Dolby Podcast Episode 24, September 27, 2007
In addition to explaining why HDMI cables are important, Jack and Craig also talk about why a 96 kHz sample rate results in a superior quality sound recording for live music, and make some recommendations for Dolby TrueHD content.
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Mentioned in this Episode
[intro music]
Jack Buser: Hello! And welcome to Dolbycast, the insider's guide to entertainment technology from the experts at Dolby Laboratories. I'm Jack Buser.
Craig Eggers: And I'm Craig Eggers.
Jack: And we're here to give you the straight talk on everything you need to please your ears.
[musical interlude]
Jack: Hello, everyone, and welcome to Dolbycast. I'm Jack Buser.
Craig: And I'm Craig Eggers.
Jack: And we're doing another podcast coming at you live from London, England, where I am staring at a microphone used by none other than John Lennon himself. My co-worker, Winifred, here has the biggest smile I have ever seen on her face as she's holding this microphone.
Winifred, you've got to bring it in here. I've got to see it. You've got to bring it in here, just so I can wave it in front of the other microphone in here and make Craig jealous.
Craig: Go ahead. Keep going. Keep going.
Jack: Here it comes. She's coming in. She's coming in here.
Craig: Hey, Jack, while she's coming in...
Jack: Yes.
Craig: I have a message for you.
Jack: Yes.
Craig: [speaks with British accent] Cranberry sauce.
Jack: [laughs] Here we go. Oh, wow! In my hands, ladies and gentlemen, Dolbycast listeners and Craig Eggers alike...
Craig: OK.
Jack: Is a microphone used by none other than John Lennon himself.
Craig: Wow!
Jack: This is amazing. I have a tear in my eye, a tear in both eyes.
Craig: A tear in your eye.
Jack: Actually, what's cool about Abbey Road, if you record here, is they actually have all those old microphones that all the famous recordings were made on. So, if you're a rock star and you want to use one of these mics, I guess you just go use it. It's like the coolest thing!
Craig: Hey, Jack. I know something that might be even cooler. Since we have a website, why don't you get one of those nice people over there to take a picture of you holding that microphone?
Jack: Yes.
Craig: And then we can put it up on the Dolby website.
Jack: I've got you one better.
Craig: What's that?
Jack: We were outside at the zebra stripes [laughs] stopping traffic, walking across the zebra stripes trying to get the [laughs] perfect Abbey Road picture out there. Winifred and I were literally—we have never been honked at so much. Something tells me that the street out front of Abbey Road was a little less busy that day [laughs] when the Beatles shot that picture.
Craig: Jack, they were honking at you because they have the uncanny ability to recognize American tourists over there. And you were probably being an American tourist, weren't you?
Jack: Well, let's see. Standing in the middle of the street, taking a photo on the zebra stripes there, blocking traffic.
Craig: Uh-huh. Uh-huh. Another crazy American.
Jack: They probably had no idea we were tourists. [laughs] No idea.
Craig: Another stupid Yank. There you go.
Jack: Here's another factoid, while we're on the Abbey Road factoids. I just found out that Alan Parsons, from none other than the Alan Parsons Project, was a tape op here. What's a tape op? Break it down for us. What's a tape op? You know, tape op, that term? There's actually a very cool magazine called Tape Op.
Craig: Is there?
Jack: Yeah. Do you know a tape op? I mean, I'm not an expert on this, but I guess tape op was the guy that manned the tape machines, right?
Craig: The guy?
Jack: Which was no small feat back in the day, right?
Craig: The guy? The guy?
Jack: Or girl, either one.
Craig: OK. Alright. Good.
Jack: Well, look, that was a full-time job, I guess. In the age of Pro Tools, right? You've got a hard drive. I guess the whole idea of a tape op... I don't know. Maybe John could tell us after the podcast whether tape ops even exist anymore. I don't know. Can you be a hard drive op, for today's? [laughs]
Craig: Are you done?
Jack: Go ahead. Go ahead. I'm done.
Craig: Can I say something?
Jack: I'm done. Go ahead, please.
Craig: My bit of trivia, which I think is absolutely amazing. As you know, Pink Floyd's Pulse is one of my favorite demo discs. We've talked about that so many times in the past.
Jack: Yes.
Craig: Do you know that for 8 years, Dark Side of the Moon was in the top 200 selling music titles?
Jack: Yeah, that's right.
Craig: For 8 consecutive years.
Jack: Yeah. Recorded here.
Craig: A lot of people look at Magical Mystery Tour and Sgt. Pepper's and they think of Abbey Road . But Dark Side of the Moon lives even today with some of the techno guys that I know, Jack.
Jack: Dark Side of the Moon absolutely. That is true. That is true. Pink Floyd, Dark Side of the Moon. I mean, anyone who knows their electronic dance music knows that that's probably one of the most influential albums to the genre, to be frank with you. To be fair, as they say here in England .
Craig: To be fair.
Jack: To be fair. And here we go: "By November 1981, Dark Side of the Moon had become the longest-running contemporary album in the American Billboard charts, having been in the top 200 for 391 consecutive weeks, nearly 8 years." [laughs] Amazing!
Craig: Hey, Jack?
Jack: Yeah.
Craig: We should probably talk about other stuff.
Jack: That is true, because today we have a very exciting podcast, where we're going to be covering a topic that we have had no end of listener questions about. And right around the time when everybody's listening to this podcast, there should be some really exciting announcements. Go ahead.
Craig: Well, actually, by the time you listen to this, it will have already occurred. But we have the IFA show coming up in Germany…
Jack: Yes.
Craig: …w hich is a big, big CE [consumer electronics –Ed.] show that is open to the public in Germany . And you'll be attending that, right?
Jack: Yes, I will be. Yes, I will be. I'm really looking forward to that. It's the biggest consumer electronics show in the world, isn't it? I think so, because it's open to the public. It's huge.
Craig: Gary Shapiro would probably disagree, but whatever.
Jack: Is that true? Is that true?
Craig: Whatever.
Jack: [laughs] Maybe it's self-proclaimed. I don't know, but it should be great.
Craig: And then, immediately after the IFA show is a show here in the United States called the CEDIA show.
Jack: Yes.
Craig: CEDIA stands for Custom Electronics Design Installation Association.
Jack: You are good.
Craig: It is, quite frankly, my favorite show.
Jack: It's mine as well. I love it.
Craig: It's the highest of the high-end in audio and video products. These are the people that are doing whole-home AV, lighting, security.
Jack: Yes.
Craig: And if you want to see innovation, this is the show to go to.
Jack: Oh, absolutely. I wholeheartedly agree.
Craig: And if you're in the industry and you're doing any installation, or if you want to learn what the cutting edge is in audio and video, the CEDIA show here in the States is really a great show to go to.
Jack: It is a great show. If you're into the more high-end side of things, it's a great show. But even to the mid- to high-end side of things, there are some products there. I remember walking in; it was last year's CEDIA, where Sony announced the Pearl projector, right? The 1080p projector that finally was at the $5,000 price point. And I remember nearly falling on the floor. Nobody expected it. It was a real surprise announcement at last year's CEDIA.
Craig: When you fell on the floor, your credit cards fell out, too, Jack.
Jack: Yeah. [laughs] My credit cards were like, "Oh! I'm out of here!" Totally. [laughs]
Craig: [laughs] I definitely want to put in a plug for another favorite music video, if you will.
Jack: Alright. Go ahead.
Craig: Back in May, at Radio City Music Hall, a gentleman by the name of Dave Matthews teamed up with Tim Reynolds.
Jack: Ah, yes.
Craig: And they did an acoustical event – all 100% acoustical event, two Martin guitars hooked up to a system. And Dolby partnered with Sony BMG and Dave Matthews, and I'm proud to say that that disc is now out on Blu-ray with a Dolby TrueHD soundtrack.
Jack: Is it out?
Craig: It came out, hit the street on September 4th, with a Dolby TrueHD soundtrack.
Jack: Cool. That's a great recording.
Craig: Jack, and I've got to tell you, it is...
Jack: It's cool!
Craig: Acoustical instruments are hard to capture their essence sometimes, when you're doing recording.
Jack: It is.
Craig: And these guys have done a brilliant job of capturing not just the airiness and the ambiance of the hall in 5.1 Dolby TrueHD, but the acoustic-ness and the tone and the timbre and the attack of the stringed instruments...
Jack: Absolutely. It sounds wonderful.
Craig: It's going to be one of my new reference discs out there. And if you have a Blu-ray system, you've got a 5.1, and you've got Dolby TrueHD, hook it up, bring your friends over, and tell them to listen to Crash. It's absolutely crazy.
Jack: [laughs]
Craig: It's fantastic.
Jack: That's cool. I didn't realize the disc was coming out so soon. That's wonderful. I'm going to have to go pick it up when I get back.
Craig: So that's my plug for upcoming content—upcoming great demo content, by the way.
Jack: Now, Craig, the first time I heard this recording was actually on a little disc that you were working on that also should be... Well, why don't you just talk a little bit about the latest demo disc that Dolby just put out?
Craig: Actually, I should give you credit, Jack. You put a lot of time and effort into this demo disc.
Jack: It is very cool.
Craig: And certainly, I need to give credit to our esteemed executive recordist.
Jack: Yes! Is that his title now? [laughs] Esteemed Executive Recordist.
Craig: Yeah, John. We're not allowed to say his last name.
Jack: That's true. But he did a fabulous job mixing this disc. It is unreal.
Craig: I tell you what, the audio tracks that John has put down on some of the selections here are absolutely incredible. And I've worked with John this past week on some other stuff, and I have to tell you: we are so blessed to have this man working for us. We really are.
Jack: Absolutely. Absolutely. Absolutely. It's not available, I guess.
Craig: Well, no.
Jack: Talk a little bit about it.
Craig: Well, Dolby's delivering to our licensees, which is our hardware manufacturers, as well as to retail, across the world, two new demonstration discs: a Blu-ray demonstration disc and an HD DVD demonstration disc.
Jack: Yes.
Craig: Now, the purpose of these discs is for retail exhibition. It's to basically, when you, as a consumer, go into your favorite retailer, they will be able to demonstrate, in high-definition video and Dolby TrueHD, Dolby Digital Plus, high-definition audio, a variety of content, from movies to music videos to nature-scapes with incredible soundtracks.
Jack: Yeah.
Craig: It's really a good effort. It's an outstanding effort.
Jack: It's very cool. Now, I've just got to say, my favorite part about this puppy was popping it into my PlayStation 3 and hearing that 96 kHz Dolby TrueHD. I believe it's a first, right? There's no other 96K Dolby TrueHD out there at the moment. It's amazing.
Craig: And you have 2 titles on the disc, actually, that are there in 96K. The first is the Dave Matthews title. We actually have a clip from that upcoming Blu-ray disc.
Jack: Yes.
Craig: And in addition to that, there is one of my favorite titles that I'm always talking about. And that is what, Jack?
Jack: Oh, yes. Of course. [laughs] How can I forget? The Legends of Jazz. Absolutely. What's cool is this. So, to listeners who don't know what we're talking about, 96K. What is 96K? 96K refers to the sampling frequency of the digital audio. And the idea is that the higher the sample frequency, the higher the frequency response that you can reproduce is. So, 96K really allows you to represent frequencies up to and even far beyond the range of human hearing.
Craig: And there's a perceived warmth and a naturalness in the listening experience.
Jack: Yeah. It's the weirdest thing. Basically, how it goes, the science goes that, for digital audio, you want to sample the digital audio at twice the frequency of the highest frequency that you want to reproduce. That means, for instance, the range of human hearing goes up to 20,000 Hz, 20,000 cycles per second. And so, CDs traditionally have been above 40,000 Hz. Basically, everybody refers to 44.1 kHz for CD audio, or 48 kHz for a lot of movies.
Craig: Right.
Jack: And that means that it is able to reproduce every sound that the human can possibly hear, and then they throw a little bit of extra on there, just in case. So, you might ask yourself, "Well, why 96 kHz? That's going far beyond what the range of human hearing is." And it's precisely what you said. It's the strangest thing. I'm an engineer by background, so I didn't really believe that it would bring anything to the table. But, man, I was floored hearing those recordings.
Craig: Truly.
Jack: I mean, warmth? Is that the word you would use?
Craig: I call it warmth. There's a naturalness of timbre. And you know what I really like about 96K, especially in a multi-channel recording, is the airiness that it captures.
Jack: That's what I was going to say. There you go. That's what I was going to say. Yeah.
Craig: And the other thing, Jack, really. A really good point: percussive effects.
Jack: Yes. The attack of the...
Craig: Cymbal crashes, rim taps on a drum.
Jack: Yeah. Unbelievable.
Craig: You have so many high-frequency harmonics that are part of that audio's signature that are now reproduced in their entirety, and you really capture that whole thing.
Jack: Now, there are also some 7.1 tracks on the disc as well, as I understand.
Craig: Yes. This is some of our first 7.1 content with Dolby TrueHD and Dolby Digital Plus.
Jack: That's very cool.
Craig: So, we encourage our listeners: go out to retail. In the next month or so, we'll be delivering these to our retailers. You'll get a chance to go in and ask to hear the Dolby demonstration disc, and ask to hear what these 2 new formats can really deliver in terms of audio quality.
Jack: That's right. And just to be clear, it's not available to the general public.
Craig: Precisely.
Jack: But a retailer or someone who's making 5.1 systems with Dolby technology, these are perfect ways for them to show off their product, either at retail or at a trade show or any other kind of demonstration event, right?
Craig: And it's so important, when you're considering making a purchase, to be able to audition this content in the products that you are considering for purchase.
Jack: That's so true.
Craig: And t his is a great tool for that.
Jack: Listen, we better take a break. When we come back, I think we ought to cover some of these new AV receivers that I'm slobbering over right now, because I'm so jealous.
Craig Eggers: OK.
[music]
Announcer: Got questions for Jack or Craig? Email dolbycast@dolby.com.
Craig: We are back at Dolbycast. Here I am, I'm Craig Eggers. Stuck in San Francisco, while my colleague, Mr. Jack Buser is over in Abbey Road Studios in London and, literally, rubbing it in.
Jack: Yes, I am.
Craig: I'm happy to say that this is our last podcast in this series, at least, from Abbey Road . Next time, I'll be joined by Jack in the studio, and I won't have to suffer the indignities of hearing about Ringo Starr and John Lennon's microphone.
Jack: He's here with me in the studio, I might add.
Craig: By the way, have you figured out cranberry sauce yet?
Jack: I have not.
Craig: Well, think about it. At the end of the podcast, I'm going to ask you: What's the significance of cranberry sauces. I'm sure the engineers are probably going to tell you.
Jack we've got a whole generation of AV receivers that are just starting to come out into the marketplace. What has really precipitated this is the introduction of two new technologies, Dolby Digital Plus and Dolby True HD, and a means to transport those technologies, HDMI 1.3. Do you want to talk a little bit about HDMI 1.3?
Jack: We've covered HDMI 1.3, but so many questions come in from our listeners. I feel like it's definitely well worth our time just to do a quick overview of HDMI 1.3, the benefits that it brings; why you would want to look for a product with HDMI 1.3; and then, specifically, how that differs from older versions of HDMI. We have a lot of questions on this.
Craig: Well, HDMI 1.3, to begin with, has a lot of potential capabilities; Some of them will be used immediately; some of them will be used in the future; and some of them may never be used, for all we know.
Jack: The benefit of HDMI, just for the listeners who didn't hear the previous podcast....We should just say: HDMI, it's a single cable that carries both audio and visual through a digital signal pass. It's a great new cable that allows you to connect two things together with just one wire.
Craig: If you think about the fact that, in the past, we were hooking up component video, which was 3 cables. If you had SACD, DVD audio, you had another 6 cables. Literally, to get the audio quality of DVD audio, SACD, and high definition video, you needed 9 cables.
Jack: 9 cables and you still had an analog transmission pass.
Craig:...and that was to do 5.1. Now, we've got 7.1 as an audio feature.
Jack: That's right. One cable. A lot of people have already bought products with HDMI and might be worried, "Oh no, what's going to happen with HDMI 1.3?" Why don't you just break it down a little bit? What's the difference between the two?
Craig: Let's talk about, basically, what happens in these next-generation DVD players, because that's what has precipitated a lot of this. Our next-generation DVD players, HD DVD and Blu-ray players, as we've talked about many times in the past, Jack, have interactive audio capability. It means that, in addition to that main native audio track that's on the disc, you can potentially be importing audio that might be director's commentary based.
You notice from these next-generation players already that, when you press buttons on the remote control, you get the “whooshes” and “swooshes” and all that stuff. Those are called “button sounds”. That's all part of an interactive audio experience that requires the player itself to do decoding of the native soundtrack, decoding of the additional audio soundtracks that are part of the experience, decoding, mixing, panning, and that comes out of the player as a high definition PCM signal.
Whether you've got HDMI 1.1, 1.2, 1.3, that passes directly to your AV receiver, with high definition video and can then be processed by your AV receiver.
Jack: Now, you can do that with any HDMI cable. So, if you want to connect one of these players to an AV receiver with HDMI, and you're worried that you have an AV receiver without HDMI 1.3, fear not. Any version of HDMI, from 1.0 on, was able to do the high definition video, as well as up to 7.1 channels of uncompressed, totally lossless audio.
Craig: On the condition that decoding is occurring inside the player.
Jack: You've got to find a player, yeah.
Craig: And I have to say that, because Denon is introducing a next-generation Blu-ray player that doesn't have the interactive audio capability, that only passes bitstream audio from the player to your connected AVR.
Jack: Interesting. That's interesting.
Craig: And there is when you want to have HDMI 1.3 on your connected AV receiver, and you want to have Dolby Digital Plus and Dolby TrueHD decoding inside that AV receiver.
Jack: Ah-ha. That is interesting. But now, if I pass the bitstream, though, I'm not going to get the secondary audio.
Craig: Exactly. Exactly.
Jack: For me, I think the secondary audio is a very cool thing. I just think it's very cool. And there's a lot of potential for it in the future, right?
Craig: Mm-hmm. Definitely. But for the people that just want to hear the native soundtrack on a disc as they might have heard it in the cinema or the theater...
Jack: That's going to be fine.
Craig: That's the connection that they'll probably want to do. And you ask yourself, "Well, if there's decoding inside the Blu-ray player, if there's decoding inside the HD DVD player, why do I need to buy a next-generation AV receiver with HDMI 1.3, Dolby Digital Plus, Dolby TrueHD decoding?" And considering that, Jack, you really have to think about how you're going to be bringing future entertainment applications into your home entertainment system.
Jack: That's true. I mean, who's to say there won't be devices in the future which would theoretically pass one of these bitstreams into an AV receiver? It really makes your AV receiver future-proof, I'd say.
Craig: Well, we've talked about Internet audio and Internet entertainment bringing the Internet into the home theater.
Jack: That is very true. That is very true.
Craig: And I think you'll see Dolby Digital Plus play there.
Jack: Absolutely.
Craig: And Dolby Digital Plus certainly has a future in next-generation broadcast, DBS systems, cable systems, where you can deliver up to 7.1 now over those systems and still have the efficiencies of Dolby Digital built-in so that you're not impacting negatively your video quality of that high-def signal.
Jack: Absolutely.
Craig: That's the cool thing about Dolby technologies is we're able to wrap these very, very high-definition signals in a device that transports them that doesn't demand a lot of data and, therefore, doesn't impact the video.
Jack: Absolutely. So, hopefully, we've clarified some of this for some of the questions that we're getting from people about what version of HDMI do they need to get, where the decoding of the audio signal should take place.
It really is a matter of personal taste and opinion. I mean, I always will decode in the player because I want to hear that secondary audio. It's very important to me. It's part of the next-generation experience, in my mind. But to truly get a future-proofed AV receiver, you're going to want to make sure you have one that can support as much technology as possible, right?
Craig: But I don't want to scare our listeners away, Jack.
Jack: Yeah.
Craig: If you've purchased an AV receiver in recent years...
Jack: Yeah. I just bought it, yeah, actually.
Craig: It might have 5.1 or 7.1 analog inputs.
Jack: Yeah.
Craig: It might have HDMI 1.1, 1.2.
Jack: I have 1.2 at home.
Craig: So, I would tell our listeners, when you go out and purchase your next-generation player—and Jack, they're getting more affordable than ever before.
Jack: Absolutely.
Craig: When you go out and purchase your next-generation player, what you need to do is understand the capabilities of your system.
Jack: Absolutely.
Craig: The two best ways to get the best audio performance from your next-generation player is, A: HDMI or, B: the analog inputs, if you don't have HDMI on your system.
Jack: Yes. Yes. That is very true. That is very true. Go ahead.
Craig: And then, if you're ready to make the leap, there's some great receivers coming out, from Sony, from Onkyo, from Yamaha, from Denon. I'm sure I've missed some. Oh, Pioneer that have HDMI 1.3, have Dolby Digital Plus, Dolby TrueHD decoding built into them.
Jack: Very cool, Craig. Very cool, I've got to say.
Craig: Very cool.
Jack: This is getting very exciting. I've got to say, one of my favorite product classes is the AV receiver. It's constantly a hotbed of innovation. There's just so much stuff happening in that space right now. If you're a gear head at all, those AV receivers are just the coolest devices.
Craig: Well, listen, Jack, cranberry sauce. Think about that.
Jack: Oh, yes. What is cranberry sauce?
Craig: We're going to take a break. And we'll come back, and we'll ask Jack what cranberry sauce is.
[music]
Announcer: Jack and Craig would love to answer your questions. Email them at dolbycast@dolby.com. That's dolbycast@dolby.com.
Craig: We are back at Dolbycast, and Jack Buser, you are recording live from Abbey Road Studios in London .
Jack: From Abbey Road Studios, and I'm still looking at this extremely cool book called Recording the Beatles.
Craig: Any cool people coming in there, Jack?
Jack: There are so many cool people around me right now. You don't even know. I think Sir Edward Elgar, himself, has just walked by.
Craig: Get that man some perfume, please.
Jack: If you don't know Sir Edward Elgar, please quickly do an Internet search on him. They've got some great videos up there, on the Internet, conducting the orchestra here, in studio one, which I'm recording in. I'm actually staring at the place where Sir Edward Elgar recorded Land of Hope and Glory on November 12, 1931. That's how long this studio has been in action, which is just absolutely amazing.
Craig: But you're not in Studio 2, I remind our listeners. You're not in Studio 2.
Jack: I will be going to Studio 2, to go see Studio 2.
Craig: And hold the microphone, right? You've got to touch that microphone.
Jack: I've already had the microphone...This has just been the most amazing experience. I want to just thank the entire staff here at Abbey Road Studios, especially the geniuses we have here in the other room, that have somehow used the magic of technology to get my voice all the way across...
Hang on they're showing something up against the window. Hang on, Craig. Let me just check. What are they showing me? Craig, they have put a cranberry sauce recipe up on the window.
Craig: A recipe, eh? That's not it.
Jack: What is this cranberry sauce?
Craig: First of all, Jack, you throwing out kudos to the staff over there. I've got to remind the staff: Hey guys, you really don't want Jack in the studio, because he has a tendency to knock things over, and he's very disruptive. So you really don't want to bring him into Studio Two. It's going to cost a lot of money.
Jack: I see what you're trying to do! Don't even try it, Craig. Don't even try it. They know me too well. They know how careful I am and how responsible I am.
Craig: So Jack, here's the solution to the puzzle.
Jack: Go ahead.
Craig: You know, we need to have a weekly puzzler. Maybe we'll do that.
Jack: What's the solution to the puzzle, Craig.
Craig: While you were just a gleam in your father's eye, Jack, there was a rumor, many, many, many years ago, that Paul McCartney died and had been replaced. There were all these hints that were allegedly present in all of the Beatles music. In one of the songs, there was the assumption that John says, at the very end, "I buried Paul".
We used to play this over and over. This was back in the days when we had vinyl. We could actually play things backwards and listen for all the hidden cues. Well, it turns out, after years, and years, and years, John Lennon actually admitted that he didn't say "I buried Paul" at the end of the song. He says, "cranberry sauce". So that's the significance.
Jack: You're getting a lot of strange looks from the engineers back here. You're getting a lot of strange looks.
Craig: I kid you not. That is true.
Jack: All right, we're going to go back and check this out. I'm sure I have a vinyl interpreter somewhere in my office. I think I do, in fact, on my desk. Listen, Craig. This has been an absolute blast. I'm going to go and check out the rest of the studios here, unfortunately, without you.
Craig: Hey Jack, when we were over at Zoetrope the other day, you knocked over that whole panel of amplifiers.
Jack: I did not! That is not true!
Craig: Guys, you let Jack in the studio at your own risk.
Jack: Craig, all right. I'm definitely signing off right now, before you destroy anymore of my reputation before I get to see the rest of the studio.
Craig: Jack, who are we?
Jack: We are the walrus, I suppose. No, I am Jack Buser.
Craig: I'm Craig Eggers.
Jack: And we are Dolbycast.
[music]
Jack: Cool. I'm going to go to the main room.
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