un greenfield, ond dwi'n wastad o'r farn po fwyaf o drafod a pho fwyaf o ymgysylltu sydd rhwng pobl wahanol yn y diwydiant, y gorau dŷn ni'n dod i ddeall sut mae pethau'n gweithio, a'r gobaith ydy bod popeth yn tyfu o ganlyniad i hynny.
English: In Wales, possibly not. I used to work for the Welsh Music Foundation and was then a member of the board of the foundation after moving on to work somewhere else, and that was a place where people could go to enquire not just in terms of the live music sector but the music sector in general. Since that has been wound up, there's no specific place for people who work in the music industry to go for advice, and that's something that I see as being lost, because it makes it increasingly difficult for people who have an interest in working in the industry to find their path into the industry. It's part of the reason why we organised a conference as part of Sŵn this year - a two-day event that will hopefully give a great deal of information to people who have an interest in working in the industry in terms of how to access industry, what specific sectors to focus on - and, hopefully, that will encourage interest. We've had support from the Welsh Government to hold that event. What isn't available, perhaps, is a year-long source, where you can pick up the phone or send an e-mail to say, 'I want to look into this. I don't know how to go about this. Can you give me some advice?' There's no specific place at the moment that offers that service.
Welsh: Yng Nghymru, o bosib na. Mi oeddwn i'n arfer gweithio i'r Welsh Music Foundation ac mi es i ymlaen i fod yn aelod o fwrdd y Welsh Music Foundation ar ôl symud ymlaen i weithio yn rhywle arall, ac mi oedd hynny'n rhywle lle'r oedd pobl yn gallu mynd i holi nid jest o ran y sector cerddoriaeth fyw ond y sector cerddoriaeth yn gyffredinol. Ers i hwnna ddod i ben, does yna ddim lle penodol i bobl sy'n gweithio yn y diwydiant cerddoriaeth i fynd am gyngor, ac mae hynny'n rhywbeth dwi'n gweld sydd wedi cael ei golli achos mae'n ei gwneud hi'n gynyddol anodd i bobl newydd sydd â diddordeb i weithio yn y diwydiant i ffeindio'u llwybr i mewn i'r diwydiant. Mae o'n rhan o'r rheswm dŷn ni'n trefnu cynhadledd fel rhan o wŷl Sŵn eleni - digwyddiad dau ddiwrnod sydd, gobeithio, yn mynd i roi lot o wybodaeth i bobl sydd efo diddordeb i weithio yn y diwydiant, o ran sut i gael i mewn iddo fo, pa sectorau penodol i ganolbwyntio arnyn nhw - a gobeithio fydd e jest yn ysgogi diddordeb pobl. Fel mae'n digwydd, dŷn ni wedi cael cefnogaeth gan Llywodraeth Cymru i roi'r digwyddiad yma ymlaen. Beth sydd ddim ar gael efallai ydy ffynhonnell drwy'r flwyddyn i allu codi'r ffôn neu anfon e-bost a mynd, 'Dwi angen edrych i mewn i hyn. Dwi ddim yn gwybod sut i ddygymod efo hyn. Allwch chi roi cyngor i mi?' Does yna nunlle penodol, dwi ddim yn meddwl, ar hyn o bryd sydd yn cynnig hynna.
English: So, expanding that provision across Wales would be a very good step forward.
Welsh: So, byddai ehangu nhw ledled Cymru yn gam da ymlaen.
English: I also feel that we could be braver in terms of our programme and do things that we know aren't going to be commercial, but that have other objectives in terms of developing an audience or providing an opportunity for a certain sector of an audience that doesn't have events organised for them very often - that we could do more of those things in the knowledge that we don't have to put the events on for commercial reasons only. That's something that we are always conscious of when we organise these events.
Welsh: A hefyd rwy'n teimlo buasem ni'n gallu bod yn fwy dewr o ran ein rhaglen a gwneud pethau dŷn ni'n gwybod sydd ddim yn mynd i fod yn fasnachol, ond efo amcanion eraill o ran datblygu cynulleidfa neu roi cyfle i sector o gynulleidfa sydd ddim yn cael digwyddiadau wedi'u trefnu iddyn nhw'n aml - ein bod ni'n gallu gwneud mwy o bethau felly, achos dŷn ni'n gwybod nad ŷm ni'n gorfod rhoi digwyddiadau ymlaen am resymau ariannol yn unig. Mae hwnnw'n rhywbeth sydd wastad y tu cefn i ni pan fyddwn ni'n trefnu pethau ar hyn o bryd.
English: We heard something similar from the theatre sector and the classical music sector, in that people put events on knowing that they are going to attract those audiences, rather than perhaps taking the risk on those more unique events that perhaps won't bring in the funds. So, interesting. David Melding.
Welsh: Rŷn ni wedi clywed rhywbeth tebyg gan y sector theatr a'r sector cerddoriaeth glasurol, sef fod pobl yn rhoi pethau ymlaen maen nhw'n gwybod eu bod nhw'n mynd i gael y cynulleidfaoedd ar eu cyfer nhw, yn hytrach na chymryd risg ar bethau mwy unigryw fyddai ddim yn dod â'r arian i mewn. So, diddorol. David Melding.
English: Certainly, because the independent places, the unique places, are what creates the city. And we don't want to create a situation -
Welsh: Ie, yn bendant, achos y llefydd annibynnol, unigryw sy'n creu y ddinas. Dŷn ni ddim eisiau creu sefyllfa lle -
English: Everyone knows about Clwb Ifor Bach, and everyone has experiences that they've had there over the last 30 years, and it is a place that people know Cardiff for. If Cardiff were to turn into a city where you had the same chain restaurants and clubs as any other city, what makes it unique? And that's why I think people have been so passionate about the Womanby Street and Gwdihw situations - they feel that these places, these arts centres, do create the soul of the city, and they feel very strongly, and I agree, that we need to protect them as much as we can, because what is Cardiff, or what is Pontypridd, unless in these places that people know about in terms of these cities and towns?
Welsh: Mae pawb yn gwybod am Glwb Ifor Bach; mae pawb efo profiadau maen nhw wedi eu cael yno dros y 30 mlynedd diwethaf, ac mae o'n lle mae pobl yn adnabod am Gaerdydd. Petasai Caerdydd yn troi mewn i ddinas lle mae'r un chain restaurants a'r un chain clubs â phob dinas arall, beth sy'n ei wneud e'n unigryw? A dyna, dwi'n meddwl, pam mae pobl wedi bod mor passionate am y sefyllfa efo Womanby Street, sefyllfa Gwdihw - maen nhw'n teimlo taw'r llefydd yma, y canolfannau celfyddydol yma, sydd yn creu enaid y ddinas, ac mae nhw'n teimlo'n gryf, a dwi'n cytuno, fod angen amddiffyn nhw gymaint ag ydyn ni'n gallu, achos beth yw Caerdydd, neu beth yw Pontypridd, oni bai yn y llefydd mae pobl yn cysylltu â ac yn adnabod am y trefi a'r dinasoedd yna?
English: Thank you, Chair. The new licensing system has not been devolved yet. We want to address this issue in time, but it's interesting for us to see what the problems are in terms of the licensing system at present. You mentioned, Guto, earlier the difference between arts centres and centres that are considered to be nightclubs, if I can use that term. You mentioned the fact that you need more security officers and so forth. Could you give us some examples of those additional things that you have to do, compared with, for example, Chapter?
Welsh: Diolch, Gadeirydd. Dyw'r system drwyddedu ddim wedi cael ei datganoli eto. Fe ddaw e, mae'n siŵr, mewn amser, ond bydd e'n ddiddorol i ni i gyd wybod beth yw'r problemau ynglŷn â'r system drwyddedu presennol. Mi wnaethoch chi sôn, Guto, yn gynharach ynglŷn â'r gwahaniaeth rhwng canolfannau sy'n cael eu sefydlu fel canolfannau celfyddyd a chanolfannau sy'n cael eu hystyried fel clybiau nos, os caf i ddweud hynny. Fe wnaethoch chi sôn wrthyf i fod eisiau mwy o bobl ynglŷn â diogelwch ac yn y blaen. A allwch chi roi rhai enghreifftiau i ni o beth yw'r pethau ychwanegol mae'n rhaid i chi eu gwneud o'i gymharu ag, er enghraifft, Chapter?
English: That's interesting and something to be considered in more detail, I think, in time. One other little question: in terms of the Live Music Act 2012, has that made things worse or better for both of you?
Welsh: Mae hwnna'n ddiddorol. Mae hwnna'n rhywbeth i'w ystyried yn fwy manwl, dwi'n credu, mewn amser. Cwestiwn bach arall: ynglŷn â Deddf Cerddoriaeth Fyw 2012, ydy hynny wedi gwneud pethau'n waeth neu'n well i chi'ch dau?
English: Possibly it's made it harder, because before the live music Act, if we ran something like a members club - we were the only place that was open after 11.00 p.m. on Womanby Street. Now, everybody's open, which has made it harder for us. But the problem, I would say, is that because pubs and so on can hold live music events, and, quite often, do that in order to bring an audience in, and they don't charge on the door, it's made people think that they don't have to pay to go to see bands performing. What's odd is that people don't complain about paying £40 to go and see a band in the Motorpoint arena, but if you ask them to pay £8 or £9 to go and see a band in Clwb, they think, 'Well, that's a little bit expensive, isn't it?' I don't know whether that's because of the level of production that we can provide, and that's not at the same level as you'd have in the Motorpoint, or that people are just less willing to invest in new artists. Or whether it's because they're familiar with seeing bands performing in pubs where they don't have to pay anything and think, 'Well, why do I have to pay to go to see them there?'
Welsh: Mae'n bosib ei fod e'n neud e'n anoddach, achos cyn y Ddeddf cerddoriaeth fyw, os oedden ni'n rhedeg rhywbeth fel clwb aelodau - ni oedd yr unig le oedd ar agor ar ôl 11.00 y.h. yn Womanby Street. Nawr, mae pobman ar agor, sydd wedi ei wneud yn anoddach. Ond y broblem ydy, buaswn i'n dweud, gan fod tafarndai a ballu'n gallu rhoi bandiau ymlaen, ac, yn aml, yn gwneud hynny er mwyn dod â chynulleidfa mewn, a ddim yn codi ar y drws, mae o wedi gwneud i bobl feddwl bod dim angen talu i fynd i weld bandiau'n perfformio. Beth sy'n od ydy, dydy pobl ddim yn cwyno am dalu £40 i fynd i weld band yn Motorpoint, ond os wyt ti'n gofyn iddyn nhw dalu £8 neu £9 punt i ddod i weld band yn Clwb, 'Wel, mae hwnna bach yn ddrud, dyw e ddim?' Dwi ddim yn gwybod os mai oherwydd bod y lefel y production dŷn ni yn gallu cynnig ddim i'r un lefel a beth fuaset ti'n ei gael yn Motorpoint, neu fod pobl jest yn llai parod i fuddsoddi mewn artistiaid newydd. Neu, ydy e achos eu bod nhw'n gyfarwydd â gweld bandiau yn perfformio mewn tafarndai lle dŷn nhw ddim yn gorfod talu ac yn meddwl, 'Wel, pam dwi'n gorfod talu i fynd i'w gweld nhw fanna?'
English: Well, it's more in terms of live music, because one of the things that the live music Act has done is made it much easier for pubs or any venue to put bands on without them having to have a specific licence to do so. So, I think, if a place held fewer than 200 or 300 people, or something like that, you didn't need a premises licence or something in addition - I don't remember the details. And then there was a period, and it still happens now, where pubs saw this as an option - 'Well, if we put a covers band on in the corner, it will bring people in, it will make money on the bar, and we won't charge on the door in order to attract that audience.' Well, we can't afford to do that, because if we don't charge on the door, we can't pay the staff, we can't pay the bands - the bar income is insufficient. Another element was that element of opening late. We had to work harder to justify and persuade people to come to Clwb after 11.00, when they could stay in the City Arms until 2.00 a.m., so there was a need to put - . But in terms of live music, no, that's the problem. It's made it's easier to put bands on, but it's made it harder, perhaps, for the specialist places that put bands on.
Welsh: Wel, mae e fwy o ran cerddoriaeth fyw, achos un o'r pethau roedd y live music Act yn ei wneud oedd ei wneud o lot yn haws i dafarndai - unrhyw le - i roi bandiau ymlaen heb eu bod nhw'n gorfod cael trwydded benodol i wneud hynny. So, dwi'n meddwl, os oedd y lle yn dal llai na 200 neu 300, neu rywbeth felly, doedd dim angen premises licence neu rywbeth ychwanegol - dwi ddim yn cofio'r manylion. Ac wedyn mi oedd yna gyfnod, ac mae'n dal i ddigwydd, lle'r oedd tafarndai'n gweld hwn fel opsiwn - 'Wel, os wnawn ni roi ryw covers band ymlaen yn y gornel, gwneith o ddod â phobl mewn, gwnawn ni wneud pres ar y bar, ond gwnawn ni ddim codi ar y drws er mwyn cael y gynulleidfa mewn.' Wel, dŷn ni ddim yn gallu fforddio dweud hynny, achos os nad ŷn ni'n codi ar y drws, dŷn ni ddim yn gallu talu'r staff, dŷn ni ddim yn gallu talu'r bandiau - dyw incwm y bar ddim yn ddigonol. Elfen arall oedd yr elfen agor yn hwyr. Roedd rhaid inni weithio'n galetach i gyfiawnhau perswadio pobl i ddod i Clwb, ar ôl 11.00 p.m., pan oedden nhw'n gallu aros yn y City Arms tan 2 o'r gloch y bore, so roedd angen rhoi - . Ond o ran y gerddoriaeth fyw, na, dyna'r broblem. Mae wedi'i wneud e'n haws rhoi bandiau ymlaen, ond mae wedi'i wneud o'n anodd, efallai, i lefydd arbenigol sy'n rhoi cerddoriaeth ymlaen, o bosib.
English: I'll come on to that later, if I may. Just one more thing in terms of licensing - one of the things that arose, in the informal event that we had in the Tramshed recently, was the issue of racial profiling, in terms of events that were designated as high risk. Is that something that has affected you at all? Have you seen it at all, and if you have, what was the impact?
Welsh: Dof i nôl at hwnna yn nes ymlaen, os gallaf i. Jest un peth arall ynglŷn â thrwyddedu - un o'r pethau gafodd ei godi, yn ystod y digwyddiad gawson ni'n anffurfiol yn y Tramshed yn ddiweddar, oedd y mater o broffilio hiliol, ynglŷn â digwyddiadau oedd yn cael eu nodi fel digwyddiadau risg uchel. Ydy hwn yn rhywbeth sydd wedi effeithio arnoch chi o gwbl? Ydych chi wedi'i weld e o gwbl, ac os ŷch chi wedi, beth oedd yr effaith?