NEXUS 2 - The Professional way to record Web Based Sessions

You already history story. Welcome, Hi to the pro Audio Suite. Thanks you guys are professional and motivated thanks to try Booth, the best vocal booth for home or on the road voice recording and Austrian audio making Passion Hurd Introducing Robert Marshall from Source Elements and someone Audio Post Chicago, Aaron Robert Robertson from Voodoo Radio Imaging site to the video stars, George the Tech Whittam from LA and Me, Andrew Peters Voice Ober Talent and Home Studio Guy out and welcome to another pro audio suite. Don't forget the code t ri I p A P two hundred to get two hundred dollars off your try booth. And don't forget George dot Tex slash TPAs for your deals man indeed, indeed, indeed, and don't forget demos thework dot Com. Anyway, that's enough plugs now we're talking about Source dash Elements dot Com today. This is the first for us, the first time we've been seen on camera, which sorry about that is the way it goes and it's scary. Oh crap, I forgot. I need to stop picking my nose now. As long as that's all, you're picking scratchy balls, whatever you do. So this is the new source Nexus Robert. Yeah, we just released this and really something that I guess if a lot of our crowd, our voice talent, at least initially here this is kind of showing more of the client site or our new version of a client side application, kind of shooting down the middle. We had originally made source Live, which has a really high powered server assisted video streaming system and has you know, it can have a lot of I think up to twenty we tested up to twenty five or thirty people. We just ran out of people to test with. But it shouldn't have any limits on the number of connections. So the idea here was to take Nexus, which is started to become sort of a slightly more commoditized concept. Nexus going way back how many years ago, I'm not sure, but it feels like probably at least ten, maybe a little bit more, maybe thirteen years ago or so. Nexus comes out and really sets this genre for how to construct post sessions so that you can have your talent coming in on Source connect, you can have your clients in on various meeting platforms. You can have a you know, a remote connection you can. Nexus was also used for bringing in you know, sound effects feeds and other monitorings of other types of things, things that you would normally patch into a patch bay in the hardware hardware world. This is now all starting to happen. Application application and Nexus is this patching center as the name implies, but that capability has been slightly commoditized. You have all kinds of things like even Ua and Apollo has our virtual drivers built into the interfaces, and interfaces are coming out with loop back connections and blah blah blah. So here we are in a you know, innovating and saying what was Nexus originally used for? And it was used for a lot of It was used for integrating these communications platforms, and we thought, let's make a communications platform. It's a little bit more built for media professionals. And on this side, the initial sort of intent is for review and approval. So you can managine either you've got clients on the gateway here and they are meeting, and then there's a talent connected and the engineer can patch all this together, you know, using Nexus actually, and they would have a session where a talent's connected and non source connect and the clients are all here on a meeting platform, and so here's sort of a meeting platform that's more designed for media professionals and specifically like a review and approval workflow. Here here's kind of what it looks like a little bit. One of the first things with Nexus is it has it now a plug in dedicated for that does a lot of this template set up. People used to have these crazy templates for pro tools and now if you want, what I should do is share my screen. So here's Robert's screen. So the first thing that Nexus has besides this meeting room looks pretty similar to a lot of things, but here here's one big difference. There's a plugin that's included with it, and the plugin has as you can see my talk pack coming in here has the input from the mix, so I can hear the mix actually right here. The mix is also sent to the broadcast input, which we'll talk about in a split second. And then here's the chat return. So if someone says hello, we will see this meter bounce Hell. There you go. So that's how I hear. And this takes care of all the mix minus and all the routing that people would have to do in one drop of a plug in on the master fader. That's to change your session structure. You don't have to mix to a bus, so you can separate the people from what you're listening to and make mixed minus. Essentially, this does it for you. And so here's this broadcast input. But over here in the gateway, I've got this broadcast section. So now I can send my mix separate from my communications input, which is not something you get to do with Zoom et cetera, et cetera, all the other ones. So here's a high quality stereo communications feed without without having to have problems with my talk back conflated within it and those kinds of things. So now you guys might notice that if I just literally go over here and this might be allowed. Here's a rock tune in the session. And then as easy as that is a good level I can write, I put it down to minus twenty because we have to blend it with this stuff and coming back to me in full stereo, high fidelity, full stereo exactly. That's the whole point. And so but really it's like, you know, I don't want you looking at my screen because there's too much stuff there and whatnot. What you really want to see is this. So if I jump back out and I share my window, you can't see what I'm doing because I'm not sharing it. But I'm basically sharing again again, but this time instead of doing entire screen, I'm picking window and I'm picking that pro Tools video window. So now we can play this spot that we are kind of using as a little aber demo. So and right now, that's more stuff to talk about later, the remote AVR workflows. But here's just a review and approval thing. And so if you're a lot of voice sessions are not synk a picture, you're just hey, read it three times, all right, I'll cut that in and you see it happening. And essentially here's the core of that session. I can have a talent connected. I can bring the talent in through here, actually through a new plug in, but I can't really talk about that. But the classic connection where you have source connect and a plug in on an OX track. So here you can see I'm receiving from source connect. This is the original Nexus plug in. And so there's from source connect and that's popping over to my record track over here, and then an oxend from receive of nexus, and I can send the chat over to the talent. So shaty. So you don't have your talent on nexus? Thing, is that what you're saying? You don't want to because then you have all right, everyone new through mics or you know, you don't have separation essentially, So what you have is you can have the talent joined nexus. And one of the first we plan on kind of rolling out updates rapidly, and one of the ones that's up on the dock is a no audio button, meaning not just mute your microphone, but mute the whole output. So then the talent can be here. The talent can look at the picture, see the clients and record, and within the realms of that latency, you can even record sort of with picture as long as the engineer slides it back and happens a lot over these remote systems, you just kind of deal with the latency. A little wit ask you about the buffer setting on now see in my window and says off, no buffer right now? Yeah. Right. Another thing, so stuff you can't do in zoom oh the broadcast, which is really high quality, is giving me a little bit of trouble. You can add some buffering on your side, so you can maybe that connection is going to be a little bit more latent, but it's going to have a stronger connection because as you know, how it goes with all of these Chrome type things, it's all up to the way Chrome really decides to treat the audio, and Chrome loves to drive latencies as low as possible and just say, screw it, I'm going to stretch audio and mask all kinds of stuff and quite frankly, make up more audio than I'm actually broadcasting. Is to kind of make communications work, and if it is high quality, that's nice, but it's not my goal. My goal is just communications. Just by adding to that buffer, at least we can protect that audio stream a little bit and make sure that clients aren't hearing. So, for instance, the way I do it, when I send my talent to the clients, I'm sending them through the broadcast input, so they hear that voice record from the talent and really high quality. Whereas we're you know, over here the chat, even though there is a broadcast option on the chat, you don't really need it. And that way, you also have echo cancelation built into here, and you're optimizing the way things are you're not all eggs and like all echo canceled good enough for a lawyer's meeting, or the other side, something like source connect now was where it's just like wide open, pure audio, but then you have feedback issues. This is kind of trying to blend. You've got clients who are used to the business meeting, you've got vo talent, and playback that needs to be high quality. Put all that together in the right way. That's always challenging a lot of things that it's an all or nothing proposition. It's it's either zoom equality or everybody's in a high quality and it's just you introduce new problems when the especially the client is not prepared for that. Yeah, I mean there's there's a lot of stuff that's like for people that aren't initiated in this this stuff, it's easy for us to you know, say stuff, but we've been We do this day in and day out, at least I do obviously, and we always have phones at the ready. Yeah, and so there's certain people we're actually getting it pretty good on the iPhone and iOS devices and those have their own challenges. We have a warning rate away that says like if you're going to use this for communications, we can't really give you as high quality broadcast audio. So there's another thing that's unique to this is there's a mode to it where you can just join it for the broadcast audio, which is a case where maybe you do want to have a sidecar Zoom meeting. Some of the issues with a sidecar Zoom meeting with a high quality broadcast on the side is now Zoom's unaware of its echo cancelation, so the high quality audio broadcast echoes through everyone's connections because it doesn't think that that's part of its initial input output. It doesn't catch it in its algorithm as well as when it's all integrated into one platform. But yeah, you can join this and just use it for the broadcast, or you can use it for the meeting. But when you use it on the iPhone, if you just want to use it for the broadcast, you'll get high quality. If you use it for communications and the broadcast, the broadcast unfortunately gets stepped on. And I'm sure you've seen some of that happen, even when you just get a phone call. As soon as the iPhone thinks it's in a communications mode, it's like it's doing that good enough for communications, make it intelligible kind of thing. And so but still there's people that might be driving. You might have a producer who's just really they just want to make sure the sessions flowing. Well, they don't really they're not listening to it in the same way that the writer and the art directors are, for example, worrying about what time is it and or we're gonna have to pay somebody over time if this goes any longer. Yeah, yeah, but that's pretty much it, you know, the ideas. It's trying to be really simple about it as well. It's very cool. I mean, it's like it takes as you say, it takes zoom out of the equation, which is the best bit. Plus we can you know least as you say, we're listening to the talent in broadcast quality as well, which you know, for me as an engineer is a big thing. You know, I don't want to and any session you do, you can remote hize it in just like one drop of a plug in. You know, you have to think about it. So one of the unique things about the review plug in here is that you can bring your talkback in from any input in the whole computers, you know, right right, I'm using same as system which is picking up this road and to USB actually so same as the system setting or picking it up directly. And that can be my talkback input which is on a trigger with a slash key. Or if you're in a pro Tools HDX or HD native system, when pro tools launches, your audio interface is exclusively owned by pro tools, and if your talkback MIC is going to that audio interface, how do you get it in there? Here you go, you pick it up on the side chaining. Nice that I like that. Then you tell this thing so say my input is I don't know, it wouldn't be one of these buses, but I don't even have a hardware input, so in this case, but then you just pick your input there and then here you'd say use key input and anybody else with the exclusively run hardware audio system. There's a few others out there. I'm trying to think of what they are, but maybe like a fair Light for example, and that CC one card that they have and things like that can make use of that input. Actually, come to think of it, I'm not too sure Fairlight has gotten around to putting side chain inputs on their plugins. Yet that's a different issue. They could sure use it, because I remember I did a tech support thing the other day for a fairlight person. What I ended up doing is making an OX channel, dropping a Nexus plug in and picking up making the OX channel the input for his talkback mic, and then just sending it off to a virtual device like Nexus twenty three twenty four. So then over here on the review plug in, I just went over and picked up Nexus A twenty four or whatever and audio got his talk back into the system. Even though yeah, that's and then too an extra like it'd be nice to fairly put in a side chain on their plug ins. And I forget what other exclusive systems there are, but there are some, I believe. Well, it's very cool, mate, you must be pleased with it. Oh yeah, I mean it's funny how it's exactly a year. We went to AES last year and showed a prototype of this, and we put the prototype together in like the month or two before AES I think, and it was like that kind of thing where you make eighty percent of the progress. We had a review plug in that looked a lot like this stuff was functional, and then the whole last year has been spent like the details. So was the idea? I mean Nexus Nexus one that shall we call it? The original Nexus? For me, I've you know, there's no secret, I've talked about it on the show a million times. I love it looking at this and watching you use it now? Was the idea to take something that was really useful but probably you know, to have a bit of a tech understanding and make it a bit more user friendly? Is that what you were trying to do? So we would find things like this. You know, you'd get someone and they'd buy Nexus and it's like at that time, it's like two ninety five at the time, but they'd be on the phone with a tech with one of our tech support people for another forty five minutes an hour. We're building a template for them. It's kind of expensive, honestly. And then these like and this isn't everybody, but there's like a certain level of user like I just need to do this thing, and well what you need to do is like kind of complicated. That's fine, Just can you show me? And then you show them and then next thing, you know, when they get stuck or something, they're back at it. And originally Nexus didn't even include live tech support. You know. It was like try to simplify because some of these people, George, I know, you know this since a syndrome where people get set up with something that is barely at their capacity to remember, especially if you're setting it up for them, because it's a different thing. When you brew something up in there, then you know it. But if someone just like here you go is being boom and then you're like, oh fuck, I got to get off the phone. See you later have a good dancer and like how it worked, Like I don't even want to close my computer. They want to. Yeah. So so the idea was that this first one is just to take that whole kind of set up and distill it into here. I mean, here, here's your classic mixed minus is what this is. Just because someone's a talented engineer, mixer, whatever, it doesn't mean they necessarily are trained and know how to build some of the really great shouting and stuff exactly how that is. I mean, that's that's kind of how I got my start. Like I was a sound designer and mixer at ah you know, at Cutters, and there's sort of operators I was always involved with, like even what equipment are we going to buy, how we going to set up? How can we be more efficient we're going to do our storage. I mean there's story. You were like engineer slash technician. Really I was. I was a little bit of like the I didn't do all the sidering because there was also like a whole department of full text. But I was like the liaison and I would define and get my hands very dirty doing the stuff for the audio department, because you're also an audio department and a company that was originally a video company. So the video techs are video techs, and they can do what you want, but they don't know the same stuff. They know exactly how to run an avid and premiere and all those things. And then you know, audio is kind of a weird thing. So yeah, it came out from you know, you're setting stuff up, and then you know, here we are making the stuff that we try to simplify these things. So I guess the important point to make you too, especially for you know, content creators or or for voiceover artists, is all this techy stuff in the background, especially if you're a voiceover artist, that's not your responsibility. That's the engineer's responsibility. All you need to do if you're a voiceover artist is dial in to the engineer, but on your usual source connection connection. Yeah, but dialing to the audio engineer on your usual source connect connection and bang you're in. But if you need to run sessions or if you if you want that connectivity, then you know you've got all these in Nexus as well. Right, So, first thing I was gonna say is like, there's engineers that they just want to walk into work, Go where's my talkback mountain, where's the mic pre for the talent? Where do I search my sound effects? And I just want to restart're not necessarily yeah, they're not worried about like am I on the latest version of this and that? And what do I have? They just want to like like they're more of the artist type of engineer and not so much of the tech kind of engineer. And they're doing a lot of great work, but they're just not into it as much. And so a lot of those people, as you said, they're sometimes especially is what's happening these days is people are going freelance a lot, and a lot of those people had the support of a big team in a post house like that, and now they're freelance and they're leaning on either companies and you know people like George or are you some of our tech support? And so the idea is to simplify this. But here's something that a voice talent could do with this. Imagine you have clients that think, and I'm going to say, think that they can save money and time by having the voice talent record themselves and then just throwing a bunch of audio takes and poorly placed, poorly noted stuff and an audio engineer to say, just put it together. And somehow that's going to save one hour of an audio engineer's time by making them edit stuff after the fact. And rabo, You and I both know that they will get more of what they want quicker for less money if they just do a supervised session with an engineer on the line. Nonetheless, it happens to a lot of voice talent. Andrew knows this and you're like, can you play that back for me? Yesuse now is a voice talent all you got to do? You probably, I think this is stereo only. We should modify this from mono. But you could just make a master fader in your daw and chuck this on it, and now you can do playback without thinking about it. You just play it back. You're broadcasting your mic, you want to do a playback, you know, especially if you use the push to talk, you can mute your microphones, so the playback is nice and clean for them, but they're probably not recording you anyway, so they just want to hear it and decide if you know. So this could be useful for a talent who just needs to have a very simple playback system. And one of the things also that's going to come out pretty soon is a standalone version of this plug in because it's also useful for video editors. They want to share their video edit screen and and you know what they're working on with clients, and exactly the same way we are on pro tools, but the video editing systems don't have quite the same idea of always a live ongoing mixer. So you know, in this case, you would just use Nexus to bring the audio directly into the standalone app, the audio from your system essentially like a copy of your audio from the system, and then you can have your talkback mic selected directly and now someone running Final Cut or Premier can easily set up a review session for their with their clients, so they can work remotely as well. So it does have a couple of applications. There some other fun stuff. You hit the talkback button and it dims things. So for example, if you mix, you can talk over it and you're like, right over here, this happens, and that happens, and it dims the mix. And you can just decide what you want to dim just by selecting here what gets dimmed when you have if you do need to run with Zoom or something like that, there's some preferences here. You can send your talk back to your broadcast input. Like I said, Zoom can't can't differentiate these things. So that way you could use this with a Zoom type setup or whatever, just a traditional meeting school meet, right, And this is a funny this is a funny setting. We actually normally this is off and we take away the master fader for the engineer so that they don't end up turning their whole mix down and printing it. But if they need, if they do want to have their control of their mix, of their own VET level, then they can turn that preference sign and that just very if you is what you're sending. That's so that's effectively what I'm sending out my mix bus, Is that right? Yeah, exactly. So if you were to like somehow move this fader and then mix everything down, yes, down, you might bunce down it like negative something bad. But if you're recording and things are a bit hot, you can at least you can trim it a touch right right if you want, you can turn the sign and you can control your monitor mix a little bit easier without having to change your master fader. But when you mix down, you want to either make sure you put this puppy at zero. You can tape the numbers in here, by the way too, but or you can do the preference and just turn it off. So there's no way you there's no feeder, it's gone. See. The thing for me is in pro tools, and you might correct me if I'm wrong here. But when I have a session and I have I save memory locations, right, so I'll set up I'll create a new session, I'll create a record section as a location memory, and I'll tell it to remember the tracks that I'm viewing and the zoom and all that sort of stuff, and the mutant and the mute and all that sort of stuff, and then I'll create another section which might be mixed, and then I'll have other tracks. So when I slip through and when I go to each memory location, it's muting and unmuting master faders. So on my record section, my record master fader, I would have this source connect plug in on it. But then when I went to my next one, if I was doing the mix and I opened up that memory, it would be a different master bus and so which wouldn't have that on there. So that would negate that forgetting to turn it off. Right. It's like the old SSL boards. It would have like I forget what the modes are called, like mixed down mode and tracking mode, and it would do a whole bunch of like switch arounds to deal with queueing and things like that. Yeah, you kind of like switching your mixer into different modes depending on what you're doing. It's one of the things My favorite things of Twist a Wave is being able to hide a little volume slider on the on the bar at the top because people will slide that thing down, don't even realize why it's so quiet, and start recording at a higher level. Or doing all kinds of weird stuff. That's just your playback dude. And so I love that I can hide it, you could disappear, you can't touch it anymore. That's why we put this here, because it's just like we were trying to make this thing. The idea a lot with this was to reduce tech support and try to yeah, which ironically is the idea of the Passport VO is to also reduce test tend support, which is I'm actually frankly a little concerned about. It's so funny. When Andrew and I talked about doing this episode, He's like, and then all you need you need this in passport VIO, and I was like, yeah, with this, you just kind of need a basic one to out interface, like you can just do a road AI want it? Would? You know? See, if you by the Passport VO, you don't have to pay fifteen dollars a month either. See there you go, that's true. But how many lines is that? At? Like six hundred dollars? You know? The Passport View is a piece of hardware, and it's beautiful and it's on right, and even though it does cover a playback workflow, there's many differences. So I'm personally not worried about it. The thing we we sort of don't touch on, which is something that's kind of more common than it was pre COVID, is you know, once because I lived remotely for seven years before it made of mine who's an audio engineer, moved here as well, And when he decided to move here, it was like, thank God for that. At least I've got some kind of support. So things go wrong in here, at least I can give him a call. It will just pop around and fix it for me. So all these things that make life a lot easier and technically support you, you know in a sort of kind of round about fashion, are perfect for people like myself or people the audio engineer, so we don't have to sort of go shit, I've got no one around here to fix anything. Yeah, I mean honestly, I like it too, even though I know what to set up. It's like a couple tunnel or how you say that, Like having this set up sessions and do things and do all your wrouting when it isn't. I So I started this little thing. I wasn't planning on doing a review, but now someone wants to hear it. Hold on put the plugin out there and you're not changing things, and so it's it's just convenient. Even if you know what you're doing, It's like, why work harder? Well, I can't tell you the amount of times Nexus has saved my ass since I've had it. You know, just that fact of being able to get stuff out of the box, well, you know, out of the software, out of the software where you kind of think, holy shit, how am I gonna you know, am I going to get this out of here and into there? Nexus is usually the answer. I'll give you the craziest thing I solved with Nexus one time. This guy was desperate and he had some problem with his audio interface. I forget, he had like an input and an output device and he didn't want to he couldn't use the same device for input and output, but one device was only running at one sample rate. And basically end result is you couldn't get these two things to aggregate together and work as a single device for pro Tools. So he ended up with pro Tools kind of like me right here where he's got no input. I think right now, with my pro tools interface, if if we go to my io setups, you have these weird situations no inputs. Look at that. That's crazy. I had nothing right, but you're like, I need some inputs. So you just drop a Nexus plug in on a bunch of ox channels and like, hey, inputs, and I just like, like, you know, sidewired his whole pro tools system, Hey guy. Sometimes the pro tools io routing is confoundingly frustrating. I mean, I've I've tried to set it up for people. I feel like every time I try to customize the pro tools io, I get I confuse myself and that I have the problem with the protols io is the you're all good and then and then you get a session from somebody else or I set up is cluttered with a bunch of other ship from somebody's else. You're like, yeah, one of these things and never created them. Can I delete them? And then if you really get into it, sometimes pro tools picks the wrong output. You can have many differently named things going out the same physical output, so you're hearing everything where you want. Then you're like, I don't need this output in protols like that's being used in the session. To get down in the sessions, make sure that you don't screw yourself, because if you delete that output then like who knows you? Yeah, it is interesting. Next is kind of puts all that routing just on the top level, and for some people it's a it's a little bit easier to see, you know, I think so it makes more sense to me, that's for sure. So give you what's the sale night? How much a month? We are trying to make this very affordable. So the idea is that what other people would spend in say, a streaming service and a high quality streaming service. I won't name any names, and they're cobbling together different services to make things are next to is right now, and we hope to keep it this point eleven ninety five a month, and we're just going to add to it. That's cheaping my Netflix subscription. Man, Yeah, it's pretty chase. It's cheating pretty chase. I'll be honest, super than like you know, middle. I don't know the Zoom pricing exactly, but I believe at least one of the lower tiers of Zoom is like twenty bucks a month. I think, yeah, that sound right, cheering Zoom pro. Yeah, and then with Zoom you got to add other services. So really with Zoom, you're looking at at least thirty bucks. Well, with Zoom, you're still going to have source connect, right and all that sort of stuff, and at least the broadcast setting, you can get away without that for a while. Yeah, I mean with this, you might still have source connect, but you might have you might not need a separate broadcaster like some of these. You know, users are often trying to like put things together in more affordable ways or I don't know. So it's this. This is designed to be a lot of bang for the buck, and we're going to add a lot to it and a lot of like very specific industry type workflows built within so that you can get your job done easier. What about podcast is in video creators and all that sort of stuff. So there's there's going to be like like right now, there's the record button right that we're actually using, but I'm not sure exactly how it's going to be presented, like which all overall tiers, but yeah, the ability just to hit record and then collect all those files easily and uh, and you know it's it's not going to be the direct to doll workflow that maybe a higher end podcast might use, but for a simple I just want to collect files and send them to the engineer who's going to edit them together. And never give that engineer bad files. By the way, people, it's very rude. Jesus, take your own advice for once. Will you kind of absolutely do as I say, not as I do. That's right exactly, Robert. Let me ask you this, So from your your in this case, the what would they what would they call you? The host of the session? Yeah, I'm the host. It's my room. Does the host get to see the settings on the guests? So, so, as a host, do you know that a guest is using broadcast versus communication? Yeah, which which we're not using right now. You would see the HQ there. I think, uh yeah, there's there's going to be some of that stuff. We plan to have like a button where you can see what the bit rates are of the connections and things like that. But right now, I mean, this is one point. Oh, I mean, it's right, this is the beginning. Absolutely. Yeah. But it's funny because I've talked to you about the client of mine in to buy the studio there that I do a lot of work with. I've been talking about this and they're super super keene and that's why I want to get this as part of the workflow because it just tns everything up. Everything's in one place for them, Yeah, which is good for them and bloody good for me. Yeah, yeah, exactly. I always confusion about should I mute this or mute that? Should I unmute this? Now? You don't want to be listening to this, but only be listening to this, And it's yeah, yeah, Andrew. For you, you know, you're recording a twisted wave, and so when they ask you for a playback, you have to play back at a twisted wave, right, Well, no, because I usually use the big machine and not the one I'm using here, so it's WaveLab. Same thing though, but I just don't play back, right, You just don't play back. So no. In the later iteration, when we get the standalone version of this, you'll be able to just pay wave laborate through it as your system output, and then you can do playbacks. That's opening a whole other can of worms. This is feeding the animals at the zoo. It's correct. It's like, I know I can, but should I? This is the question. But at least you've got the option though, I mean, you know you can make the moral decision. But at least you've got the option there. I mean, you know if you might want to play that. You might be recording a podcast and you might want to play something back or something. You know, but but but you know, in a voice session, you might go, well listen. You might take the stance to well, I'm not you're not paying me a bit to be an audio engineer, so no, I don't play back, not that you would tell them now. It's creatives. It's like imagine you've got a an art director and a writer and they're just like, what song do we want on the spot? What about this one? What about that one? And they're playing stuff over the cell phones before it's like here, you could just be like sharing what's on my desktop? Check out this song? You know, I like this one. They're just playing each other's a tunes livery at each other. Yeah yeah, yeah, yeah. Well there's the other thing you could do too. You could almost with Nexus. You could if you can get an analogue line into whatever it is you're using, and you can plug your phone in, you could plug a phone call in through this as well. So you couldn't you you could, so you know, you could have someone listening on the phone. I don't know that. I don't know that one day you don't Actually maybe you can order this and order a phone number. Yeah, well there you go. I mean, I just I just think the amount of times that I've had, you know, sessions where you know that the client's been on holidays or you know, the creative has been stuck in the airport and I've had someone on a phone as well, and you know you can still throw them into this mix. Yeah, I mean the way the way they throw people on a phone call into my session right now is I'll use even like FaceTime is a really easy one. You can get a phone compact time up on the Mac and escape if you buy your phone number from them. And I see about FaceTime is like everyone has a phone in their computer. That's just by the nature of it. So that's like one way to just make next issue input in your output of that. Absolutely right, exactly, yeap, very cool, indeed, well done, sir, Thank you, bravo. We are proud and if anybody as questions source stash elements dot com check it out. Indeed, check it out the pro audio Suite. Thanks and Austrian audio recorded using source Connects, edited by Andrew Peaters and mixed by bod Radio Imaging. We have to take support from George the Tech Boom. Don't forget to subscribe to the show and joining the conversation on our Facebook group to leave a comment, suggest a topic, or just say today, drop us a note at our website dot com