FAIRLIGHT REPRESENTATIVE 2: Upon the right-hand screen here, okay, this has got also integrated video, integrated into the box. [PH] Tronnie and [PH] Stuart said SD and HD. So I’ve got a direct interface. This is -- I want to thank New Wave from Los Angeles who gave it. This is just a promo here for Ice Age, and as you might notice...

[FAIRLIGHT REPRESENTATIVE 2 PLAYING VIDEO FROM CONSOLE]

Anyway, what I’m getting at, this is a typical, what we like to say with Stuart sometimes, run an HD audio world. And the fact that what I have to do, I have to put -- I have to deal with a couple of different stems, I’ve got to put out a 5.1 mix, I’m working with Dolby, I’ve got to do an LTRT, I’ve got to do stereo, I’ve got to do mono, all of this, hopefully, at the same time. As Stuart said, we’ve got integrated monitoring. If you’ve got the I/O’s on this thing, you can bring anything back into the monitoring mix.

In the box, you don’t need to go, I won’t mention any names, into other systems where we have to go and buy extensive monitoring to get to it, and this can be digital or analog coming back in. Also, there’s some really very clever multi-format stuff. For example, I’m just going to give you one, try and follow me on this, it’s called bus reduction, okay? Because actually what I’m doing I’m running two mixes here, okay, I’m on an external and my stereo mix here at the same time. Now, the way we do that is actually pretty easy. I’ve got one 5.1 main bus, I’ve got a sub-bus I set up as stereo. Nothing.

Normally, I do two passes to take care of that. However, we got a special thing called reduction where I’m actually -- This is not different fader back. What this is is an additional layer of fader activity. In other words, I’ve got my 5.1 mixing there with all my dynamic automation happening, my pans, and stuff like that. If I hit this layer, this is the reduced bus, it’s a mirror, it’s a clone but a stereo foam panel. However, these are no longer levels. These are nothing more but offsets -- follow me -- to my done dynamic mix that’s happening in 5.1, so I’m actually mixing my 5.1 in stereo. I’m just adapting with the offsets for my stereo compatibility, and you’ll just be seeing there going back but to being like that, okay? In addition to that layer that’s happening on bus reduction, I can do a different layer of automation at the same time. Those are the type of facilities we’re giving you for multi-format mixing.