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Post by popmann on Apr 12, 2024 16:45:09 GMT -6
It gets more complicated when you ant something on your master bus, and want to monitor through it.
The problem is fixed in the routing of the UA console. The feedback is becuase the spdif out is the master (UA Console mixer)….and the spdif back IN (post processing is naturally sent to said master. You will need to define your main out of your DAW to lets say Console out 3+4….then in console assign the 3+4 outs to spdif out….then the spdif return can go to you pr master (in Console) without a feedback loop.
Make your brain hurt? Does mine every time. And you need to remember how to do the routing becuase interface mixers tend to get reset sometimes—maybe accidentally flipping to another snapshot or whatever.
Why wouldnt you define the SPDIF IN and Out as an external (hardware) insert in your software….then the only console config is to make sure none of the SPDIF is being sent to the master. Then you can insert whatever this unit is as needed anywhere in the mixer. Also doing this will render properly. Youd have further routing in Console and your DAW with trying to connect outputs around to get a rendered file, which Id guess is the goal?
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Post by popmann on Apr 5, 2024 21:55:05 GMT -6
Michter’s US1
This may end my liver! Ha.
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Post by popmann on Mar 2, 2024 0:10:35 GMT -6
The tricky part was less the cut as getting the border reattached after...I seem to remember it needs some kind of little routed slot out of the middle for it to poke it's little part in...I don't think I have a traditional routing tool...don't remember exactly how I achieved it.
Legs were easy, if you ever need to move them...they're just...you just move the leg base holders from memory. I mean--PIA having to put the thing on it's side...
You can't really tell in my first Ipad pic, but when I bought it, I affixed a long plastic window box (like for plants) to the backside to hide cables and plugs, etc...I can't complain...I mean I've had this desk for...at least 3 studio iterations at two houses...and memory has it priced at like $599? I mean--usually studio furniture was SOO crazy priced...the compromise was when I had the big rack of analog goodies, I had a third roll around floor standing rack. I built that one with some recovered rack rails from an old refridge sized unit I had back in the day...I'm handy cuz I'm cheap! Ha. Probably still have the rails in the garage!! Repurposed the wood of the rack a while back for a ramp for my elderly pup.
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Post by popmann on Mar 1, 2024 21:04:27 GMT -6
Front where i moved the legs (out wider) to get the keys up under…. You know….you gotta have a game controller in a recording studio.
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Post by popmann on Mar 1, 2024 20:53:14 GMT -6
I wish id seen this earlier. We have the same desk! ive modified where the front legs mount on mine to slide the 88key Kronos up under….and I took a saw to the same area, BUT i left a strip connecting it in the back…and put a VESA arm mount , which ironicallymeant I had to take another chunk from that strip that was left. i dont know if a pic would help….I mean at this point, you've removed it all together, looks like? Its heavy duty pressed “wood” it will probably be fine. You're way was easier!
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Post by popmann on Jan 2, 2024 21:59:14 GMT -6
I'll stick to Logic's Studio Percussionist, please.
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Post by popmann on Jan 2, 2024 21:50:37 GMT -6
Belle Meade Reserve for Christmas. Yum. Anyone had any other Nelson Bros work? Local distillery. Belle Meade mansion vineyards rebrands. Not sure if it's a unique product for them, or just their Nelson Bros Reserve with a different label. Either way. Best bourbon I've ever had. I think I'm gonna go get their self branded version and compare. If that's the best you've had, we need to get together and try some bottles!! Edit - well, maybe I've only had the regular Belle Meade. You had their Greenbriar TN Whiskey? I'm not a big TNW fan, but that was really pretty damn good for like a $35 bottle. It's the 108proof reserve bourbon. Not the TN filtered whiskey. FWIW. $60'ish...and I only know that because I already had to buy a second one! Which honestly, it's not sitting as well. Maybe variation is what it's all about. There was a small batch Dickel I liked that some magazine put in their top ten whiskeys a few years ago...I got that a few times--super sweet but big burn on the finish--had to dose a touch of a water. Tired of that pretty quickly. But, I'm always up for bourbon tasting. I've really just been so burnt, I stick to Beam Black. Never sucks. Can't say that about the rest of their line, but the Black? I just know there's nothing that sucks like buying a $40+ bottle and thinking a you'd rather be drinking something that cost half that.
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Post by popmann on Dec 30, 2023 16:48:15 GMT -6
Belle Meade Reserve for Christmas. Yum. Anyone had any other Nelson Bros work? Local distillery. Belle Meade mansion vineyards rebrands. Not sure if it's a unique product for them, or just their Nelson Bros Reserve with a different label. Either way. Best bourbon I've ever had. I think I'm gonna go get their self branded version and compare.
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Post by popmann on Dec 12, 2023 22:49:14 GMT -6
Jason Isbell Lori Mckenna Olivia Rodrigo Ann Wilson and Tripsitter Amanda Marshall Grace Potter Susannah Hoffs They're really starting to trickle for me... #GeritolShot ...I used to buy that many by summer. This might be the first year I've spent more on reissued old music than new--I'm embracing my inner Boomer, I guess. They would always wax on about what version of whatever 60s album I don't give a shit about is being rereleased for the tenth time with bonus content or from "original master tapes"...I've spent time this year with Toy Matinee and Third Matinee released on vinyl by MOV in Europe...they finally remastered Tori Amos's Little Earthquakes WELL for vinyl...of course I bought the Eagles catalog on SACD from Mobile Fidelity, because...they exist...is this the year the estate released Shaming of the True on vinyl? Or was that last year? Van Hagar at 96khz...and for the later two--full dynamic range for the first time...spent time listening to some Prince boxed sets...which I wouldn't buy if they were cheap--and they're NOT....I say that as a Prince fan... I actually was about to buy the new Stapleton...but, alas... $44...and I thought "let me listen to that on streaming a few times and make sure i want that"...that rarely ends well for his stuff. Same with the new Pink at $28 for the SINGLE LP...I realized there were only 2 songs I liked after listening a bunch on streaming...only later did I find out--they were the only 2 or 3 she WROTE...wrote the NEW single (and one or two more) off the recent deluxe version, which I think is streaming ONLY...so, now--she wrote at least a side of an LP, but I can't buy that...I can only buy the expensive LP with two of her tunes and a bunch of covers...and stream the others she wrote? ...it's getting weird out there...
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Post by popmann on Dec 11, 2023 20:33:20 GMT -6
Are you sure you're not just hearing how much air Henley has in his vocal tone? Like in the vowels? Maybe you're trying to get that via EQ? I mean there's a lot of pretty sibilant Henley tracks...AND a LOT in the Eagles era that sound like they have a 12-14khz LPF on them-super wooly. Sometimes those are the SAME vocal...Witchy Woman, ehm...
So, it all matters...the mic...compressor/limiter time constants and circuit headroom...mixing and mastering ears...but...the singer has to have something to emphasize with whatever exciter/EQ/limiter might be used. Meaning that sort of extra air...non vocal fry rasp...but, also fry coming and going...
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Post by popmann on Oct 2, 2023 12:18:04 GMT -6
The ITB mix survives the lossy codec and streaming playback through the operating system's processing much better. The added low end distortion translates better while the hybrid mix sounds anemic over youtube. There's already enough digital distortion on this mix from the limiter to overshadow whatever interesting analog distortion you are getting. Most of your listeners for this sort of music will be through a lossy codec. Why not clean up the digital one a bit? Your complaint about hardware treating transients better is because you are using poor digital compressors. Using better performing ones will reduce misreads by the peak detectors that lead to over and under shoot. Of course these add cpu use and latency from FIR filters. See BS.1770-4 and take into account that this is under ideal test circumstances. You cannot hit poor digital compressors particularly hard but you can hit good digital ones harder than the overwhelming majority of analog ones because they have more program dependent control paths that would be cost prohibitive to build and maintain with analog components. A typical auto release setting has two capacitors for two time constants. U-he Presswerk has eight. This reminded me of a popmann post. (I don’t know if I can understand) Haven’t heard from him in a while. Where you at, popmann ? Dont worry, I don't really understand either. My understanding of this is that I no longer give a shit. The OTB eq/compression was never UNIVERSALLY better to me. I can buy that at some level of spend it might be. It was different than tracking WITH analog gear, which always seems to become part of the sound in a way thatit cant after digital conversion. For me its was always the imaging….summing. And then completely OTB on an analog desk benefited from the 1:1 view and grab controls. Honestly, refusing to work at single rate digital and mixing in Mixbus fixed that glitch for me. Its a combo, becuase 44.1 in Mixbus sounds like a mess to me. Actually WORSE sounding than flat DAWS….AND 96khz in Cubase still has some shadows of the center channel issues-just on a smaller scale. I stopped by a few weeks ago to see if there was a thread discussing the then new Fillipetti SDX. I feel like I drop by now and again….no? Maybe I am not always signed in. You can always tag me and Ill come and give my two cents, now worth approximately .00001 cents in streaming markets.
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Post by popmann on Jun 28, 2023 18:16:47 GMT -6
Just disable E cores in bios. Problem solved. One attraction of the Ryzen motherboard it comes with is the NVME drive slots are generation 5.0 and can transfer DATE from drives at up to 16GB/s !!! It would mean my sample libraries would load up almost like switching TV channels!! Dont count onit. They tend to use compression to store the samples, meaning the CPU is the bottleneck. Also unless you can lower the amount it buffers, the raw speed isnt going to help load as much as you think. Things that dont, like Ivory, load a 45gb single piano sample in under a 1second from my now old nvme Drive or 1.5sec from a SATA SSD. SD3 will take 10-30seconds to load a 7gb drum kit. Due to them having BOTH issues of not optimizing the load amount AND having to decompress from disk. Kontakt falls in between, becuase you can set it to the smallest buffer….but the NI “lossless compression” is a bottlneck—and not defeatable without hacking to allow resaving encrypted libraries as new NOT encrypted ones. That f’n Embertone Steinway is SO slow….i wish it didnt play and sound so wonderful! Just saying. Have fun with the new box. If you're going from rust drives to fast nvme, it will be night and day….but, if you're going from fast SATA SSDs, its fairly trivial in the real world of sample loading. Unfortunately. Ive actually bought some spare SATA SSDs to offload anything that wont optimize for screamo storage.
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Post by popmann on Jun 23, 2023 20:21:45 GMT -6
I did a quick compare in the DAW...RefC would be what I'd choose. The 67 is distorting the esses...the RefC isn't...it has loud clean esses, like most any condenser mic will--tube change in the 67 might fix that, since distortion is most LIKELY at the tube stage--but, not a sure thing. Anyway--a loud ess isn't a problem like a distorted one is...
I can make these fairly interchangeable pretty quickly--but the Sm7 needed extra top, oddly upper mids, low cutting...AND a little "air" distortion. The 67 you'd likely want to get the ugly esses gone--and there's SO much 1-1.5khz'ish in there that needs "Deboxing"...I literally just put a low bump into a slow compressor pulling very little on the Manley and was fine with it. I didn't feel any need to deess it--does that mean that I might not manually grab a consonant here or there in the final stages? No. But, I didn't hear anything bothering me.
Now--caveat--the really low notes, where your air supply is faltering, speak best with the "boxy" 67. So, if you sing more down there on the regular--that might be worth hanging onto and working out where the distortion is happening because it makes it sound stronger. But, I'd also encourage you to punch those lines and sing what you think is "way too much through your nose" with a full breath. Listen back and adjust if you want too far into nasal. You might be surprised when you hear playback, though. Always better to get the source fix rather that rely on the mic to band aid it, IMO/E.
But, I could work with any of these. The 67 here would probably be the darkest in final presentation due to it's problematic distortions. Which is odd for a 67...but...you know...YMMV.
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Post by popmann on Oct 7, 2022 21:56:50 GMT -6
I demo'd this when it was a half rack unit. avensonaudio.com/shop/mid-sider/though, I'd also point out that I'm pretty sure RME's Totalmix has one in it's hardware mixer (at least on some interfaces?) if ALL you wanted was to DEcode--ie feed two mics and have it feed the stereo decode to your DAW to record. Voxengo's MSED is free and you can put it into a Cubase input channel to print through...I'm just saying--you don't necessarily need analog to do that-I was using it mostly to go both ways from a pair of EQs--I could do some lovely things to sampled piano on the way in with an analog M/S EQ--and then some analog mastering duties--so, I needed analog. There's a more expensive Dangerous unit aimed at mastering, TOO. Just saying...the units exist and again for just a decode of your two mics, you can likely do it digitally. Even if after the fact--you can jsut record monitoring the mid...and then pull both up with the free MSED to decode.
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Post by popmann on Oct 1, 2022 18:30:06 GMT -6
IzotopeRX--offline. Won't be harmful for a vocal. Bass and drums and guitars, you'll need to be more careful with how many you remove. It's REALLY easy to neuter them unintentionally with a click repair type thing--people do it all the time doing vinyl recordings...the difference in a high hat, guitar pick, and a click? Timing.
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Post by popmann on Sept 20, 2022 12:39:39 GMT -6
I just don't think about this...not this way, very often. The only time I've really noticed "lo fi" being a positive is Sheryl Crow's second record. That thing has a kind of aural vibe that at the time my first impression is STILL my thought: is pretty bad sounding. BUT...artistically, having seen her live a bunch of the years...thing is--some of those songs/arrangements don't work as well without what I'd call the "studio lo fi sound design"...in combination with her willingness to I dunno--get drunk AF and pull chest voice to "near enough for rock and roll pitch"....? If it Makes You Happy....Every Day Is a Winding Road--these need the chorus sung...strained...even if that's pitchy. The sort of definition you get from a DI guitar like the guitars on "every Day"...when you play that live with a nice guitar and amps...eh...they're not really "whole parts" if that makes sense. They sound like gated/edited little bits of DI guitar stacked up....different iterations of her band have done them more and less effectively (IMO)...but...
I HAVE long espoused the philosophy, though, that for a certain market segment, simply producing a recording that is clean and professionally balanced IS a negative to their perception of the performance. So, I get it. Still, I enjoyed Sheryl's recent Ryman live record more than I typically do live records I think because it kind of evened out the sonics--making it a celebration of her catalog of writing.
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Post by popmann on Sept 9, 2022 12:10:27 GMT -6
How could a dsd that has been pressed to vinyl possibly be better than listening to the dsd itself? That's actually pretty easy. First...the "DSD" in question you don't have a DAC for--and certainly not a mastering grade unit...but, also, it's completely lacking mastering. So, the viable question you could ask is "wouldn't it be as good to master all analog (which they DO) and recapture that at DSD64 for SACD and listen to THAT instead of vinyl? From a fidelity sense? Sure. Abolutely. But, that's ALSO true if the SACD is the ONLY digital conversion--ie, you are mastering directly from the master tape. ...which is where the other half of the equation of vinyl comes in. Vinyl aficionados buy gear that has "the sound they want". If we go to the above scenario--EITHER analog or digital source, their playback choices will be of FAR great effect on the sound than any source choice way back in the chain. I'd like to see the people suing Mofi for their own misunderstanding be forced to pay some MULTIPLE of Mofi's legal fees for damages.
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Post by popmann on Sept 8, 2022 19:34:09 GMT -6
Interesting. Thanks. Makes me wonder what that does.
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Post by popmann on Sept 8, 2022 14:49:02 GMT -6
You should specify what that "low buffer thing" is...inquiring minds want to know. Seems like that's what did it...but, you got a shiny new drive out of the deal. FWIW--it's the random seek/read times on drives that matter for low latency VI playing. Not the "big" major transfer number. I don't think that was the issue with either SSD drive, since SD3 DOES work fine from a magnetic and the worst SSD, EVEN connected over USB, is exponentially faster random seek than a magnetic.
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Post by popmann on Sept 6, 2022 7:40:24 GMT -6
I cant imagine why a controller would matter. That little bit of data that is midi is what it is….
If it got better changing threading, its the M1 running out of DSP. Is thats a new SD3 setting for Apple Silicon? Never seen that.
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Post by popmann on Sept 5, 2022 21:10:07 GMT -6
This is more likely the M1's single core performance in combination with how whatever specific DAW handles threading of input monitoring.
I'd bet if you input monitor enable the track (so you COULD tap in some beats)...and THEN play some of their stock loops, it should break up just the same. It's that when you're browsing their loops you don't have it input enabled like when you're tapping in a beat--thus it's put on a different part of the engine that fully multithreads.
You can disable all the audio DSP in the SD3 instance and see if that helps. Definitely don't be sending the VI track to a DAW reverb aux, as that would cause the entire reverb aux to be processed on the real time core on TOP of the VI...
You could temporarily move a library to the internal storage--rule the USB controller and drive out in one fell swoop, but I'd bet that isn't it. Certainly not with SD3, which while no--doesn't load "everything" into RAM, it loads exponentially MORE than most VIs.
Or (for troubleshooting) try a different DAW. While I know that's not the permanent solution...Cubase and Logic Studio One and Protools all buffer input a little differently. Setting it to 128, I assume you're using Protools, because Cubase doesn't need it that low...and the LUNA can't go higher, which you say 512+ works fine. Anyway--you can't run them all with the same numbers/settings...not and expect them to run ideally in terms of performance and latency.
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Post by popmann on Aug 13, 2022 10:43:58 GMT -6
I also think that as a rule, a modern pressing of some old album will sound more like the tape than the original vinyl—whether aimed at cheap stylus travking in the 50s-60s….or made louder in the 70s/80s….I think a modrn reissue tends to be pressed to sound more like that tapes, call it audiophile bent, where back then they were aiming for mass consumption compromises. You can already see it—people claming some 1983 Ludwig (see loud AF) cut is better than a modern one—and to tie it back to the OP—they believe thats becuase the new one has a 192khz or DSD source.
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Post by popmann on Aug 12, 2022 20:26:50 GMT -6
This is akin to one of my own pet theories. I suspect that if vinyl was a 5" silver disk and you played it by loading it into a drawer, there wouldn't be the big vinyl craze that we're currently seeing. Just a theory. <shrug> -09 On that note has anyone found a modern reissue that sounds as good no less better than an old one? The original US Appetite For Destruction vinyl was garbage. Far too long for a single disc. The anniversary version where they spread it over three sides sounds better than the original vinyl I had. i have a Hendrix Axis that beats literally every digital version Ive ever heard/owned….I dont have whatever the 67 UK press or whatever is considered the gold standard to compare….in listening to AP’s recent SACD, ive got to say that the reason is because the album NEEDS a crap ton of HF limiting to track…so, they make digital and its “bright and harsh”, because you know—the recording IS…. mostly, though, I don't buy reissues of antique albums. re: packaging….in the greatest irony, with modern albums, there are generally more complete liner notes on the CD booklet vs the “big” vinyl gatefold+two sleeves. And VERY often the pix are obviously blown up from the CD. Re: inner groove distortion….buy a microline/shibata stylus and align it right. Now, that doesn't solve what they have to do to the inner tracks in vinyl mastering. More limiting….less high and low extremes….but, IGD is generally mistracking on your system.
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Post by popmann on Aug 11, 2022 16:35:06 GMT -6
I am aware. I've been trying to make the case....prior to this "revelation", that if you want the best sounding vinyl, you need digital in a lot of cases. Certainly if you want the best sounding RECORDING...you can't make it "AAA". That EVEN if you like the sound of tape and would use it like I would, it STILL wouldn't BE "AAA". that you need to hold people responsible for the results, NOT dictate their tools. Because, frankly, who the FUCK are you to tell me what I should use when you can't even understand that Mofi didn't lie...other than the lie of omission, which is called LITERALLY every commercial EVER. No one EVER has a commerical that says "this is the best bathroom cleaner ever--scrubs your tub clean in an instant--and if you feed it to your dog, they will go into hepatic failure, and if you get it on your clothes it might ruin them." That would no longer be an effective advertisement.
...but, you know--there's so much Babel in the "audiophile" community. Had a guy recently say that Mellencamp went digital for his 1987 record...when I happen to know that there wasn't digital recorders there until there in his proto home studio until the middle 90s...I followed Mellencamp back then...got Mix magazine for a decade+...the reason he said that? The cymbals seemed harsh on the 1987 record. So it must be digital. Had another tell me Henley's Building the Perfect Beast was the start of the digital recording era for him--except you know, it's an album recorded 100% to analog tape. But, the drum machines were digital...the synths were likely even analog for that one...but, because it sounded all "1980s"--it was "digital". Nope.
See, with them...digital=bad. Analog=good. I've tried to explain how you the best sound and "AAA" is contradictory, because SOME things analog DOES do best...and SOME things digital does best...and once you use digital for anything, it's no longer "AAA".
I mean--the Mofi thing...they have a custom tape deck with multiple repro electronics that they take to whatever location the label lets them have the masters...they meticulously find the best sounding bias/alignment/repro for a given piece of tape...and capture THAT...flat...to DSD...and take THAT back to their mastering studio to BEGIN the mastering process, which involves them playing it 100k times in order to get every little move...every little everything dialed in...it's VERY easy to see how that gets better results than they could reasonably get with the actual master tapes--which they couldn't play as many times...it would be trouble to realign and shootout repro heads on a per song basis...which also wouldn't allow them to use first gen for crossfaded tracks...
I've even pointed out that they are holding up Analogue Productions as the competition who is "honest". One of my only AP records is a Sarah McLachlan that says "all analog mastering" on the hype sticker...and I know for a fact is a 48khz RADAR recording. I wasn't deceived--I CHUCKLED at the hype sticker. It's a lovely sounding 45rpm Surfacing. Nicer sounding than the CD....because again--it's from the 48khz and because AP is running through lovely sounding kit--NOT putting the limiter on the original 1997 CD no doubt had...and cutting 45rpm to 200gr vinyl...but, still--same "lie of omission". They ignored that because "who cares about that modern digital recording crap anyway"? 1997=modern? Tee hee. Ok.
Anyway--the whole thing is frustrating. I think Mofi generally does a really nice job....not always...but, usually--on vinyl OR CD or SACD...the now sort of "boycott them" vibe seems very misguided. Lawyers are talking about suing? For what--YOUR not having a clue what goes into the mastering process? For them not CORRECTING to when YOU called it all analog? Even if they DID outright LIE in order to sell you a product...um...you'd want to put out of business a company who has made 40 years of audiophile masters across different formats?
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Post by popmann on Aug 6, 2022 13:16:29 GMT -6
I dropped some various guitar tracks. I had to make some on the spot, becuase it literally cant deal with there not being a click….but, I mean thats fine. It just meant I couldnt really sum a bass/guitar/piano arrangement and give it to it….but, it did nothing I found remotely acceptable to a simple strummed guitar, so I didnt go back through archives for something done to a click to try the harder test.
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