Alright, it's time for tech talk number 14. They're starting to add up. Is it really 14? It is. I thought it was 14 last time. Am I losing my track? It was 13 last time. Okay, see I'm always thinking we're ahead. That's all right. I mean it might be 15, but we'll figure that out later. Anyway, we got lots of lots of great stuff to talk about in your tech update. We're going to talk a little bit about how do you pick the best place to record? Because that's what we do. People say, I don't know how to do this. You buy the mic, now whether you put the thing. That's right, and that's actually more important than a lot of other things. It is. So, you got a question? Throw it in the chat room right now, and it's now time for tech talk on VOBS. From the outer reaches, they came, bearing the knowledge of what it takes to properly record your voice over audio. And together from the center of the VO universe, they bring it to you. Now, George Widow, the engineer to the VO stars, a Virginia Tech grad with the skills to build, set up and maintain the professional VO studios of the biggest names in VO today. And you, Dan Leonard, the voiceover home studio master, a professional voice talent with the knowledge and experience to help you create a professional sounding home VO studio. And each week, they allow you into their world, making the complex, simple, debunking the myths of what it takes to create great sounding audio, answering your questions, showing you the latest and greatest in VO tech and having a dandy time doing it. Welcome to VoiceOver Body Shop Tech Talk. VoiceOver Body Shop Tech Talk is brought to you by voiceoveressentials.com, home of Harlan Hogan signature products, source elements, remote studio connections for everyone, voiceactorwebsites.com, where your VO website isn't a pain in the butt. VOtogogo.com, everything you need to be a successful voiceover artist, J. Michael Collins demos when quality matters, and VoiceOver Extra, your daily resource for VO success. And now, live to drive from their super secret clubhouse and studio in Sherman Oaks, California, here are the guys. Like a deer in the headlights, we're here for VoiceOver Body Shop Tech Talk number 14. And of course, we invite your questions because that's what we do. That is the engine, the fuel for the engine that runs the show. That's right. Your questions. Because you ask us a question, we can answer it. And otherwise, we're like, well, what can we talk about? And then it triggers like more ideas and more thoughts and goes and goes. And which is why you guys all watch and listen to this show because this is what we love to do. Anyway, so we've got your tech update. We're going to talk about finding the right place to record. We got a couple of questions from the audience. We'd like more. Put them in the chat room right now. If you got a problem with your studio, you got a question about an interface or a microphone. Do not ask what's the best microphone for VoiceOver. Don't bother. I will reach through the internet and grab you by the throat. And your voiceover career. You can ask this stuff on Facebook or on vobs.tv. We got chat rooms going both places. All right. Makes it a lot easier. You have all sorts of choices. Anyway, so what's up in your tech update for this week? Something more about Mac OS? Well, I know. I'm boring all you Windows people. I'm sorry because your systems are all flawless. So you don't need. Yeah, right. Now, what's coming up in Catalina? So every year is this time of year. The new OSes are coming. They're coming every year. They come in the fall and Catalina is the new Mac OS. So one things I mentioned. I think it was two shows ago. I mentioned that we need to look out for 32 bit applications. So if you have 32 bit apps that you may not even know are 32 bit. There's a 32 bit checker. I mentioned it while on the show last two shows ago or two, one episode ago. You can check that out. But also you have to look out for security. So just like every system, your phone, everything else with Mac is certainly very big on security. And so when you have any application, it goes through a huge series of checks to make sure the app is totally legit. Doesn't have loopholes in it. No loopholes, malware, nothing. I mean, they're very, very locked down. So a lot of you are already familiar with how, you know, you'll install an app and then it'll say, this app hasn't been certified or isn't trusted yet because it wasn't downloaded from the Apple store or something like that. And then you have to go to system, preferences, security, and then click open anyway, and you're in. That doesn't happen that often, but occasionally you might have some older oddball app that you use, or just some very new, very small time application that just won't load. And it used to be, you could just click open anyway, you're on, you're on your way. But now in Catalina, they're taking even away that little extra step. So they're really like apples, really telling all the developers, listen, if you don't get it together and make sure your app is signed correctly with us and all the security measures are in place, we're just not going to let you run it. So there still is a way in, but it requires now going into the terminal. So now to run those kind of apps, you have to feel almost like you're a hacker to get in there and run those, those odd old, or possibly fringe applications that maybe you shouldn't be running in the first place. So are we finding that there are more ways into Mac systems? It used to be, you know, we would get, you know, Apple computers because they were hard to hack and nobody, and nobody was writing malware and spyware and all that stuff for them anyway. Yeah, I mean, the Macs, the Macs file system, it's inherently pretty secure because it's based on Unix. And so every single file has a permission, read, write, or delete. And that has historically caused some problems with Macs, you have to run this repission, permissions repair thing. But yeah, because of that, it is a lot more secure. I think another reason why anecdotally that Macs just are generally more trouble free, I should say, is that, well, all of the world's banking and governments don't run on Mac OS, they're on Windows. So if you're going to take down a computer, it's probably going to be yeah, it's not generally Mac. But still, Apple is really big on security. They want to be more secure and more private, when others maybe aren't. So they're always trying to stay one step ahead. So it may start to feel like if it isn't already, that you have to jump through a lot of darn hoops every time you install something. Right. But that's just a necessity.  So it reset all the app permissions. Now, every time I go to take a picture, every time I go to record a piece of audio or send a photo, it asks me, Hey, are you giving permission to this device to access the stuff? But it's for a good reason. The only problem with all of these asking questions things is, do you remember on Windows, I would say, Hey, you downloaded this from the internet. Do you want to open this? Apple does it too. Yeah. What are you going to say? No. No, you're going to say yes. I bought it at a bodega around the corner.  So it becomes just, you know, compulsory. Yes, yes, yes. You're not even going to notice if there's a problem anyway, because you're just going to click, click and yes. But anyway, they're trying to keep us safe. So watch out for these new little loop, loop holes, you might have to jump through when you have a new system in a different world. Something that's more relevant to more of us. We talk a lot about acoustics, right? And we will more. Yeah, we love talking about acoustics, because we know it's probably the most extensively important thing in a studio. Excuse me while I try to clear out. Stay hydrated. What's going on in my throat right now. So room acoustics can be really esoteric and kind of hard to understand. And I just stumbled on a video by a guy named John Calder of Acoustic Geometry, an acoustics design website and firm. And I believe we have this queued up to see, but this is a little clever visualization actually of how sound bounces around the room. I thought it looked kind of cool. I thought maybe you might have some benefit in checking it out. So, Pat. Hi, I'm John Calder of Acoustic Geometry. Let's talk about acoustics, which is basically how sound works in rooms. It may seem complicated, so let's make it simpler. Most rooms have flat walls and flat ceilings, and sound bounces off of these. So how does that affect the sound? I'll use these two Nerf guns to demonstrate. I've got this one aimed, so this disc goes directly to the ear that represents direct sound. I've got this one aimed, so that disc bounces off the wall and it represents reflected sound. I'll shoot them both at the same time. Reflected sound arrives at our ears later than direct sound, even though it started out at the same time, because it's traveling farther. And this wall is only one flat surface. There are at least six in the average room, and that's a lot of reflected sound. But why is reflected sound bad? I'll demonstrate using these two identical patterns. The blue pattern represents direct sound waves, and the red pattern represents reflected sound waves. They start out together, but when I move the red one backwards, like a delayed sound reflection, it creates destructive interference patterns which changes the original sound wave. Here's the problem. Original sound waves are distorted by strong, later arriving reflections. Also, sound travels really fast, about 1130 feet per second. A sound wave will bounce back and forth between these two walls about 60 times in one second. Sound travels so fast, it fills a room almost instantly, and this is only one bounce angle. Every room has thousands. How can we make our room sound better? Remember our nerf guns?  Both discs bounce together in the same direction, which means the reflected sound is at full strength. Now let's use the first of our two acoustical tools, an absorber, to reduce the strength of sound bounces. To a sound wave, an absorber looks a little like a hole in the wall, so some of the energy doesn't come back. An absorber works by reducing the strength of reflected sound that would otherwise cause more destructive interference. But if we use only absorbers in a room, it makes it sound dull and unnatural. Historically, humans don't like overly absorbent rooms. So, let's use the second of our two acoustical tools, the curved surface diffuser. It also reduces the strength of sound bounces. A diffuser works by scattering the sound reflections in different directions, smoothing out destructive interferences throughout the room. Room acoustics are greatly improved, using a combination of absorption and diffusion. It's all about reducing those flat surface reflections. Use a combination of absorbers and diffusers, and your room will sound a lot more natural. Thanks for watching. So do you use one of these? No. Okay, so you just don't click? Well, I do, but my philosophy is always fix it physically.  It's a lot easier to try and stop the mouth clicks than it is to try and fuss with your audio and do something perhaps that's not going to benefit you.  Be relaxed, keep yourself hydrated. Yes, don't eat chocolate before you work, or a taco.   I love that question. Is there a mic that doesn't pick up mouth clicks? Yeah, it's called a megaphone into a disk. Any mic that is good enough and sensitive enough to pick up your full range of your voice with detail is going to pick up mouth clicks, for sure. So get rid of the mouth clicks. So there are tools we always talk about and people in all these different forms, of course, talk about these de-clicker plugins. IZotope RX7 is by far the most well-known, most popular, but what's kind of funny is I ran into a situation last week and I'll keep it anonymous, but I had a major voice actor on one hand saying, I'd love to use this mouth de-clicking tool, I hear it's amazing. On the other hand, I had this pretty well-respected demo producer saying, I use this mouth de-clicker from IZotope. It's fantastic. And he loads the default setting, you know, no tweaking, messing with the settings, just load default settings and it works for him. Big time voiceover guy over here says, I do the same thing and I'm hearing losses of certain consonants. I'm hearing the loss of occasional P on the end of a word or a T and it's not working for him. What gives? Well, this is the toughest thing with all of these tools.  And if you're good at what you do, you're going to notice every single syllable, every vowel, every consonant, every word attack is going to be noticed to you because that just comes with the territory. As a producer who's listening to that same, maybe that same voice track, but hearing it more in a mix, their job is to get it to fit in the mix, get it into the flow, make it fit in time. They're listening to probably, I don't know, 10 other factors beyond what you're hearing of your own voice. So they might get you, they might get that track and they might, there might be missing T consonants or end of words, but when they get it, it's in the context of a mix and it disappears. So whose advice is the right one here? Like, who do you go by, right? Like, if I think at the end of the day, voice actors get really too hung up on the detail sometimes. And I'm not saying it's not right to care what you sound like and all those things are important, but... You know, I think... Don't get too hung up on it. Yeah, the problem is, I think people look at it and it may be the answer is somewhat counterintuitive, because the idea with your home voiceover studio is not to sound great. If you're a good voice actor, you already sound great. The idea is just try not to sound bad. And, you know, and if you can prevent the bad and just do what you do best, that's really all that's required of you. You know, we had Randy Thomas on earlier, you know, in our show last week and she was talking about how she's not using her Avalon anymore and her manly breath, because it's not necessary. You don't have to pump up your voice. The idea is not to sound great. The idea is to sound like you. And some piece sometimes people say, well, I don't like the way I sound. Well, if you or I listen to it and go, it's fine. You got to remember, you don't hire you. The idea is not to satisfy your ears. The idea is to do the particular read properly and not sound bad, because most guys listening to auditions are listening to them on their laptops or their iPhone or their Samsung or whatever it is they're listening on. And it's not as critical. I mean, it's critical, but you don't want to sound bad. So I think the idea is to try and learn what bad is. And I think people don't know what bad is bad. You want to sound bad. You want to sound intelligible. Right. You want to make sure that that person hears what you're saying. It's clear and easy to understand what it is that you're saying. Right. And a lot of it sometimes has to do with your monitoring. Like if you're doing everything in headphones, and you guys know, I talk a lot about using headphones for editing because you hear details, but that's the problem.  Yeah, some of the chatter we mentioned a good tip tip. Let's see.  This reduces mouth clicks tremendously. So yeah, I can say that for a fact when I make my tutorial videos or my YouTube videos because I don't do voiceover. The biggest thing I have to edit is the sound of me just simply opening my mouth again to speak. I get that for the off the lip roof of my mouth. And I have to edit those out all the time. So yeah, that's a good, that's a good tip. Really simple to do, but it just takes practice. Yeah. So don't get so hung up on all the details. If it's a 30 second commercial, it's going to have pay a quarter of a million dollars. Yes, the details really matter. But if it's an audition, you know, auditions, narrations, interpret the copyright. Somebody contacted me this week, somebody who's studio I set up, she goes, it's starting to sound hollow.  And I'm, did you change anything? Have you taken something to the cleaners? Is it further from the mic? Yeah, because it's been getting weird. And I, she sends me some audio. I listen to it like, sounds fine, except for the jet taking off because she lives at the bottom of the runway at Santa Monica Airport. I can hear that, but I'm like, oh, that doesn't sound hollow at all. Sounds great. Trust yourself. Trust the sound. Trust what we tell you because we know. Yeah. And if you're listening back on, if you're using your own studio monitor speakers as your reference for what you sound like, that you can't necessarily trust either because those speakers are resonating and echoing in that room, and thereby changing the way you actually do sound. So get a third party, get a, get a, get a neutral third party's opinion on what you're sending out, because it's not necessarily always what you're hearing. Right. Which takes us now to our next subjective discussion, which sort of, you know, doubles back on the video we were watching on room acoustics. How do you choose the right room to record it?  And I get these calls a lot and I go out and I'm like, where's the best place to record? So I will, you know, well, where would you like to record? What would be comfortable for you? What's going to fit your lifestyle best? Do you have a closet? Yeah. Do you have a walk-in closet? What size of a place are we talking about? Is this a one bedroom apartment, or is this a three bedroom house, right? Or a five bedroom house with, with all walk-in closets. Right. You know, and, you know, I had example, I was working with somebody in Glendale this week and, you know, the house is the big house. I guess it was a former embassy for some country or something. Anyway, it, you know, had a lot of bathrooms, but it also had a bunch of smaller walk-in closets. And he goes, well, how about this one? And I go in there and I'm like, well, this would be perfect except that I can hear the attic fans.  Let's go to the other side. Let me go in there. There's an identical closet on the other side, except that it's more sealed up and I can't hear the attic fans. And you close the door, it made a perfect thing. I mean, and once we'd get the equipment in there and set it up, which took me about 10 minutes, it sounded great, you know, and he can close the door and, well, fortunately, Glendale is not a really noisy place where he was living. But, you know, if you live in a quiet neighborhood, that helps a lot. But if you can isolate yourself in a closet, especially a good size walk-in closet with a lot of clothes in it, man, you just saved yourself about six grand, you know, because that makes it really easy. Yeah, I just worked with somebody as well who, she was already in a walk-in closet and she was ready to buy a booth simply because she thought, you know, she was not getting the best sound out of her closet. I mean, we simply, I'd simply recommended that she moved her microphone out from the little shelf it was sitting on. It was sitting like in a wooden cubby, you know, with some foam in it. I said, get it out of there, get it up on a stand, put it in the middle of that room or towards the clothing. And it was like night and day. And I was like, there you go. I just saved you several thousand dollars on a booth that, guess what? You would have to tune that anyway, acoustically, because it wouldn't have sounded good at all. That's right. You and I both know a lot of people making really good money next to their underwear. Yeah.  Closets the best place. Now, sometimes there's a difference in closets. A lot of times you'll find there is the 18 inch deep closet with the sliding door. That can be a problem. It's hard to work with. Right. It depends on the room that it's in. You know, is there a lot of, you know, beds or you have lots of curtains and stuff. If there's echo coming from the room, that's a problem. Sometimes, sometimes no. Yeah. So, but, you know, I know we know people who are really squoze into some pretty small spaces. We won't mention any names. But, you know, I mean, you can use those, but you can also take a short closet and extend it out using a PVC booth. Yeah, open up the closet door. I mean, those sliding closet doors don't stop a whole lot of real sound from outside anyway. Like, just be real. The difference between being in that closet and being outside the closet probably not a big dramatic difference. So, open up the door. Right. Hang a drape over it. Hang a curtain. Make an extension over the end of the closet with some, like Dan said, PVC. Or take a folding Japanese privacy screen, wherever those things are called. Get one of those. Throw a big heavy blanket over it. You know? Moving blanket. Harbour freight. You're cheap there.  They're fabulous. Yeah. A couple layers of those and you're good to go. So, yeah. So, finding somewhere quiet, clearly very, very, that's number one. Right. Are we not picking up as much room as noise as possible? Two is acoustics because acoustics are the easiest to fix of the two. Right. Between stopping noise and getting a sound that sounds clear and focused, that's generally easier. Right. And, you know, and if you or I go over somebody's place, I mean, maybe you do, but I don't use all those hefty equations. No. The acousticians use, you know. It's like, what does it sound like? That would take so much time. It would, all it would do is just, like, come up with some saying, okay, now you need 2.7 square meters of block. It's like, no. I mean, I've been in so many small spaces and rooms of different sizes and everything. What does it sound like? Yeah. And the louder you talk, the more the acoustics of the room come into play. So, if you talk conversationally, it's amazing how when you just talk normally, how the, you know, if you're in a marginal room, perhaps it could work. You can get away with a lot when you're not really projecting. Right.  We don't yell into people's ears. It's, it's all relative. There's no hefty, you know, rules about these sorts of things. And with you and I, it's like, if it sounds good, it is good. Right. Yeah. And on that note, we're going to take a break and we'll be right back to answer your questions here on Voice Over Body Shop Tech Talk right after this. Oh, I think I heard the voice over Body Shop. I did. I did hear the voice over Body Shop. Be a little Body Shop. Alrighty. Well, you're probably wondering why Ari is here with me because Harlan Hogan, our wonderful sponsor at Voice Over Essentials, would like to remind us that he's having his dog days of summer sale. So we're using Ari here as a little bit of a prop to tell you about his dog days of summer prop. Cutest prop. I know he's, he's, he's nice and cuddly. And anyway, but here's what's going to go on over at Voice Over Essentials. If you buy anything over there, and that means, you know, the Harlan Hogan VO1A mic or the Harlan Hogan Signature Series microphone or some of the other great stuff that he offers, the Porta Booth Plus and the Porta Booth Pro, if you buy any one of those items during the dog days of summer promotion, you will get a free ABS. Now, what is an ABS? It doesn't stand for automatic braking service or system. It stands for the adjustable boom, strap, strap, strap, stop, stop, whatever. It's great.  So during the dog days of summer sale, if you buy anything, you get the adjustable boom stop. And that will allow you to save your expensive microphone and of course having it fall in your foot, which can also be a problem. But go over to Voice Over Essentials right now during their dog days of summer sale, buy anything there and get a free ABS strap, free and free delivery, of course, over at Voice Over Essentials. Best way to go over there is to go to the bottom of our homepage, where you'll see the icon of Harlan talking into his venerable Porta Booth Pro and click on that. It will take you right there and you'll be able to look at all the great stuff he has.  Thanks, Harlan. Well, hello there. I bet you weren't expecting to hear some big voice to announcer guy on your new orientation training for Snapchat, weren't you? This is Virgin Radio. Well, okay, we're not that innocent. There's jeans for wearing and there's jeans for working.  She's a champion of progressive values, a leader for California and a voice for America. It's smart. It's a phone. It's a smartphone, but it's so much more. It's a, the files are ready. Don't forget to pick up the eggs. What time is hockey practice? Check out this song. It's the end of the road for Rick. It's just you and me, Rick. When hope is lost. The I-8 from BMW. Who said saving the planet couldn't be stylish? Hey, it's J. Michael Collins.  I think they speak for themselves. But I will give you my email. It's jmichaelatjmcvoiceover.com. Now, if Dan will stop waxing his mustache for a minute, we'll get back to the show. Hey, everybody. This is our segment where we get to mention source elements. Creators with Source Connect. It won't take a lot of your time, but I just want to remind you that as a voice actor, you need to have the best tools and the tools that allow you to connect to all the studios in the world. And they pretty much at this point all have Source Connect. This is the tool that allows your audio in your studio to be connected to theirs, high quality real-time, very low latency, and a reliable connection. And this is really the tool for the pros. And you can get a trial right now.  You don't have to have a little iLock dongley thing to do it either. For Source Connect standard, it will just register to your computer. So go get it running, get it up and running, get familiar with it, test it out, see what it does, understand it, and that day the job comes, you'll be ready to go. Head over to source-elements.com, get a 15-day free trial of Source Connect standard and tell them we sent you. We'll be right back. Alright, and we're back. And if you haven't figured it out by now, George and I do something that almost nobody else on the face of the planet does. And that is, home voiceover studios. Home voiceover studios. Yeah, some bigger studios too. But home voiceover studios. A unique environment that really did not exist 15, 20 years ago. So we've been doing it since people started doing it. So we're the guys that really know how to do it right. And you know, if you need help, if you really don't understand how to set up a studio, if you're having a problem with your studio, if you don't know if you're having a problem with your studio, we're the guys to go to. And if you want to have help from George, where would they go? Head over to GeorgetheTech.com and that question about, you don't know if you have a problem. That's why I have a sound check service, drop your file into me, and I'll take a listen and I'll tell you why maybe you're not booking or I'll tell you, actually you're doing great. You're not booking because you need more coaching or something else. I'll never judge your voice acting, but trust me, if we'll let you know, if it's really audio that's getting in the way or not, and what things you need to look for. So Dan does a similar thing over at his website too. And that is homevoiceoverstudio.com. Yes, don't ask me how I got that particular name, but it was available. So you beat me to it. That's right. Home voiceoverstudio.com and go there, read about how I do what I do. And I too also have an audio analysis service. You scroll down to the bottom of the page where you find the specimen collection cup, click on that, and that will take you right to a drop box, follow the instructions to AT, and I will get back to you and let you know what's going on with your audio. If it's great, I'll tell you. If you need help, I'll tell you. So that's what we do. And if you need help, where are the guys to go to? So we got questions from our voluminous audience out there in all over the world. They're watching, at least in New York and various other places. So what's the first question we have tonight? Let's dig in. The first one I see at the top of the list is from our old pal, Paul Stefano. It was definitely one of the sluttiest gear sluts I know. Cannot stop buying gear. He has gas. He has gas. Gear acquisition syndrome. He says I recently bought a neat killer bee. Editor's note. I looked up killer bee and I couldn't find a neat killer bee microphone. I did find a neat King bee microphone. So I think that might be what Paul is talking about. That said, he says I couldn't resist the fire sale as they have shut down production of these mics. And it sounds great.  Not necessarily. I mean, I wouldn't buy a $3,000 mic that you're never going to be able to get fixed or get parts for. I think that would be a bad idea. But a microphone that is sort of a curiosity. It's kind of an oddball. It's kind of quirky. Didn't cost you a lot of money. Hopefully it was 100. I mean, I'm looking at them online for a hundred bucks. So probably you paid less. Doesn't sound good. Does it sound good? I mean, you're saying it does. I think maybe that was one of the mics that we had in that shootout at one point. Yeah, it was satisfying. Yeah, we tested it against at least eight or nine other mics and it held its own. I mean, it was average sounding at the time. We didn't say it was one of the best, certainly not one of the worst. We thought it was fine. So I'm seeing it on B&H for a hundred bucks. Originally maybe a $300 mic. So it's a pretty good deal right now if you find one.  Not when it's a disposable mic. Not something that's very expensive. And on sale. Right. Yeah. No, what the heck. Have fun. I mean, this is one of the fun things about the hobby is demoing, trying mics, seeing what works, what doesn't. If you find out that this is the final mic for Paul Stefano that you never need to buy another mic because you finally found the Holy Grail. Well, you might want to buy a couple more and keep them as backups because you aren't going to get these fixed easily if they break. Good point. Oh, yes. Jonathan Arara asks, I'm interested in the Rode NTG4 as a travel alternative to the 416. Is the NTG4 plus worth the extra money just before the built-in battery pack? Oh, well. Oh, the NTG4 plus has a battery. Okay. Yeah, I didn't know who knew. No, probably not because if you're going to be recording voiceover professionally, you're going to have that microphone plugged into a pro audio interface with phantom power. Right. So it's going to get phantom power. So I don't think having the battery power on board is important at all. If you're wanting to moonlight as a videographer or do YouTube videos or something like that, and you want to now start using this mic as a boom mic or something that you're going to hook to a camera and then plug into your DSLR, then you need the battery. You get a DSLR or a handy cams don't provide phantom power, usually not the cheaper ones. And then you would need the battery power. But no, you really don't need it for voiceover. Right. And that is a good stunt mic for a 416, actually, the NTG4. Right. But the 416 itself is built as a road warrior. It is. I mean, if you're going on the road, I mean, it comes and it's a very secure case. You just travel with it. It'll take a beating and, you know, if you're afraid someone's going to steal it, well. Yeah, it's another thing. But someone can steal it out of your studio too. So it really doesn't matter. If you're using a mic in the studio, you want to sound essentially the same wherever you are, because it's got such a narrow pickup pattern, it generally is going to capture you the same way, depending on the acoustic situation you put yourself in. And, you know, you're not going to go record out in somebody's backyard. So we did put up that mic against. We did put the NTG4 up against the 416 on the Pro Audio Suite. It's another podcast that I do. And we did find that if you turn on the high boost, because that mic has a low cut and a high boost. So if you turn on the low cut and turn on the high boost, we found that with least the voice actor we were testing it on, it sounded a heck of a lot like a 416. Not identical. There was just something a little bit nicer about the 416. But if having two mics of $1,000 price range is dear for you, then this could be a nice backup for, I think, about 300 bucks. All right. And we have one more 416 question. 416. I'm starting to see a pattern here. What do we got here? Maurice A. Scott says, I have a microphone question. I have a 416 and a Rode PSA1 boom arm attached to my desk. That's like your typical angle poise radio station mic boom. And we talk a lot about how they are not the best hooked to desks. They pick up vibration. Got to watch for that. Is there a way to attach my 416 and wait to it so that it so I can adjust it and it stays in place? Or is there another boom arm that you would recommend that works well with the 416? Okay. So, okay, I think what he's saying is that the 416 is not a very heavy mic. No. And the PSA1 is, it has springs inside it, and it's probably too light. And you can't get the microphone, the springs are too strong. So you can't get the mic to stay put. Well, it's going like this. Well, you can take out one of the springs. Some of them you can, you can, these are internally strong. Okay, you can tighten it up a little bit more. Yeah, it should. I can't remember if the Rode has little tighteners or not. If it has, it has a big, big thing in the one major joint, I think. If it, yeah, if it has that tighten it down, there is, I think that might be the one that you can't adjust. Well, you might just have a bad combination there. I mean, between the PSA1 and the 416. There's, there were also complaints about the new blue mic boom. We mentioned that it was, think it's called the compass. Yeah, yeah. About the springs being too strong, and the mic wanting to float up and out of the, you know, start floating on you. I was at a client's house not too long ago, and there was a little metal weight that was clamped to the mic arm to counterweight it, to keep it, to keep the arm from doing this. If I only knew where those were made or who made them, I would recommend it to you. Duck tape and a brick. Yeah. I mean, if you find like a nice small, some, maybe even some ledge, here you go. Go to the, go to the tackle shop in the fishing store. Get some, get some sinkers. Yeah, get some sinkers. Get a few lead weights that have little hooks and keep hooking them on to the end of the mic arm until the thing stops floating. A couple dollars with a lead shot, lead weight. That would do it.  Yeah. No, I don't have a better answer for that.  So that's going to happen. So give those things a try and let us know if any of those crazy ideas for you actually work. We want to know. Yeah. Absolutely. Well, that takes us to the end of another Tech Talk segment. That's a wrap. I know. You guys, I love the questions we get from you guys. Lots of people are watching all week long. And if you've got a question for us, throw it into the chat room when we're doing the show live or send us an email at to theguysatvobs.tv. Yes. And we will answer that. Please do. All right. Well, we'll be right back and wrap things up right after this. As a voice talent, you have to have a website. But what a hassle getting someone to do it for you. And when they finally do, they break or don't look right on mobile devices. They're not built for marketing and SEO. They're expensive. You have limited or no control and it takes forever to get one built and go live. So what's the best way to get you online in no time? Go to voiceactorwebsites.com. Like our name implies, voiceactorwebsites.com just does websites for voice actors. We believe in creating fast, mobile friendly, responsive, highly functional designs that are easy to read and easy to use. You have full control. No need to hire someone every time you want to make a change. And our upfront pricing means you know exactly what your costs are ahead of time. You can get your voice over website going for as little as $700. So if you want your voice actor website without the hassle of complexity and dealing with too many options, go to voiceactorwebsites.com where your VO website shouldn't be a pain in the, you know what. For the last decade or so, the name VO to go go has become synonymous with up to the moment expert award-winning training in voiceover performance, business building and mindset. But it's also been a name that requires some explanations. Sometimes a repeat calling out the numeral two. Well, it's time for a change. It's time for a simpler, more direct and easy to spell name for their company and their training. 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She's now living in the LA area. So she's going to drop by Eliza Jane Schneider. She's a great teacher and it's and she that's her thing dialects dialects. Really good at dialects. So if you want to learn about dialects, dialects dialects. They strive. Stare out the exterminate. Dialects dialects. Got it. That's next week. Okay. Who are our donors of the week? There's the week are Graham Spicer, Joseph Harrison, Christie Burns and Dwayne DeSalvo. And if you've heard those names before, that's because they're probably subscribers and you can do the same thing. We'll read your name at the end of the show. And as our thanks to you and if there's something that you learned on the show that was really helpful, send us a little donation. Just a one time is fine or you can subscribe. It's not a problem for like a month if you want. Whatever makes you feel good makes us feel good. We really appreciate it. So also we want to see your studios. I mean we hear from all you guys. 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No, we got at least two solid months of summer left. All right. Well, I can deal with it. It hasn't been that hot, but it's been nice. But anyway, we also need to thank the Dan and Marcy Leonard Foundation for the betterment of live webcasting and recorded webcasting as well. And of course our technical director tonight. Hats Merlino. Hats Merlino. His mom wasn't here. So he filled in and did a bang-up job. Yeah. You know, so we really appreciate it. That was great. And Hats brother and Mike was also working the chat room. All right. Fantastic. Well, that's going to do it for us this week. Again, Liza Jane Schneider next week. If you've got any comments, questions, email us.  We're experts in that. Trust us. Relationship questions, even. Yeah. Marital advice. And trust me, in voiceover, you knew that kind of stuff. Anyway, I'm Dan Leonard. I'm George Woodham. And this is VoiceOver.


Ladies and gentlemen, the President of the United States. Well, please be seated. Thank you all, and welcome to the White House. I'm delighted we could have a few moments together today, and I'm anxious to get to your questions. At first, I thought I'd begin by giving you a little report on two stories that have been coming over the wires, and what those of you in the newsroom would call developing stories that will be, I hope, a source of increasing focus and interest. The first issue has to do with the yearly battle of the budget. Now, I know that's not the sort of story that readers turn to first or that always make the evening news, but I mention it because I believe the budget battle will eventually emerge not as a parochial argument, but as a larger issue, and it will be will we return to the days of unrestricted federal spending? Will a specter of high taxes and inflation and even higher trade deficit haunt us once again? As all of you know, the Congress decided a year and a half ago to get uncharacteristically serious about deficit spending, and they adopted the Graham-Rudman Hollings resolution which would gradually shrink the federal deficit, and by 1991, give us and brace yourselves for this, a balanced budget. When Graham-Rudman Hollings was first enacted, there were all sorts of pious declarations from Congress about living up to its yearly deficit targets. However, I have to tell you that that commitment to Graham-Rudman Hollings is rapidly disintegrating. The House continues to pass spending bills, like the Highway Authorizations Bill that I had to veto recently. As I said at the time, I hadn't seen so much lard since I handed out blue ribbons at the Iowa State Fair. Over in the Senate, a legislative procedure was recently adopted that makes it far easier to override the budget deficit and spending limits. Congress is back to doing what comes natural, playing to the special interests and failing to meet its budget responsibilities. If the budget, if the Congress continues on this course, we'll go to the American people and make our case. And as this battle heats up, I think it's going to be increasingly understood that the Congressional budget process itself, with its missed deadlines and its gigantic catch-all spending bills, is fatally flawed. The executive branch must be given new powers to reach into those pork-barrel spending bills and cut out the waste. And that means giving the president what the governors of 43 states have, the line item veto, or better yet, enhanced rescission authority. I've noticed that everywhere I go, in any audience, I've mentioned that line item veto and it gets a strong reaction. Whoever would have thought a few years ago that line item veto would be an applause line. I think the public is increasingly aware of the problem in the Congress and the need to do something about it. And that's why I think you're also going to see increasing support for the balanced budget amendment. Unlike Graham Rudman Hollings, it would make a balanced budget in the 1990s a matter of the Constitution and not just a law. We need that amendment, but there's another twist to the budget problem that you should know about. As I said in what it's called, let's cut defense. As I said in my radio address on Saturday, defense spending is always the first thing to be sacrificed, canceled or delayed. Even while the boondogles sail through untouched. Despite all the progress that we've made in rebuilding our nation's defenses, the Congress now wants to reverse course. For two years in a row, it has cut defense appropriations below previous levels in real terms. The current fiscal year, 1987, but a defense budget is actually 6 percent less than the one Congress itself approved for 1985. But even now, we hear voices saying that the fiscal year 1988 defense budget should be taken even lower. Now, this isn't only irresponsible from the standpoint of our national security. It also goes to the heart of our bargaining credibility with the Soviets. At the very moment when vitally important arms reduction treaties are on the table in Geneva. Some in the Congress want to take on responsibilities that are not theirs. And I refer here to the business of conducting arms negotiations. This is the second point that I wanted to make. Several amendments have been offered in the Congress such as those dealing with nuclear testing and SDI that would undermine our negotiating positions in Geneva and tie my hands in the conduct of a vital part of our foreign policy. Not to mention the fact it would give the Soviets negotiating victories that they can't win at the bargaining table. These trends are dangerous and if they continue will become the focus of a major national debate. I bring all of this to you for a simple reason. The Congress is a large amorphous institution. It can't be held as accountable as an individual can. But those in the Congress have a duty to report to the folks back home on where they stand on these issues. And I think you would agree that no one plays a more vital role than you in asking them about these issues and their stand on them. And with that said, let's make it a dialogue instead of a monologue. All right. This president Bill Sharp from WCIC in Charleston, South Carolina. Mr. President, to those people who might say your presidency and you have been mortally wounded by the Iran contraaffair, how would you answer those people? Well, sometimes before I've used a line from an old Scottish ballad to the effect that, yes, I've been wounded, I'll lie me down and rest a bit and then I'll fight again. There's my W.S.M. radio in Nashville, my general manager says I can't go home unless you move it around. Oh, boy. Please. I'm Ronald Reagan. Before I'm in Nashville, I listened to Radio 650 W.S.M., the 50,000-watt blowtorch of the South. All right. What's that? Well, I thought they were all quiet. Well, the last part was the only place where you started to laugh. I listened to Radio 650 W.S.M., the 50,000-watt blowtorch of the South. Well, it's just like being back at WHO. Incidentally, on that short answer that I gave you on Mortally Wounded, I have to say that I get out around quite a bit in the country and the audiences range from blue-collar workers in a factory as they did just a few days ago to students and their families at a graduation ceremony. And I haven't seen any evidences that I've been mortally wounded, nor do the people seem to be unhappy about what we've been doing here. Let me kind of ... All right. Mr. President, Mr. McFarlane has explained that he briefed dozens of times regarding the activities that were going on regarding contra-age. And that you have ... He said that you were not aware of any of the nuances of the things that were going on. In one of his testimonies, what action have you taken to make sure that your directors, that the NSC will not be involved in implementing such operations? What actions will you take to see those directors as part of that? Well, we have taken actions in that. And I know that Frank Carlucci has made a number of changes there in the NSC. But I think something that's going on in all of these investigations that could also lead to your question is this linking of Iran and contra-age. And it is ... They've seemed to try to portray me as claiming to be uninformed about everything. No, in the Iranian situation in which they representative of their government, not the Homeini, we were not doing business with him at all. We were doing business with people that could have gotten shot if exposed as dealing with us. And they were thinking in terms of what might be a future Iranian government in view of the health of the Homeini and so forth. And they wanted to make a contact to see if we couldn't discuss how we could have better relations. I immediately took them up on that. We've been for months and months. Here's a matter of fact, trying to find ways to bring an end to that brutal war there that's killed a million people so far. And they were the ones that brought up the subject of arms for them to see it, first of all to enhance their stature, but also to prove that they were talking to representatives that could reach up to the top of our government. In return for that, because we had put Iran on the no trade list due to their support of terrorists, our answer to that was, well, they could do something. We told them about we couldn't do business for that reason. They replied that they were opposed also to support of terrorism. Well, we said there's a way to prove it. Maybe you would like to use your influence with the Hezbollah, which has a kind of philosophical relationship with Iran, to get our people back, our hostages. And so this is what happened in that situation. When the news leaked, it was kept covert to protect the lives of those people we were dealing with. When the news leaked and it suddenly burst all over the world, we were very concerned about that. But out of that, for the first time, we learned that we had not been informed, that our representatives somehow there was more money than the 12 million dollars that we received, and that some of that money was deposited in an account that it was reported funneled aid to the countries. Now, this was all new. I am still waiting to find out the final details of where did that extra money come from, who did it belong to, and where did it go. Now, the Iranian situation, or I mean the Contra situation, and I'm going to start calling them freedom fighters. Contra was a term of derogation imposed on them by the Sandinistas. These are people who are fighting for democracy and freedom in their country. And here, there's no question about my being informed. I've known what's going on there. As a matter of fact, for quite a long time now, a matter of years, I have been publicly speaking of the necessity of the American people to support our program of aid to those freedom fighters down there in order to prevent their being established of Soviet beach head here in the Western Hemisphere, in addition to the one we already have in Cuba. And to suggest that I am just finding out or that things are being exposed that I didn't know about, no. Yes, I was kept briefed on that. As a matter of fact, I was very definitely involved in the decisions about support to the freedom fighters. My idea to begin with. But now, yes. President Norr mentioned the WJCT Jacksonville, Florida. It seems to be a subject of discussion this time recently and I'd like to hear from women kind of simple enough whether it be colorizing a great black-and-white class that's been treated like a bent-on debon, a mid-rock scene, a lot of you feel about it. Well, I can understand the artistic argument that people are raised because of an art form that did deal in black-and-white photography and I think now and then when you see some of those golden oldies you're amazed again at the great beauty that could be produced in that. So I can understand their artistic resentment of this change, this artificial coloring of the movies. On the other hand, I can understand the business problems of those who invested the money and who own the films and who know now that there isn't a market for black-and-white. So frankly, I just question whether this is a problem to be settled by government in any way. The gentleman there stood up, no, here. Then I'll move back there. I'm having some trouble remembering that, but then I want to tell you that there were so many things going on and so many reports and some of this was during the time that I was laid up in the hospital and so forth. I don't recall ever anything being suggested in the line of ransom. I do know that we were constantly receiving ideas and exploring ways in which we could try to get our hostages back and I believe this is a definite responsibility of the government and we should do that. But it's possible that what we're talking about was the use of money to pay people and hire individuals who could affect the rescue of our people there and I've never thought of that as ransom. But again, I'm having some trouble just as Bud had some trouble himself with some of the questions that were asked him. There was an awful lot going on and it's awful easy to be a little short of memory. Yes, but I would suggest that never would it be termed ransom because that from the very first, we will not pay a ransom to kidnappers because it's only going to cause more taking of hostages. Mr. President, John Gruett from WXIATV Atlanta. Congressman Ed Jenkins has raised some questions about contributions Taiwan made to the Contra Freedom Fighters Fund. He's raised questions because it was a trade bill pending then that would have been damaging to Taiwan. It was a bill that you later vetoed. Are you concerned about questions this may raise about pressure implied or otherwise on Taiwan to make a contribution to the Contras? Anyone that would tie things like that together, they're just, it's totally dishonest. No, there's never been any such thing. I have known I have not myself directly ever engaged in soliciting from other countries but I know that this wasn't even prohibited by the Boland Amendment. As a matter of fact, it's specified that under the Secretary of State we should encourage such support to the Freedom Fighters in Nicaragua. The opposition, it hasn't been just the Soviet Union whose help has been in the billions, counted in the billions. Other communist countries, Libya, the PLO, all of these we're aware have been providing help and support to the Sandinistas, to that communist government there. And so there was nothing wrong, and I don't see anything wrong with other countries that share our feeling about democracy, even though this is in this hemisphere, would come to the aid of these Freedom Fighters just as we have come to the aid of causes similar to this, not only in the Western Hemisphere but in other countries in Asia and Europe as well, in Africa. And so this, I don't see any tie of that kind at all. And I see nothing wrong also with the joining in by volunteer groups and individuals, citizens here in our own country of helping out in that cause. I'd like to call attention to the fact that in speaking to the British Parliament several years ago, I called attention to the fact that only the communist blocs seemed to be busy in trying to further spread their philosophy to other countries. And I suggested that we of the democracies should have some plans of doing that, and such a thing was organized because we have been the democratic nations of the world together trying to help democracy. Mr. President, I don't mean to contradict your earlier answer to the gentleman's question regarding your feeling of a national pulse, but in the last six months, public opinion surveys have indicated a significant drop in terms of public support of both you and your policies in all frankness and candor service. How would you respond to that, and how do you account for that? Well, our own poster, who I think is the best in the business, has been with us for years, has found that my approval rating stays at 53. It is true that there have been peaks in which it has shot up higher than that, but 53 happens to be the same rating in the sixth year of the presidency of a two-term president, Dwight Eisenhower, had that rating, and it is the only time in the history of ratings that in the sixth year of a two-term presidency has a president had that higher rating. That's the highest. But also I think it's the way the questions are asked. For example, I know a question in a poll that revealed a great majority didn't believe that I had told all the truth to the people, but someone was smart enough to ask a poll of that kind another question. How many of them thought it was all right if they weren't hearing the truth? And a huge majority of that majority that thought I wasn't said they believed there were things that a president shouldn't be forced to tell the people while they were going on. I have been telling the truth. I told the truth when I went before the press and before the leadership of both houses of the Congress when the first hint came that there was more money than the $12 million as I spoke a moment ago. Telling about that, I told everything that I knew in both instances, and I am still waiting as are others to find out some of those answers because I had not been informed of anything or any extra money and so forth. But I also know, too, that a recent question has just been taken by a poster. And a lot depends on how the questions are worded. And this one, speaking of the freedom fighters in Nicaragua, asked would the people, do the people believe, and would they support opposition to the establishment of a Soviet beachhead here in the western hemisphere and 80% said yes, they would advocate support for resistance to such a thing. I'm going to take young ladies' question there and then this, I'm over time now, I guess. Sally Fitz, WSVN in Miami. What priority, with all this going on, what priority are you going to give your battle with Congress to get more funding for the freedom fighters in Nicaragua? Oh, we're going to keep on with that and I'm going to keep on taking my case to the people. I have a philosophy about legislatures. It came to my mind while I was governor and that was that you don't necessarily make them see the light, you make them feel the heat. So if it's necessary to go to the people and tell the people what our purpose is and win their support, then I still recall a speaker of one house of the state legislature in California coming into my office on the subject of welfare reform one day. It's one of my happiest memories in public life. He walked in with both hands above his head and he said stop those cards and letters. Well, anyway, thank you all very much. I'm sorry we can't go on and I always regret the hands that were up and that I couldn't get to. Thank you all, God bless you. Okay, ladies and gentlemen, I just want to say thank you.


Welcome back. So up on stage, we have one sob and one sob is going to tell us about ZK opera and the journey and the public goods and experiments that They've Experienced in the course of developing ZK opera Hello everyone Thank you so much for joining today's talk today's talk is about Mostly about the public goods and experiments. So it is very very for Beginners, I think you don't need any knowledge is about them. ZKP are very some Difficult math, so I think you can just listen my talk very in an easily Okay, so let me start the talk so Today a lot of our PSC team members are having presentations at that con I've been in this team from 2019 and actually today I want to share my experience during the team I'm sure that We've been keeping our own either's pretty well from 2019 I Can say like our either's I mean PSC teams either's is focusing on public goods and Doing experiments Let me rephrase it. We do public goods that others will never do if we don't do and We do experiments because sometimes Experiments are expensive and they are not it is not affordable for some other teams But actually it was pretty hard to keep the faith I mean because there are so many fun things in the Ethereum world We've had gone through the DeFi summer and if the boom and Maybe if you are some technical guy, you can launch a layer something layer network something so our team has Has been working with a lot of talented and Outstanding people but during those summer seasons We could see that many of our friends close friends becoming millionaires some of them like billionaires and You know actually what we are doing in the team is kind of a very difficult thing and also one of the most Advanced technology so maybe a lot of the teammates could get some very Big rivers if they go to market So many people left the team So in the team they are left only some types of people someone who really loves the cryptography research and the achievement or someone who truly loves the public good and Maybe someone like me who has a Strongly aligned value with the team. So today I want to share one my case share about my case Actually, this is kind of a personal stories I just found it a startup in 2012 with my friends and actually it was acquired by another Another a little bit bigger start up in 2014 and I swapped all my equities to the new one And After the question I tried to work very hard there because I stopped all my equities to the new one But I felt most of other team members Were not like me and I just found that oh Yeah, I think there is some incentive problem because the founders have like a more than 50% shares and Just imagine how much you can give to the 10th member if you're a founder. It's like I guess Less than 1% usually like 5.5% That actually it's kind of a hundred times it's kind of exponential smaller incentive for the teammates so Yeah, actually that was what I found and just to disguise these incentive problem Founders usually should have to do some lots of sweet talks to motivate the team members and For me this kind of situation were pretty exhausting. So Yeah, actually I'm not saying that founders are greedy because founders should take the older responsibility to Build a product and to build a company Actually it pretty works well for some rocket speed venture companies but For me it was very exhausted So from that time I just started to explore open sources and getting deeply Into that culture so and And Interestingly what was very inspiring to me was the contributors are giving up their commercial incentives of the of their source code and you know in our society Source codes are the most powerful means of production Doesn't sound like very communistic Hey, no, I'm from South Korea not the north Yeah, by the way, there is a very very big difference that is Freedom in the open source society the contributors give up the commercial incentives of the source code by their own freedom and we do that To run the software and to study the software and modify the software and share the software By our own freedom so this value-driven community was so fascinating for me and Because it is very very totally different with the sort of community that I was been before so And I just started to get to know about the value of sharing And then finally Actually, everyone knows which community is the most crazy value-driven community Yes, we are Yes, we are ethereum is the world of freedom by the ethereum people where we can do everything by the code I just so I just dived into this world and Just to enjoy and explore the freedom with this lovely community As a result throughout a few years of journey Now I am doing the public goods and experiments for the freedom in the team Yeah, maybe now it's a time to talk about Zika Pro Yeah, by the way that What kind of freedom I'm talking about here now Let me give you another story Once I traveled with my friends before I just sent stable coins to my friends to split the bill and Actually, my friend just added my Ethereum address to the watch list of the either skin and when my Maker-dough position got liquidated. He just messaged me. Oh my god. Where's my freedom for the privacy? so Actually This was the start of the Zika Pro project So I started to write a privacy protocol to keep my right to be free from unwarranted publicity as First I just try to implement some membo membo protocol in the ethereum just as saying as a letter to protocol using optimistic roll-up Mimbo membo is just a simple Schumer signature application but because of that it couldn't hide the transaction graph and also it had a Some problems like it needs an interactive transaction building process So from 2019 With Barry I started to write a new specification to implement Zcash on ethereum Just Using the optimistic approach. So we achieve pretty low gas cost chip transaction and also the compliance compatibility using the spending key and viewing key of the Zcash scheme and a lot of People and teammates contributed to this protocol very chance wager Kobe or Jeff Jean Rachel Takamichi Charlie Geo Kimmy a lot of people contributed this to this protocol So finally we could ship this protocol in 2020 our first version and we could ship the second version in 2021 During the development we had a lot of discussions about the growth strategy the first option for us was about Just spinning out just like ENS team but when we thought about our philosophy that we do public goods and Researches what others will never do What what does never do if you don't do in this point of view actually spinning out didn't make sense that much because already many teams like Aztec Tornado Polygon nightball and a lot other teams were already trying to ship the private protocol So Then what's the thing that? Others will never do so because other teams have their own shareholders and Because of the many things should be related to the business school business stuff Therefore sometimes the source code also becomes the means to Means to maximize the profit only for some people So what we've decided to do is shipping the reference We ship the reference specification and we ship the reference implementation and Also, we ship the reference example applications on top of our protocol and what we do is Encouraging you to fork our reference and ship your own thing for your own target customer because we believe the power of open source and We are very ready to help you everyone who wants to fork and ship your own product This is how we think about the public goods and our own ethos To be more detailed Actually, there are some reasons Good reasons that you need to fork Zikaproo The first thing is like Zikaproo's goal is To seeing everyone uses crypto payment in our daily lives like when you pay at a restaurant But when you pay at a restaurant If we have the private transaction the government Cannot tax you so we need a compliance compatibility So if you ship this protocol for your own country, then actually you can ship a Great crypto payment network for your own country, which is pretty big business, right? However, because the current version To is pretty outdated compared to the recent advancement. We are going to write new specification with everyone So we are looking for Participants who will join this journey together So what we are going to do to write the new specification is like the first for the new specification we're gonna include a recursive scheme and a better membership proof scheme Also, we're gonna support various types of token and also for the consensus part. We're gonna use hybrid finalization scheme using Zikaproo and also Optimistic approach and then we're gonna ship the reference implementation if many Parties join this journey. There may be PS team might do only some Coordination just like Ethereum 2.0 I mean the consensus layer and we're gonna ship the Zikaproo to the public And we want that other commercial party do this together because we won't do the commercialization Yeah, so it's almost end of the talk Today, I am very very happy to share our PSC teams only those and our own culture with you all so I Just want to define because this is my personal opinion I just want to define PSC teams only those as we do public goods that Others will never do if we don't do and we do the experiments Which is not affordable for many teams and also we work for a value of Ethereum personally, which is freedom. Okay. Thank you for it. Thank you very much. That's my Thank you so much Any questions? Thank you for the talk Not super familiar with ZK opproo, but when you say it's intended to be forkable Do you envision? I guess I'm curious what you see as like a project potentially forking it like is it an application specific Or is it like a potential layer 2 project looking to like build off your stack as like a Foundation for their L2 or L3 or beyond Yeah, actually, we are trying to focus on the examples like the first one is the Actually, we are trying to many experiments the next talk from Takamichi is about the experiment We are doing which is kind of private exchange So because using the private exchange we can prevent a map Actually, we are not sure that it can be usable for They'll like just like uni swap but we are just doing this experiments if others want to do wants to use it and also the another the other example that we want to really Want to see is the merchant service to shipping the crypto people or Shipping the crypto Shopify on top of Z-cop pro because Z-cop pro has a Private Adamic swap feature so you can exchange an NFT which is a digital good With your token. So this is the examples that we want to see and Maybe we are targeting these uses Great talk just one quick question. I was curious if you have any thoughts on Polygon nightfall or other sort of more commercialized versions of Z-cop pro. Yeah Actually, we are we were very very happy that when Nightfall team learned to their project because they gave us a credit They just said they inspired from our product project So actually that was kind of our first achievement in terms of our ethos Like because we want to ship the reference and actually nightfall team inspired by us and ship the project So we were very very happy and actually Including Polygon nightfall team and any other team if any any team wants to work together Then we are really happy to ship the reference specification and implementation together Great talk. I just want to ask is hmm How do you achieve a balance between experimenting and not wasting resources by while still preserving those resources and trying to maximize the innovation that comes out from that and Thank you. Yeah Maybe I think that our support designer Rachel might be a very good person who can answer this one because we were trying to do a lot of some Like, you know that we can do some experiments without shipping it We can do some experiments with some papers, right? So we are trying to do some methodologies like that and our designers are doing that really well So I'm really happy for it Thank you everyone


The most important takeaway is the prime minister's passion for India's development. The welcome that to business and investment and opportunity is, I think, obvious not just to me, but to pretty much everybody who has interacted with him. He does have a specific interest in aviation and aerospace. It's a big vision. He would like for India to play a significant role, not just for India, but for the region broadly. And at Boeing, we support that 100%. I think it's great when technologies and opportunities align with the vision that a leader has for a country, and that's where we are. There is a giant domestic market that needs to be satisfied. Airport development is now moving at a pace that the country has never seen before. And then maybe even bigger is the international opportunity, where Air India is making enormous investments, new equipment, new skills, new talents to be able to support that international traffic, which it deserves a big share of.