12:19:10	 From James Tran : Howdy from Dallas Texas.
12:27:44	 From Keith Lewis : I have an SE30
12:27:44	 From Glenn : 512k Fat Mac was my first
12:27:45	 From Björn Lindén : I still have my Mac+
12:28:09	 From Keith Lewis : Bought Apple II in 1982
12:28:19	 From Wayne Pronzati : I still have my original Mac Powerbook with a whopping 2 MB of RAM
12:28:33	 From Björn Lindén : Ray: use it for VEP7
12:28:50	 From Benoit Widemann : Mac+ either, with HD 20MB, still working fine :)
12:28:52	 From Robert Turner : Howdy from New Mexico, USA
12:29:40	 From Björn Lindén : Ray: try the demo’s…
12:30:06	 From Luis Angel : Hello!!! From Medellín, Colombia 🇨🇴!!!
12:30:12	 From Ray Toler : Thanks, Björn!
12:32:21	 From Terry Leigh Britton : Magic Bus
12:32:50	 From James Paschall : Adam…if you’d  be interested in blowing horns on a Beatles’ cover of Savoy Truffle, let me know please.  thunderenlightning@hotmail.com
12:33:15	 From Ray Toler : Russ (or anyone): you can reach me at rtoler@gmail.com
12:33:37	 From Russ Pfeifer : Thanks Ray
12:34:26	 From Benoit Widemann : Is there any advantage (latency) in reducing the number of busses?
12:34:35	 From James Paschall : Cool Ray, Thanks.
12:34:44	 From Terry Leigh Britton : The names of the busses have nothing to do with the address assignments DP assigns to them.
12:36:53	 From Robert Turner : I won't be here tomorrow.  Have 2 out of town gigs this weekend!
12:37:08	 From Ray Toler : A “gig” ?? What’s that?
12:37:10	 From Ray Toler : ;)
12:37:15	 From Robert Turner : LoL
12:37:26	 From Mark Kelso : ask a frog about a gig
12:37:33	 From Adam Goldman : James Paschall….sound like fun. adam@audiomind.com
12:37:57	 From Ray Toler : Having lived in College Station, TX for too many years, I don’t need to ask about frog gigging. =-D
12:38:18	 From James Paschall : Cool Adam…I’ll send you my 2000 Cakewalk mix.
12:39:59	 From Adam Goldman : Nice
12:40:11	 From Adam Goldman : Mark Kelso…still in CR? Different background today. ;-)
12:40:26	 From Andrew Culver : Radio Shack for decent hardware SPL meter
12:40:32	 From John Flaherty : I missed it - where did he get the calibration window from?
12:40:42	 From Adam Goldman : it’s a MOTU-included plugin
12:40:57	 From Adam Goldman : currently in slot A of his Stereo track
12:41:31	 From Björn Lindén : gig… that’s something from the olden days. Pre youtube I think…..isn’t it ?
12:41:39	 From John Flaherty : Thanks. I’m trying to pull it up in may own DP window.
12:42:28	 From Ray Toler : I suspect most folks have an audio meter, but if you need one, I use Decibel X on my iPhone and it’s pretty nice. Certainly accurate enough for my home studio.
12:43:00	 From Mark Kelso : Decibel X works well
12:43:23	 From Glenn : https://www.gearhungry.com/best-decibel-meters/
12:43:48	 From kennethpage : Thanks Glenn.
12:44:01	 From Glenn : The pictures at the top, both far left and far right are about $20. I don’t think the Radio Shack one is available, at least its not on their website.
12:44:30	 From Ray Toler : And for non-peak metering in DP, I use VUMT Deluxe from Klanghelm. Best VU I’ve come across, and cheap.
12:44:31	 From Ray Toler : https://klanghelm.com/contents/products/VUMT/VUMT.php
12:45:38	 From Adam Goldman : Glenn…I don’t know what you were just conducting, but I think Bugs Bunny was perhaps behind your very quick tempo. :-P
12:49:03	 From Andrew Culver : Big fan of this meter. Does M/S, VU, PPM, and RMS.
12:49:05	 From Andrew Culver : http://www.pspaudioware.com/plugins/tools_and_meters/psp_triplemeter/
12:50:38	 From James Paschall : -24dB
12:51:53	 From Ray Toler : I think the European equivalent of the CALM act is ITU 1770-2 (or something like that)
12:52:49	 From Neil McCarroll : GOT produced in Northern Ireland - of course we did it right!
12:53:03	 From Glenn : Neil: :)
12:53:08	 From James Paschall : lol
12:53:10	 From Ray Toler : :)
12:53:15	 From darrellsmith : Yeah Neil!!!
12:53:27	 From darrellsmith : Beautiful country.
12:54:02	 From John Roesli : How did you derive the audio tracks?
12:54:11	 From raymoore : Where do we find this window under what?
12:54:32	 From Glenn : John: He said he recorded them off HBO with the same setup.
12:54:40	 From Ray Toler : Ray: This is the WLM plugin from Waves.
12:54:44	 From Timmy Samuel : B99 is gold
12:54:45	 From Glenn : raymoore: Its a Waves plug-in.
12:55:17	 From raymoore : Do you need the whole package?
12:55:33	 From Ray Toler : I think you can buy it standalone.
12:55:57	 From Ray Toler : I use this and iZotope Insight while mixing, but normally do my final checks with an offline batch tool.
12:56:02	 From James Paschall : WLM plus gives you a level adjustment.
12:58:02	 From Adam Goldman : Kevin Hart…one of our Philly fave sons. :-)
12:58:18	 From Björn Lindén : Insight is great…
12:59:08	 From Neil McCarroll : does YouTube not Normalize things?
12:59:16	 From Adam Goldman : Standards? Google? (owns YT). Hmmm.
12:59:52	 From Benoit Widemann : what about ads level on TV? is the -24 standardized to leave some more room for louder ads?
12:59:55	 From Ray Toler : Ha. I watched that exact Beato video yesterday.
13:00:17	 From Russ Pfeifer : i did as well
13:00:34	 From Ray Toler : Benoit, ITU 1770 and the CALM act were primarily to limit commercial volumes from what I’ve read.
13:00:37	 From Adam Goldman : Benoit W: that’s a GREAT question.
13:00:38	 From Russ Pfeifer : Few days ago
13:00:46	 From Ken Thies : My understanding was that the ads have to follow it as well, so that the ads do not come up louder than the programming. That's the idea anyway....  ;-)
13:00:57	 From Lainie Dixon : Youtube does have compression systems that affect what is uploaded. Aiming for -13 Luffs for youtube will avoid your audio getting banged by their compression system
13:01:01	 From Ray Toler : In the US, there are pretty hefty fines if you crank up the commercial volume.
13:01:21	 From Ray Toler : I’d assume the same in the EU
13:01:30	 From Glenn : We should see the levels of the webinars posted on motu.com :)
13:01:37	 From Benoit Widemann : haha :)
13:01:54	 From Björn Lindén : Ask Matt :-)
13:01:57	 From Neil McCarroll : Thanks Lainie
13:01:59	 From Lainie Dixon : Its similar to what happens on Spotify and iTunes, a few minor differences
13:03:22	 From ken landers : ATSC A/85 is based on the NBC/Universal standards that were already in place (which, as I understand, was much of the basis for the CALM act numbers).  Also, youtube will normalize uploads to LUFS (or LKFS) of -14 dB.
13:03:23	 From James Paschall : Production sound.
13:06:14	 From Mark Kelso : Adam:  Kevin Hart?  Mickey’s half brother?
13:06:32	 From Robert Turner : Greg Trippi's wheelhouse!!
13:06:37	 From Adam Goldman : Mark: :-) PRETTTTTYYYY sure they’re not related. :-P
13:07:32	 From Ray Toler : That’s wonderfully shot. Looks straight out of the 50s.
13:07:50	 From Adam Goldman : Ray: 1959, maybe?
13:08:17	 From Ray Toler : Adam, yeah… thinking around September.
13:08:26	 From Kubilay Uner : Looks like it’s 2997 Drop
13:09:44	 From Glenn : You can see a frame 27 right now on the film, and Matt is at 23.976, so yes frame rate mismatch.
13:10:39	 From Ray Toler : Ok… I missed that this was a remaster. Thought it was a modern film that had nailed that old B/W look. I’m going to go get another cup of coffee.
13:10:49	 From Kubilay Uner : The semicolons are usually used to indicate drop frame. And in the US that usually means 2997 DF
13:11:18	 From James Paschall : Lol, Ray!
13:11:50	 From Glenn : Kubilay: I always see that between second and frame (30 vs. 29.97). I’ve never seen semi-colons in the other locations before.
13:12:24	 From Kubilay Uner : Yeah mostly done only in the last location, but my guess is they just wanted to be super clear…
13:12:31	 From jraoul : Definitely not 1959
13:12:42	 From John Flaherty : What did they change 911 to?
13:12:53	 From Lainie Dixon : If you do end up wanting to faking a stereo track, Wider is my personal favourite plugin, gives you great control for just how wide it is. I use it to manage the stereo field in my music mixes
13:13:08	 From Adam Goldman : 800.BE.TERRIFIED.NOW
13:13:17	 From Ray Toler : John: it was changed to 0118 999 881 999 119 725 3
13:13:35	 From John Flaherty : LOL
13:13:41	 From Glenn : Of course 9-1-1 didn’t exist in 1959 as an emergency number.
13:14:30	 From Terry Leigh Britton : You dialed "O" back then.
13:14:36	 From Terry Leigh Britton : Never "M".
13:14:48	 From Adam Goldman : Terry Leigh: :-)
13:14:49	 From James Paschall : But did 999 exist in the UK in 1959?
13:15:05	 From Ray Toler : Yeah, Terry. You only want to dial M for murder.
13:15:35	 From Terry Leigh Britton : Seriously.
13:16:03	 From Russ Pfeifer : I thought M was for mixer
13:16:10	 From James Paschall : lol
13:16:13	 From Ray Toler : Dial M for MOTU
13:16:13	 From Adam Goldman : Russ: That’s SHIFT=M
13:16:22	 From Dan Wool : It’s called an “M & E”
13:16:32	 From Russ Pfeifer : :-)
13:16:52	 From Andrew Culver : Matt’s LUFS for a 1 minute segment about 4 minutes ago: -25.89 LUFS
13:16:54	 From Stephen Burch : Personally, I like “m&m’s” better.
13:16:56	 From Andrew Culver : Not bad Matt
13:17:07	 From Russ Pfeifer : Mmmm
13:17:16	 From John Roesli : Apologies if already covered, but why is the timecode off between the movie and the sound?
13:17:26	 From Dan Wool : It’s an important term for post…
13:17:30	 From Steve Sklar : There’s a QT Pro now?
13:17:37	 From Glenn : Mismatched rates for film and DP at the moment.
13:18:15	 From James Paschall : The actor that played the inspector in “Dial M…” used to come into a wine bar I played at in Kensington, London in 1978.
13:18:48	 From Dan Wool : That actor’s name : John Williams….
13:19:06	 From Dan Wool : ….not the composer of course
13:19:19	 From James Paschall : Thanks, Dan.  Forgetful in my years.
13:19:23	 From Russ Pfeifer : Trivia Score!
13:19:47	 From Dan Wool : You forgot John Williams?! :)
13:20:02	 From Adam Goldman : Dan, he’s not your father.
13:20:17	 From Adam Goldman : oh, wait, wrong John Williams. Sorry.
13:20:19	 From Neil McCarroll : Dan: guess you had a Close Encounter
13:20:28	 From Dan Wool : No. Morricone was my father
13:20:46	 From jraoul : John Williams (the composer)’s father was Johnny Williams, percussionist for Raymond Scott’s Quintette, who did “Powerhouse”, famous in so many Looney Toons. SERIOUS stupid trivia.
13:20:55	 From jaywoelfel : I was about to ask if anyone had sent out a thank you to Ennio for his time on earth
13:21:10	 From Adam Goldman : jraoul: well played, Sir.
13:22:01	 From Glenn : jay: he was remembered well in Tuesday’s webinar chat.
13:22:02	 From John Roesli : You mean the Ah e Ah  e Ah guy?  According to WAPO
13:23:00	 From James Paschall : Here’s the actor of the same name.  https://en.wikipedia.org/wiki/John_Williams_(actor)
13:24:32	 From Russ Pfeifer : Just watched that movie, I love how that theme is used
13:24:55	 From Russ Pfeifer : Wa WAH wa
13:24:55	 From Adam Goldman : wow, Russ. You must have been watching it all in fast forward. That was quick.
13:25:24	 From Russ Pfeifer : Luke Speedwatcher
13:25:44	 From jraoul : Funny — if you had that in your production audio you might think it was noise you’d want to filter out.
13:27:13	 From John Roesli : Rumble is considered Non-diegetic?
13:28:47	 From Neil McCarroll : Depends on the rumble source - if it’s semi-real you are getting into the realms of quasi-diegetic
13:29:03	 From jraoul : What if it’s hemi-demi-semi-real?
13:29:16	 From Neil McCarroll : or semi-realistic I mean
13:29:18	 From Glenn : You mean a 128th noise?
13:30:17	 From Russ Pfeifer : Que es diegetic?
13:30:30	 From jraoul : Sound that the characters on-screen can hear
13:30:45	 From Russ Pfeifer : gracias
13:30:58	 From jaywoelfel : It’s source audio for those not in a film class
13:31:09	 From Neil McCarroll : Actually ‘congruent’ or ‘incongruent’ would be the key differentiator
13:35:09	 From jraoul : Glenn - could you ask Matt to leave the Tracks window up as we watch?
13:36:41	 From Neil McCarroll : Nice sound-design Matt!
13:37:01	 From Adam Goldman : now y’all wanna buy those Adidas, right?
13:37:04	 From Glenn : jraoul: Couldn’t jump in, but luckily he had it opinion the side.
13:37:15	 From jraoul : Adam - no, but I wanna buy the CGI suite
13:37:20	 From jraoul : Tx Glenn
13:37:32	 From Adam Goldman : jraoul: good call. :-)
13:40:06	 From Ray Toler : I wanted to go back and create 5.1 mixes of my albums. Started researching how to set up my studio to do surround monitoring and quickly realized I needed to just slowly back out of the room and forget about that idea.
13:41:57	 From Russ Pfeifer : Seems like very deep water
13:42:15	 From jraoul : LFE = sub-woofer?
13:42:25	 From Ray Toler : That was definitely my impression, Russ.
13:45:57	 From Ray Toler : jraoul - yes
13:46:02	 From Dan Wool : I heard it before!
13:48:00	 From jraoul : Lost our lives? AHHHHHH!
13:48:18	 From Adam Goldman : but it’s a video game. you live and go to the next level
13:50:03	 From Russ Pfeifer : infinite level game
13:50:04	 From John Boyle : Paging MOTU Guru for track pad patch…….
13:50:38	 From Adam Goldman : Paging GlennSei. He’ll have a Console for that. ;-)
13:52:19	 From Ken Thies : Back in college, way before 5.1, the electronic composition lab had 8 speakers positioned equidistantly around a circle. We had to do speaker-to-speaker pans/trades/whatever manually at the mix console. (A Logex 8-bus if I recall correctly).
13:53:58	 From darrellsmith : Can’t really hear the choir track.
13:54:03	 From James Paschall : Interesting, Ken.
13:54:40	 From Ken Thies : James: it's sooooo much better to accomplish the target with the toys MOTU has in the box nowadays.
13:54:46	 From Stephen Burch : Thanks Matt. Gotta go.
13:55:00	 From Terry Leigh Britton : That was excellent.
13:55:32	 From James Paschall : I’ll take you word for it, Ken.
13:55:36	 From Scott Dorton : Gotta bail. Thanks Matt, Glenn and everyone.
13:55:39	 From James Paschall : your*
13:56:03	 From Ray Toler : When I was in high school, I inherited an old quadraphonic receiver/amp. The balance control was a joystick. I had no end of fun lying in the middle of the soundfield listening to Pink Floyd and moving the sound around.
13:56:45	 From Adam Goldman : using a Dangerous Music monitor control…it’s great. Can work with 5.1, if you have the right combo of parts
13:56:46	 From Glenn : I have a class to teach at 2PM. Hope to see everyone who can for a bit tomorrow as well. Take care.
13:56:54	 From Russ Pfeifer : Sweeet
13:56:55	 From Robert Turner : Very Cool Capabilities!! Thanks, Matt!  Gotta load some equipment in the trailer for tomorrow's gig.  See ya'll Tues - Have a Great Weekend and try to stay cool!!  Bye.
13:56:56	 From Adam Goldman : thanks, Glenn!
13:57:10	 From James Paschall : Harmon Kardon had that joy stick in their Quad Receiver.
13:57:27	 From Dan Wool : Drawmer MC7.1 is perfecto
13:57:32	 From Kubilay Uner : We have the SPL in the college that does full 5.1 monitor control.  Costs around $900 or so
13:57:50	 From James Paschall : Thanks, Glenn!  Have a great class!
13:58:45	 From James Paschall : Have a great gig, Robert.  Mask it or Casket!
13:59:02	 From Ray Toler : Bradley, when I was exploring moving into surround mixing, I was planning on using a Behringer ADA8200 out of my AVB stuff via lightpipe to drive the monitors.
13:59:13	 From Ray Toler : Backed off when I saw the price of things like the Drawmer controller.
14:00:00	 From Andrew Culver : SPL Audio has a full range go multichannel monitor controllers. 5.1, 7.1, 8 even 16 channels. I have their 2Control for my stereo setup and it is excellent. Phones too.
14:01:09	 From Bradley DePasse : Ray, I initially ran into the same thing. And unless I was going to get enough work doing it it just creating a wiring nightmare to even play with.
14:01:43	 From Ray Toler : Andrew, yeah, I was targeting the SPL SMC 5.1 controller, but couldn’t justify $1k (plus the speakers) for an experiment.
14:02:21	 From Ray Toler : Bradley - I’ve got a couple of Excel spreadsheets that I use to do cable inventory and patch bay wiring diagrams. :-D
14:02:58	 From Andrew Culver : @Ray Yeah the speakers, the digital outputs, the additional disk space — it begins to add up
14:04:14	 From Ray Toler : My “package price” estimate was about 2k. 1k for the monitor mixer and 1k for 5 JBL 305ps and the JBL sub.
14:04:39	 From Timmy Samuel : Ah good point!
14:05:10	 From Bradley DePasse : $1599 For the Drawmer controller that’s worth putting any effort - https://www.sweetwater.com/store/detail/MC71--drawmer-mc7.1-active-monitor-controller
14:05:29	 From Ray Toler : btw, looked up CALM act. It stands for Commercial Advertisement Loudness Mitigation.
14:05:48	 From Ray Toler : Bradley, yeah, I’d probably spend the extra 500 for the expansion capability.
14:06:55	 From Rigo Mora : I  am working in a feature film now…from Mexico
14:07:48	 From James Paschall : Awesome, Rigo!
14:08:36	 From Ray Toler : Nice, Rigo! Composition? Sound design? All of it?
14:09:43	 From Rigo Mora : composition
14:09:50	 From Joe Renzetti : I scored Poltergeist 3 , and many other less well know films using DP ( go MOTU)
14:11:56	 From James Paschall : Outstanding, Joe.  I’ll watch that again!
14:13:43	 From Rigo Mora : Great Joe, congrats
14:14:59	 From John Boyle : @Neill, really difficult to combine teaching and composing for yourself. Keep at the grind, I am still grinding too. G
14:15:39	 From John Boyle : Did not mean to stick that G in there
14:16:23	 From Neil McCarroll : John - it sure is!! Grinder should be my job title!
14:17:50	 From John Boyle : LOL
14:20:25	 From Mark Kelso : Neil:  If you haven’t seen it (or if you have) watch Mr Holland’s Opus (again).  (I work as music producer, church organist, film composer, piano teacher, public school songwriting coach, world sacred music performer, and songwriter.) At least we’re doing music!
14:21:06	 From James Paschall : One use of DP especially DP10 is that of transcribing.  With the remember times in the transport menu, you can loop all the sections of the song, verse, bridge, chorus, middle eight, guitar solo, etc.  Then you can work on sections at will or have time to work on.  Use the tempo slider to slow the track for the fast passages.  Then add a hot midi track and play it into quick scribe and finally export that into Finale and hit guitar tablature….and Bob’s your uncle.
14:21:13	 From jaywoelfel : Hello Joe, nice to know you you are a DP composer.  Have enjoyed your work for a long time.
14:22:59	 From Ella Segretti : Absolutely welcome!!
14:23:05	 From Neil McCarroll : Mark: That’s a lot! I gave up a career in Electronics and Management Consultancy to follow my passion for music - maybe shouldn’t have waited until I was in my 40s!
14:23:56	 From Neil McCarroll : I have the film but haven’t found time to watch it!
14:23:57	 From Adam Goldman : Cool stuff, Ella…congrats on the awards too!
14:24:03	 From Terry Leigh Britton : @Ella - inspired idea of integrating DP with DaVinci Resolve.
14:24:23	 From Mark Kelso : Neil:  Never too late to do what you really love!
14:25:16	 From Neil McCarroll : Mark - tell that to my ex-wife!!
14:25:29	 From Ella Segretti : @Terry Indeed! would just remove technical wrangling steps especially as DP now is so so self integrated and capable of massive tracking.  
14:26:26	 From Ray Toler : Nice backdrop, Andrew!
14:26:38	 From Ella Segretti : @Adam thanks.  Hopefully two more in August for a stop motion and a doco, both being fully recorded, designed, and mixed in DP. 
14:26:59	 From Adam Goldman : what’s the stop motion called? (always a fan of stop motion :-) )
14:27:11	 From Mark Kelso : Neil:  Send me her email and I WILL tell her! And maybe I’ll cc my ex as well!
14:27:25	 From Neil McCarroll : lol!!
14:27:31	 From Adam Goldman : (Ella: is an August award a Covideo award?)
14:27:51	 From Ella Segretti : @Andrew omg your background is terrifying!!!
14:27:55	 From Terry Leigh Britton : @Ella - I love what you are doing with the re-takes using one of DP's strengths.
14:28:41	 From jaywoelfel : I had one feature, I directed, mixed in Logic.  It was NOT a good experience.
14:28:51	 From Ella Segretti : @Adam haha! Actually the award I won a best film award in Hollywood for in May was a Coronavirus themed film!
14:28:59	 From jaywoelfel : So I’ve been curious about DP’ abilities now
14:29:12	 From Timmy Samuel : Nelson Mandrell: Another way would be to set up a bus named something like “Mix Bus” and send all your tracks and stems to that output, then you can set up separate aux tracks using the “Mix Bus” as input, and then set their outputs to whatever hardware you need. That way you have separate faders for each bit of hardware (rather than using sends)
14:29:17	 From James Paschall : What a community…these sessions are so informative.
14:29:47	 From John Boyle : @James, and a lot of funny wise guys too.
14:29:49	 From Adam Goldman : Thanks everyone!
14:30:03	 From Terry Leigh Britton : Who was that on the dark side using a "Master Vader"? Quite a diverse group, I'll say.
14:30:05	 From John Boyle : Thanks all. Matt and Glenn
14:30:28	 From Ella Segretti : @Terry,oh yup, we accidentally discovered the layer feature on our first run with DP for ADR, and it just made life so so simple to switch and test ADR snips in real time without loosing anything or adding dozens of tracks.
14:30:34	 From Ken Thies : @Andrew: I agree!
14:30:45	 From Wayne Pronzati : Thanks Matt and everyone! These are always an education for me!
14:30:52	 From James Paschall : Absolutely John…best education comes in an entertaining form!
14:31:16	 From Neil McCarroll : Nice idea Andrew!
14:31:26	 From Wally Badarou : Andrew Culver: Totally agree with you, and I would extend to the Markers.
14:32:05	 From Ray Toler : Agree… always nice to be able to hop into a raw txt or even XML. That’s the only way I’ve been able to get my BMD ATEM Switcher Macros under control.