Hunting Down Gremlins in Your Signal Chain

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(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?

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Get started.

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Welcome.

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Hi.

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Hi.

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Hi.

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Hello, everyone.

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To the Pro Audio Suite.

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These guys are professional.

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They're motivated.

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With Tech the VO stars.

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George Whitten, founder of Source Elements.

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Robert Marshall, international audio engineer.

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Darren Robbo Robertson, and Global Voice.

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Andrew Peters, thanks to Tribooth.

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Austrian Audio, making passion heard.

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and AP's international demos.

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To find out more about us, check theproaudiosuite

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.com.

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Line up, man.

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Here we go.

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And welcome to another Pro Audio Suite.

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Thanks to Austrian Audio, making passion heard.

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And Tribooth, time to get the code.

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T-R-I-P-A-P 200.

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That will get you 200 US dollars off

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your Tribooth.

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Now, I've been fiddling around and finding some

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weird shit going down in my studio when

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recording through the Grace M101.

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Some days I come in and I'm lucky

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to peak at minus 20.

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And then, like this morning when I was

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recording, it came in at minus 10.

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So I've done nothing different.

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I've changed no levels.

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I always stand pretty well in the same

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place.

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And I wouldn't have thought the microphone would

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be sensitive to that kind of like 12

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dB just by being a couple of inches

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in a different spot from the microphone.

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But I could be wrong.

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Anyone got any ideas?

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I would guess an analog pot.

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A failing analog pot.

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Maybe.

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This is like click and clack.

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Yeah.

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So when you lose one leg of a

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balanced fader or a balanced signal...

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That's 6 dB.

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That's 6 dB.

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Yeah, you lose 6.

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Yeah, not 10.

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But maybe he's not calculating exactly right.

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Yeah.

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But would that vary and go up and

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down?

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So one day it's louder and the next

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day it's quieter?

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Yeah, depending on humidity or...

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Well, intermittent cable.

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Like you're getting the balanced signal and then

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you're not getting the balanced signal.

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So one day it's coming through with all

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the two legs of the balanced signal and

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it's loud.

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And then another day the cable gets moved

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just enough, if it's a bad cable, that

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you're only getting one leg of the balanced

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signal and it's not loud.

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This is a good time to talk about

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tip ring sleeve connector problems.

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The reason why I like really true pro

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gear for road and production, rarely uses quarter

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inch plugs on.

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They're almost always XLR.

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Because the XLR jack design is dramatically better

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at making a reliable contact.

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The area of the pin that makes contact

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with the socket is dramatically better than a

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tip ring sleeve or any kind of a

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jack.

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The jacks only have one tiny point of

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contact.

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There's like a little metal finger, right?

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And it just touches the edge of the

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sleeve, you know?

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And if that exact point builds up any

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corrosion, you've all of a sudden lost that

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signal.

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So that's a part of your balanced signal.

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And that would cause the signal to drop.

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But it could come back if like, I

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don't know, you bump the desk or something

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moved.

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Or you spin the jack or something.

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So yeah, so I was about to say,

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easy cheap fix is you exercise your connectors.

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I like to joke that I'm exorcising them.

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But you're exercising the demons out of your

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jacks by twisting them around, exercising them.

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So just literally, some people pull in, out,

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in, out, in, out.

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If that's your thing, go for it.

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But I find that twisting them side to

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side is just as effective, if not more

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so.

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Just twisting them, rotating them back and forth.

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And you're burnishing the contact on the jack

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and on the slug.

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Yes.

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Jack-a-sutra.

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Yeah.

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So you'll notice that that clean burnishes the

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contacts.

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And you'll probably hear, if you're monitoring the

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input in your cans when you're doing this,

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you'll probably hear static when you're doing it

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at that time.

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And if the static, if you keep twisting

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it back and forth until the static goes

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away completely, then you've done your job.

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You've burnished the contact.

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Yeah, contact cleaning spray is nice too.

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But you don't always have that handy.

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And so just a twist is a way

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to go.

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I learned a hard lesson when I had

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my recording truck with quarter-inch patch bays.

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And all the patch bays were quarter-inch

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front and rear.

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So there was a lot of quarter-inch

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jacks going on, you know?

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I mean, like tons.

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And I just learned that that was a

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really bad choice for a remote recording truck

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because the thing's moving around, it's in different

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temperatures and humidities, and those things were unreliable.

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And also quarter-inches don't grab very well.

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No, they didn't have an extremely…

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Like you pull on that patch bay a

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little bit and the back of it pulls

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like slightly halfway out and now you've lost

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a contact or some stupid thing like that.

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Every time I got to a gig, I

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learned to reach around the back of the

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rack.

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Shove everything in.

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And I would reach around and I would

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push every jack back into the back of

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the panels just to be 100% sure

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I didn't have a bad contact.

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But that's where I learned.

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I was like, oh, that's why they have

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punch-down blocks and these less convenient connectors.

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The worst quarter-inch design, and I'll name

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them, Behringer's got a patch bay, quarter-inch

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patch bay, and the half-normaling, normal, fully

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normal switch is on the top.

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And there are these little slider switches that

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move really easily.

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And so it's in a rack and you're

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trying to pull this thing out and you're

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trying to pull it out in such a

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way that you don't pull every jack out

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the back of it.

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So inevitably what you do is you put

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your hands behind it and you try to

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push it out from the jacks behind, but

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you put your hands down there and then

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you move every single normaling switch.

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And you're like, oh my goodness, that's bad.

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I don't even, like, you have to go

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back to your design and figure out which

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one went where, worst designer.

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Well, I mean, I was asking Audient, before

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we hit record, I was asking Andrew if

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the plus 10 mode was engaged.

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So apparently, I'm looking at the console, a

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screenshot of the Audient ID console, and I'm

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not seeing that plus 10 feature.

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But maybe it's the smaller ID 4 or

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one of the other products.

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But I know for a fact, some of

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the Audients have a plus 10 boost.

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So that can get in your way too.

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So another thing we talked about is the

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fact that, and this is a little bit

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getting in the weeds, because it really only

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involves this interface.

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What's unique about the Audient ID 44 and

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the 22 and some others they make is

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they have what's called a send and a

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return jack.

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And those are handy because now you can

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insert audio through what's called the return jack

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and bypass the internal preamp.

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So that means you have one less point

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of failure or another knob to fiddle with.

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You just go from your external preamp into

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return, which is also a balanced connection, by

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the way, and you're bypassing a whole section

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of the circuit.

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The gain.

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So you don't have to worry about, yeah,

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another gain knob to worry about.

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Yeah.

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So that's something we're going to send you

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home, Andrew, and have you report back on

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the next show and tell us what fixed

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it.

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A, twisting the jacks, or B, connecting to

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the return jack.

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So George, curious, are those sends half normaled?

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My understanding is they're half normal.

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Can you plug into the send?

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So if you plug into send, it's going

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to interrupt the signal path.

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No, it won't interrupt.

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It will send it without interrupting it.

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Correct.

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It's half normal.

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Yes, it's half normal.

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What he's explaining.

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So it's like a Y.

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Yeah, the send jack on the back is

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sort of like a splitter.

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So if you have a mic plugged into

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an input, you can plug something into the

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send jack that you want to send audio

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to.

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Now, I used to use these occasionally as

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a phone patch.

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Like a direct out.

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Yeah, just to send the mic preamp out

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to a phone hybrid or an ISDN box

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or something else you have to send the

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audio to.

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Kind of handy.

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I'll give you the funny trick.

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So the same send return when it's TRS,

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so all on one jack, and so the

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separate send returns?

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Yeah, that's a different thing we're describing.

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Right.

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With the old Mackies, I think they reversed

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the send and the return so that you

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could purposely plug the quarter inch jack halfway

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in, not break the signal, and get a

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direct out.

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Yeah, that's right.

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I remember setting that up for people.

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Another cool hack with those insert jacks on

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the Mackie boards is my dad helped me

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build these little mic mute speaker mute boxes.

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And so they had one quarter inch cable

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that went into the insert, and then they

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had a pair of quarter inch ins and

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outs for the monitor's amp.

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So between the input and the output to

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the speakers.

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And so when you flick the switch in

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one position, the monitors were muted, but the

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signal would pass through the send return jack.

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You flick the switch, and it would cut

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the signal to the microphone, cutting off your

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mic, and turn on the speakers.

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Does that remind you of anything?

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Radio broadcast people?

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A few things, maybe.

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Yes, it does.

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Yeah, he did that with an insert jack?

276
00:09:26,220 --> 00:09:26,940
Yeah, yeah.

277
00:09:27,580 --> 00:09:29,260
I still have a couple of these boxes

278
00:09:29,260 --> 00:09:29,820
laying around.

279
00:09:30,580 --> 00:09:32,660
I will actually have to listen to our

280
00:09:32,660 --> 00:09:34,520
episode again and listen to that again to

281
00:09:34,520 --> 00:09:37,560
follow that, because I was not totally following

282
00:09:37,560 --> 00:09:37,800
that.

283
00:09:39,260 --> 00:09:41,840
So just to really quickly summarize, there's a

284
00:09:41,840 --> 00:09:43,920
quarter inch, the back of the box my

285
00:09:43,920 --> 00:09:46,700
dad would make, has five quarter inch jacks.

286
00:09:47,160 --> 00:09:49,560
One of them is strictly for the insert

287
00:09:49,560 --> 00:09:52,200
jack, and the other two are ins and

288
00:09:52,200 --> 00:09:54,560
outs for the left and right monitor speakers.

289
00:09:55,360 --> 00:09:59,360
So it goes between the monitor output of

290
00:09:59,360 --> 00:10:01,060
the mixer, or the control room out, as

291
00:10:01,060 --> 00:10:02,940
they call them on the Mackie, to your

292
00:10:02,940 --> 00:10:04,120
speakers or your amps.

293
00:10:04,120 --> 00:10:07,520
And then your insert cable, which is a

294
00:10:07,520 --> 00:10:10,400
standard tip ring sleeve quarter inch balanced cable,

295
00:10:10,600 --> 00:10:12,220
goes to the other jack.

296
00:10:12,300 --> 00:10:14,200
It's an unbalanced insert cable, right?

297
00:10:14,200 --> 00:10:15,700
It's technically unbalanced.

298
00:10:16,320 --> 00:10:19,180
The cable is a balanced cable, but it's

299
00:10:19,180 --> 00:10:21,800
doing two jobs, sending audio to and from

300
00:10:21,800 --> 00:10:22,600
the jack.

301
00:10:22,680 --> 00:10:23,400
It's a weird thing.

302
00:10:23,980 --> 00:10:26,480
And so all you're doing is breaking the

303
00:10:26,480 --> 00:10:29,140
connection between one set of jacks and the

304
00:10:29,140 --> 00:10:31,360
other, depending on which position the switch is

305
00:10:31,360 --> 00:10:31,680
in.

306
00:10:32,100 --> 00:10:33,640
And that way you never have to worry

307
00:10:33,640 --> 00:10:35,840
about your microphone feeding back with your monitor

308
00:10:35,840 --> 00:10:36,460
speakers.

309
00:10:36,640 --> 00:10:38,340
So whenever your mic is on, the monitors

310
00:10:38,340 --> 00:10:40,500
are off, and vice versa.

311
00:10:41,140 --> 00:10:43,120
So it was just a handy tool, and

312
00:10:43,120 --> 00:10:44,980
it's what they use in radio station consoles

313
00:10:44,980 --> 00:10:47,180
all the time, where the jack, you know,

314
00:10:47,260 --> 00:10:49,280
hits their on button, and the big giant

315
00:10:49,280 --> 00:10:51,700
speakers shut off the second they start talking.

316
00:10:52,180 --> 00:10:53,260
You know, that's common.

317
00:10:53,380 --> 00:10:54,960
So the switch was picking between the tip

318
00:10:54,960 --> 00:10:55,620
and the sleeve?

319
00:10:56,320 --> 00:10:57,640
Is that what it was switching between?

320
00:10:57,640 --> 00:10:59,300
Yeah, I don't remember what electronically was going

321
00:10:59,300 --> 00:11:01,500
on, but it was just breaking the connection.

322
00:11:02,320 --> 00:11:05,140
So if you broke the connection between the

323
00:11:05,140 --> 00:11:07,880
return, the signal wouldn't return back into the

324
00:11:07,880 --> 00:11:09,660
board, and so it wouldn't pass a signal.

325
00:11:09,800 --> 00:11:10,540
It was just dead.

326
00:11:10,840 --> 00:11:11,600
Yeah, wouldn't go to the speakers.

327
00:11:12,240 --> 00:11:12,440
Yep.

328
00:11:12,700 --> 00:11:14,720
So that was a fun little project.

329
00:11:15,200 --> 00:11:15,980
Talk about a tangent.

330
00:11:18,780 --> 00:11:20,780
And talk about a niche topic as well,

331
00:11:20,840 --> 00:11:23,180
because the fact that I've got these external

332
00:11:23,180 --> 00:11:25,940
preamps running through an ID44 is kind of

333
00:11:25,940 --> 00:11:28,560
weird and kind of niche.

334
00:11:28,560 --> 00:11:29,520
And you're just lucky.

335
00:11:30,620 --> 00:11:32,720
Well, Andrew, the other thing you can try

336
00:11:32,720 --> 00:11:34,780
is see if you get the same problem

337
00:11:34,780 --> 00:11:35,860
with a different preamp.

338
00:11:36,000 --> 00:11:38,400
So the whole thing with troubleshooting is always

339
00:11:38,400 --> 00:11:41,640
to pick a point and change something and

340
00:11:41,640 --> 00:11:43,260
see if the problem happens to the left

341
00:11:43,260 --> 00:11:45,120
or right of where you changed something.

342
00:11:45,280 --> 00:11:48,960
So if you change the preamp, and you

343
00:11:48,960 --> 00:11:52,300
still get that gain problem changing, or, you

344
00:11:52,300 --> 00:11:53,760
know, one day it's minus 10, the other

345
00:11:53,760 --> 00:11:55,760
day it's plus 20, or whatever the difference

346
00:11:55,760 --> 00:11:58,080
is, then you know the problem is not

347
00:11:58,080 --> 00:12:00,360
your preamp and it's everything after the preamp.

348
00:12:00,480 --> 00:12:03,100
So you've ruled out your microphone, and you've

349
00:12:03,100 --> 00:12:04,000
ruled out the preamp.

350
00:12:04,520 --> 00:12:07,100
Or if you use a different preamp, and

351
00:12:07,100 --> 00:12:09,140
you still have the same problem, then you

352
00:12:09,140 --> 00:12:11,320
know the problem is probably your microphone, because

353
00:12:11,320 --> 00:12:14,180
it happened with a different preamp, and therefore

354
00:12:14,180 --> 00:12:15,640
it's nothing from the preamp after.

355
00:12:15,980 --> 00:12:19,440
So that's called binary reduction, and it's really

356
00:12:19,440 --> 00:12:19,920
a great way to troubleshoot.

357
00:12:19,920 --> 00:12:21,700
I didn't know it was called binary reduction,

358
00:12:21,800 --> 00:12:22,200
good to know.

359
00:12:22,260 --> 00:12:23,720
I just called it process elimination.

360
00:12:23,720 --> 00:12:26,520
But yeah, you only want to change one

361
00:12:26,520 --> 00:12:27,600
variable at a time.

362
00:12:27,740 --> 00:12:29,020
That's the really crucial thing.

363
00:12:29,400 --> 00:12:32,100
If you don't change one component at a

364
00:12:32,100 --> 00:12:32,380
time...

365
00:12:32,380 --> 00:12:34,580
But change something in the middle.

366
00:12:35,360 --> 00:12:38,760
If you change something in the middle, you've

367
00:12:38,760 --> 00:12:40,500
now isolated to half the thing.

368
00:12:40,620 --> 00:12:42,460
If you start at the beginning, you have

369
00:12:42,460 --> 00:12:43,340
to do all the variables.

370
00:12:43,500 --> 00:12:45,480
But if you start in the middle, then

371
00:12:45,480 --> 00:12:47,560
you only have to do half of them

372
00:12:47,560 --> 00:12:48,320
on the next test.

373
00:12:48,380 --> 00:12:49,520
And if you split that in half, you

374
00:12:49,520 --> 00:12:50,720
only have to do half of those in

375
00:12:50,720 --> 00:12:51,340
the next test.

376
00:12:51,340 --> 00:12:53,080
So if you keep on splitting it in

377
00:12:53,080 --> 00:12:55,380
the middle, you'll speed up your troubleshooting.

378
00:12:56,240 --> 00:12:56,420
Beautiful.

379
00:12:56,800 --> 00:12:58,260
Well, that's my wig sorted then.

380
00:12:58,280 --> 00:12:58,880
That's a good one.

381
00:12:59,020 --> 00:13:00,580
That's stuff you learn the hard way if

382
00:13:00,580 --> 00:13:02,880
you're working in big studios with thousands of

383
00:13:02,880 --> 00:13:03,300
connectors.

384
00:13:04,260 --> 00:13:04,700
Yes.

385
00:13:05,040 --> 00:13:05,780
Yeah, exactly.

386
00:13:05,980 --> 00:13:07,800
When there's like 8 million points in between,

387
00:13:07,920 --> 00:13:09,400
you're like, which one of these 80 is

388
00:13:09,400 --> 00:13:09,540
it?

389
00:13:09,560 --> 00:13:11,360
I'm going to pick point number 40.

390
00:13:11,800 --> 00:13:13,280
Now I'll know if it's point 1 to

391
00:13:13,280 --> 00:13:14,980
40 or 40 to 80.

392
00:13:15,500 --> 00:13:17,480
Instead of starting at 1 and going through

393
00:13:17,480 --> 00:13:18,400
everything linearly.

394
00:13:18,840 --> 00:13:19,220
Interesting.

395
00:13:19,700 --> 00:13:20,180
Good point.

396
00:13:21,360 --> 00:13:22,320
I hope that helps.

397
00:13:22,460 --> 00:13:24,100
Well, that's interesting because the reason with the

398
00:13:24,100 --> 00:13:27,200
ID44 that I went for TRS was because

399
00:13:27,200 --> 00:13:29,580
if I'd gone XLR, then I'd be going

400
00:13:29,580 --> 00:13:30,920
using what I thought.

401
00:13:31,840 --> 00:13:33,420
Go back to what I was getting at.

402
00:13:33,620 --> 00:13:35,840
I thought if I use an XLR into

403
00:13:35,840 --> 00:13:39,060
the ID44, I'd be using the internal preamp,

404
00:13:39,320 --> 00:13:42,360
hence went for the DI with the TRS.

405
00:13:43,580 --> 00:13:46,460
The preamp still works, which is kind of

406
00:13:46,460 --> 00:13:46,760
annoying.

407
00:13:47,380 --> 00:13:49,200
I was hoping I was bypassing it.

408
00:13:49,200 --> 00:13:50,500
But if I go into the return on

409
00:13:50,500 --> 00:13:51,600
channels 1 and 2.

410
00:13:52,220 --> 00:13:53,860
It's so interesting.

411
00:13:54,000 --> 00:13:55,300
Each company has a different...

412
00:13:55,300 --> 00:13:56,580
If it's the line in, it's still hitting

413
00:13:56,580 --> 00:13:57,260
that preamp.

414
00:13:57,420 --> 00:13:57,640
Yeah.

415
00:13:57,920 --> 00:13:59,720
Each company has a different opinion on how

416
00:13:59,720 --> 00:14:00,260
to do that.

417
00:14:01,000 --> 00:14:04,000
Like the Apogee Duet, weirdly, didn't do it

418
00:14:04,000 --> 00:14:04,440
that way.

419
00:14:04,980 --> 00:14:06,800
And it made me scratch my head more

420
00:14:06,800 --> 00:14:08,300
than one time when I plugged in a

421
00:14:08,300 --> 00:14:10,280
quarter inch thinking that was the line in.

422
00:14:11,020 --> 00:14:12,800
And that was not the line in.

423
00:14:12,940 --> 00:14:15,460
It was the guitar or instrument in.

424
00:14:15,980 --> 00:14:18,040
Oh, it was the low Z in.

425
00:14:18,040 --> 00:14:20,400
Yeah, you had to use the XLR as

426
00:14:20,400 --> 00:14:21,000
the line in.

427
00:14:21,180 --> 00:14:22,480
And then there was a setting in the

428
00:14:22,480 --> 00:14:26,180
software inside their console that would switch it.

429
00:14:26,740 --> 00:14:28,500
No, it was like literally not just a

430
00:14:28,500 --> 00:14:29,240
pad, I don't think.

431
00:14:29,580 --> 00:14:30,400
Well, maybe it was.

432
00:14:30,760 --> 00:14:33,500
But it would switch modes and then it

433
00:14:33,500 --> 00:14:34,280
was a line input.

434
00:14:34,960 --> 00:14:37,220
But it was not logical to me at

435
00:14:37,220 --> 00:14:37,440
all.

436
00:14:37,860 --> 00:14:39,340
And to make matters worse, I rigged up

437
00:14:39,340 --> 00:14:41,120
a piece of gear for somebody a couple

438
00:14:41,120 --> 00:14:43,740
of weeks ago that's an audio video capture

439
00:14:43,740 --> 00:14:44,200
device.

440
00:14:44,200 --> 00:14:47,500
And it had two mic inputs, XLR and

441
00:14:47,500 --> 00:14:48,080
quarter inch.

442
00:14:48,960 --> 00:14:50,140
They were reversed.

443
00:14:50,640 --> 00:14:53,520
The XLR was line in, the quarter inch

444
00:14:53,520 --> 00:14:54,300
was the mic in.

445
00:14:55,080 --> 00:14:57,160
And I was like, who in the hell

446
00:14:57,160 --> 00:14:57,880
designed this thing?

447
00:14:57,880 --> 00:14:58,620
Is phantom power out a quarter inch?

448
00:14:59,380 --> 00:15:01,540
Is sending phantom power out a quarter inch?

449
00:15:01,660 --> 00:15:02,640
That's definitely not.

450
00:15:02,660 --> 00:15:03,800
No, it didn't have phantom power.

451
00:15:04,060 --> 00:15:05,160
It didn't even have phantom power.

452
00:15:06,480 --> 00:15:08,460
That speaks to the level of gear.

453
00:15:08,460 --> 00:15:11,300
Yeah, well, that's the problem with video gear

454
00:15:11,300 --> 00:15:12,580
that adds audio.

455
00:15:13,500 --> 00:15:15,560
And it's made for corporate users.

456
00:15:15,900 --> 00:15:17,640
So it was like a $1,500 piece

457
00:15:17,640 --> 00:15:17,960
of gear.

458
00:15:18,080 --> 00:15:18,920
It was expensive.

459
00:15:19,260 --> 00:15:22,560
And yet it had those two reversed and

460
00:15:22,560 --> 00:15:23,320
no phantom power.

461
00:15:23,680 --> 00:15:25,200
So we still had to use a Rodecaster

462
00:15:25,200 --> 00:15:28,040
mixer to give it a proper mic input.

463
00:15:28,240 --> 00:15:31,820
It was a crazy discovery that I did

464
00:15:31,820 --> 00:15:34,840
not think to read the manual because, you

465
00:15:34,840 --> 00:15:37,540
know, you sort of assume, you know.

466
00:15:38,560 --> 00:15:40,760
I mean, these days phantom power is like

467
00:15:40,760 --> 00:15:42,000
kind of assumed for.

468
00:15:42,540 --> 00:15:44,920
You can buy a $30 USB interface with

469
00:15:44,920 --> 00:15:48,160
phantom power, but this $1,500 device with

470
00:15:48,160 --> 00:15:50,180
two mic inputs had no phantom power.

471
00:15:50,900 --> 00:15:52,840
It was just, it just bizarre to me.

472
00:15:53,480 --> 00:15:56,840
And yeah, so never assume and with in

473
00:15:56,840 --> 00:15:57,080
doubt.

474
00:15:57,400 --> 00:15:58,460
That just makes you want to go back

475
00:15:58,460 --> 00:16:00,020
to the design meeting for that one.

476
00:16:00,020 --> 00:16:02,820
Yeah, RTFM, read the freaking manual.

477
00:16:03,500 --> 00:16:03,960
What's that?

478
00:16:04,180 --> 00:16:04,660
What's a manual?

479
00:16:04,840 --> 00:16:06,440
Is that like a car you drive a

480
00:16:06,440 --> 00:16:06,680
manual?

481
00:16:07,040 --> 00:16:08,880
Yeah, yeah, exactly.

482
00:16:10,380 --> 00:16:11,560
It's got a dog leg.

483
00:16:12,100 --> 00:16:14,360
The dog leg is called no phantom power.

484
00:16:16,720 --> 00:16:17,600
Yeah, exactly.

485
00:16:18,280 --> 00:16:19,960
That dog leg is cocked in the end.

486
00:16:20,640 --> 00:16:21,460
Well, that was fun.

487
00:16:21,560 --> 00:16:21,900
Is it over?

488
00:16:23,100 --> 00:16:24,740
The Pro Audio Suite.

489
00:16:24,800 --> 00:16:27,540
With thanks to Tribooth and Austrian Audio.

490
00:16:27,800 --> 00:16:29,160
Recorded using Source Connect.

491
00:16:29,500 --> 00:16:31,140
Edited by Andrew Peters.

492
00:16:31,300 --> 00:16:32,360
And mixed by Robbo.

493
00:16:32,540 --> 00:16:33,740
Got your own audio issues?

494
00:16:34,040 --> 00:16:35,540
Just ask Robbo.com.

495
00:16:35,720 --> 00:16:37,680
With tech support from George the Tech Whittam.

496
00:16:37,760 --> 00:16:39,760
Don't forget to subscribe to the show and

497
00:16:39,760 --> 00:16:41,980
join in the conversation on our Facebook group.

498
00:16:42,000 --> 00:16:44,140
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499
00:16:44,140 --> 00:16:46,020
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500
00:16:46,020 --> 00:16:48,380
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