pkennethk's forum posts 2045

No prob. Nice work on cleaning up that photo!

For users over 500 points (like you), you should see a small link for adding discontinued/rare items directly underneath the orange NEXT button.

I went ahead and added the pedal in question, since you asked for guidance on how to add it correctly (thank you for caring!).

https://equipboard.com/items/death-by-audio-full-range-fuzz-wall-custom-project

2 key things to keep in mind when adding highly-customized/bespoke items for Artists:

1. Put yourself in the shoes of someone who wants to achieve that Artist's tone. You want to make it as clear as possible that this was a custom project that can't be purchased new or used (despite being officially acknowledged on the DBA website in this case) -- and you also want to give them as much info as you can find on exactly what the instrument/pedal/item is, in case they're trying to cop the sound of that Artist. In this case, Jeremy's interivew here is way more helpful than the DBA website. I used the info in that blog to fill in the item description, but it would be good to include that same info about this being an Interstellar Overdrive combined with the filter circuit from a Sound Saw in the posting notes when you submit this pedal to Jeremy's profile.

2. Find the cleanest photo you can. In this case, there is just the one, and it's absolute trash... but it's all we have. I had to keep the hot pink background when submitting the item, because the actual image file (right + click "save image as") had a pink border baked into it, which looks even worse. Maybe someone with patience and Photoshop skills could clean and enhance it further, but that'd be above and beyond.

https://imgur.com/a/speLxm5

NOTE: if any admins, mods or community members feel differently about exactly how to approach custom projects listed under a commercial brand, please chime in.

Yeah, I read that in the guidelines, but is more of a traditional rock band than an electronic duo where the members share gear.

Understood. Only the site founders/admins can change an artist from an individual to a group, or change Alpha to Omega to Alec Inogés Maestre. If they feel the band meets the notability guidelines I mentioned earlier, perhaps they will grant the change. I can't make any promises.

Nice catch re: the Mike Shinoda side project. Side projects/solo aliases are kind of a grey area on Equipboard right now. There's no clear guidance on it -- the admins tend to justa kinda let it play out and see if any problems arise.

... I'd like to make. alpha to omega (https://equipboard.com/pros/alpha-to-omega) was previously listed as a solo artist on musicbrainz, but it has now been changed to a band (https://musicbrainz.org/artist/aa3a8cca-2c88-4c1c-8c6c-285d57eb7b6b).

Welcome to the forums :) There are plenty of duos on Equipboard that are listed as artists, as per the guidelines:

Add as an individual artist:

• Guitarist, bassist, drummer, vocalist, etc.

• Electronic duo/trio where members share gear (e.g., Disclosure, The Chemical Brothers, Daft Punk)

Add as a band:

• Use this to group individual artists together

• Example: Radiohead is the grouping of Thom Yorke, Jonny Greenwood, Ed O'Brien, etc.

Is your band structured more like the electronic duos mentioned above, or more like a traditional rock band?

Also, it's good for everyone reading to be familiar with the notability guidelines.

So far, I've noticed that Josh Dun from twenty one pilots appears to have a duplicate profile:

• Primary profile: (https://equipboard.com/pros/josh-dun)
• Duplicated without gear (https://equipboard.com/pros/joshua-william-dun)

It looks like that second joshua william dun profile may have already been purged... either that, or the link is wrong. Good catch, though. Thank you!

he's probably just ahead of the curve, if you can't rustle up at least $500k of play money you're below the poverty line these days

Ooof. That's too close to reality for me to laugh, Jim...

this agartha guy can be pretty good based on the guest.... this one is okay, but the guest echoes my sentiments with car testing, headphones and even cosntantly flipping between monitors while mixing, but especially the old 'take it in the car' trick, it hasn't worked right for decades, I think he explained why to my satisfaction, check it out:

Thanks for the precise cue-up in the link, Jim, I'm glad I clicked.

I thought it was just my car that had a bullshxt DSP-laden factory sound system that sounds crap at every setting and sounds dramatically different depending on how I connect to it. My ears eventually got used to it, but I'd never trust it as a reference they way I would have trusted my older cars.

Good points.

It's not the fact that Rob Dickinson is/was both a music gearhead and a car gearhead that surprises me, that overlap is pretty common (to your point) -- the dissonance (to me) is that his company makes an ultra-luxury product in the $500k to $3.5M range.

I could hear a Catherine Wheel song on the radio for free as a kid growing up in the rural nothingverse. You'd have to go to Dubai or maybe car week in Pebble Beach to have a chance to even see a Singer, and nobody reading this will ever even have a chance to drive one.

I've loved 911s since I was a kid watching 80s movies... but when you take a 964 maybe one of us could have gotten our hands on, and turn it into something only a Saudi Prince or tech oligarch can afford... well...

It's hard for me to reconcile that the person who wrote Black Metallic is the same guy who now creates $3M+ Porsche 911 resto-mods.

Ha! I was following the name styling the Admins used for some more recent Brainworx plugins they added/edited. Go ahead and do whatever makes it look right to you.

Not necessarily, because Vertigo Sound started releasing plugins on their own. However, they never released the VSC-2.

How wonderfully... complicated...

How's this?

The real distributer/manufacturer of the software emulation is Plugin Alliance/Brainworx, not Vertigo Sound. Please, could you edit this? Thanks!

https://equipboard.com/items/vertigo-vsc-2-compressor

The same would be true for all software plugins currently listed under the brand Vertigo Sound, right?

So sorry, this didn't get to my notifications for some reason! Yes, you got it all right! Definitely weird that there's two lol. Thanks for looking into it.

Also, I got another one haha, just now seeing that there's two pages for the band The Haunted. This one I believe could be kept (some of the members are listed on it) and this one (no members) could be deleted.

No worries at all.

I gave the admins the full rundown on all the GWAR duplicates last week, as they're the only ones with the power to delete bands and artists, but haven't heard back yet.

I will pass on these 2 dupes for The Haunted as well, thanks!

100% putting this one on while I clean today.

Bauhaus was everything when I was youngster with a guitar.

Also, I've updated my old list based on who is still regularly producing good content in 2026... that list is getting smaller and smaller... is music YouTube burning out, or am I just burning out on music YouTube?

Hey pkennthk, these pages for Gwar's drummer and Gwar's artist page are duplicates. Could they be deleted? https://equipboard.com/pros/jizmak-da-gusha https://equipboard.com/band/gwar--2 https://equipboard.com/pros/brad-roberts

Good catch.

Deleting artists and bands requires two people, two red briefcases, two synchronized key-twists, proper launch codes... but I will see what I can do.

So you're saying we should KEEP this GWAR band profile and DELETE this one? Correct?

We should KEEP this Jizmak da Gusha and DELETE this one? Correct?

It seems like there are duplicate artist profiles for all the core members of GWAR, very strange. I wonder what happened?

That other Brad Roberts profile belongs to the singer of the Crash Test Dummies. I've restored that one to the correct human.

Thanks for reaching out re: these submissions.

Re: the violin + cello submissions, I appreciate that you're re-evaluating submissions from almost 2 years ago and deciding you can be more precise now. I wish more people cared enough to do this. THANK YOU!

Re: submitting to the wrong Robert White profile, no worries -- honest mistake. Happens to all of us, eventually.

Moderators can't delete user submissions, but I can mark all 3 as incorrect, which means nobody will see those submissions when they visit Robert or WCG's profiles.

I took care of the Gibson submission, shall I go ahead and mark the other 2 submissions as incorrect?

I'm glad to hear the EX5r is such a gem! I am pretty ignorant of that machine, but it's Yamaha, it's rackmount and it's got the classic green display... so I am intrigued and will do some homework.

Re: Daft Punk's convoluted DAT > 760 > DAT > Macintosh flow in the late 90s, it makes some sense if you roll your mind back to how limited/expensive sampler memory and hard disk space was in 1995. The S-760 maxed out at 32MB, which was probably like 3-ish minutes max... if they only had the stock 2MB, we're talking about seconds, not minutes.

So... you jam away all night on your gear, recording everything to $20 DAT tapes that hold like 180 minutes each. Review the tape in the morning for the good bits you like and sample that into the 760 with first round of FX treatment, then sequence the 760 with the Mac via MIDI, and record the multi-track sequences you love into hard disk or back to DAT.

You were alive back then too. I remember when a 1GB Jazz discs were over $100 each, in 1997 dollars...

Also, this was from a translation of a little blurb inside a graphic outlining DP's process in a Japanese magazine. if the facts got slightly twisted in the process, I wouldn't be surprised.

okay, the 77 and 99 can do anything in any prior yamaha FM but they have better converters and the sound is deeper, flatter and more crisp and open up top than anything that came before, no grit whatsoever, HIFI

Is this why you didn't hang on to your 77s/99s, or was it just a size & space concern?

I'm jealous of your TX7, BTW. I wish I'd scooped one up on craigslist before people started fetishizing the mk 1 DX7's output stage.

That said, if I can't get what I'm looking for from Arturia DX7V (or the excellent & FREE Dexed), jumping back to the hardware isn't likely to be the thing that enables me to move forward.

that might not help since everything is EQed and compressed to hell on daft punk which mitigates some of the DA converter tone

Agreed re: DP's signature heavy-handed EQ + compression + multi-generation-track-assembly-process is big factor here. Even though these are very likely factory preset tones, there are layers of production and mixdown processing that obfuscate many of the telltale sonic clues that would help us discern (for example) a DX100 from an FB01 from a DX7/TX7/SY77/SY99 running a converted preset patch.

Finley knows all of the following quite well, but for everyone else's benefit, per the infamous 1999 Japanese interview:

Thomas Bangalter: “In the first step when making music with hardware, it goes through the mixer and the compressor and is recorded on the DAT. After that, effects are put on the sound source before going into the mixer to be recorded. We don’t use the AUX on the mixer."

“The second step is directly putting the sounds from the DAT into the S-760 sampler and editing/cutting the two tracks into however many pieces, like hard disk recording.

“Lastly, we recorded it directly from the S-760 to the DAT. From here we do the rest with the Macintosh.”

Given the above reveal, I'm amazed S-760s don't sell for more than they currently do.

by the way, this thread is nerd catnip

Truth.

Id like to turn back to the usage of 'FLUTE 2' from ROM 2A and 'PIPES 2' from ROM 3B in Verdis Quo. Based on the above, and from your experience, would you say these were TX81z/DX11/TG5/V50/SY77/SY99 adjacent? I did try doing a side by side comparison with the original track and Dexed and came out inconclusive in the end.

OK, day 2 -- here we go.

Concerning the opening flute lead and chords tones of Veridis Quo:

I've got FLUTE 2 and PIPES 2 open in Arturia DX7V right now, they're both sounds that use all 6 operators to get the job done. There's probably a way to make a simpler 4-op version of the patch that's a bit flatter and a bit less animated on the TX81z or DX100, but there are no common-knowledge nearly-identical equivalents of these 2 patches for the 4-op DX/TX synths that I'm aware of.

Also, there is the matter of the harp sound on Voyager, which the internet thinks is the DX100's 20 SOFT HARP preset. There is no more proof that this is a DX100 patch than any of the other Yamaha-FM-sounding tones on Discovery, but Reverb Machine makes a decent case.

Given that we're talking about a DX100 patch (4 sinewave-only operators), you can re-create 20 SOFT HARP on the DX7 (as Reverb Machine does via Arturia DX7V). The DX7 mk1 has a smoother & fuller-sounding output architecture than the DX 100, so the patch is maybe going to be a little tubbier on DX7 and lack a little top end grit... but it would be very close, regardless.

So, in total we have:

Sounds that require 6 operators (DX7, TX7, TX816, SY77, SY99):

• FLUTE 2
• PIPES 2

Sounds that can be achieved with 4 sinewave-only operators (Nearly all DX and TX products):

• 20 SOFT HARP
• SOLID BASS

Sounds that require 4-operators + non-sine waveforms (TX81z, DX11, V50, TQ5, SY77, SY99):

• LATELY BASS

It would seem the SY77 and SY99 were the only synths available before 1998 that could produce versions of all the above patches, but (like all the Yamaha products of the era) they are going to impart their own character to those patches, which may or may not take you close to what you're hearing on Discovery (Jim is our most credible source for the SY77/99's fitness for this task, of course).

IF you can accept some version of SOLID BASS in place of LATELY BASS, and perhaps a slightly less gritty/noisy 20 SOFT HARP than a real DX100 can give you, then the DX7/TX7 could (theoretically) have handled all the Yamaha FM-family sounds heard on Discovery.

That said, the most straightforward assumption would be that the two 6-operator sounds we hear on Discovery were recorded with (or sampled from) a DX7/TX7, the slightly gritty harp on Voyager was recorded/sampled from a DX100, and the house bass sound on Face to Face was recorded or sampled from a TX81z or DX100. If one is not that into programming and patch-converting on Yamaha FM and you're just sticking to the presets that shipped with these machines and their factory ROM carts (as many MANY people did), sourcing from 2-3 separate synths is how it would have been done.

I can't rule out that a single DX7 (or SY 77/99) created all the sounds in question on Discovery, nor can I rule out that they obtained each of these 4 tones from the many many factory and third party sample libraries floating around in the late 90s.

Personally, I'd wager that what actually went down was some combination of the "most staightforward assumption" above and the "it all came from sample libraries" theory.

James, I'm sorry to hear about the bad edits that befell your submission.

It's difficult to give general guidance on what to do in situations like these, as there can be multiple intersecting rules and permissions at play.

Can you link us to the submission in question so one of us can take a look and see if we can get it back on track?

just a thought, what if the static velocity is just because they were triggering from a sequencer and they left the velocity static?

since its daft punk the sample theory is more plausible, but just an ssumption

That is 100% why the velocity is static, my point was that IF there was some velocity-based modulation of synthesis-related parameters, we could more easily rule out a sample being used.

... Id like to turn back to the usage of 'FLUTE 2' from ROM 2A and 'PIPES 2' from ROM 3B in Verdis Quo. Based on the above, and from your experience, would you say these were TX81z/DX11/TG5/V50/SY77/SY99 adjacent? I did try doing a side by side comparison with the original track and Dexed and came out inconclusive in the end.

I will put in some time on this one ASAP. Out of time to circle back on the others for today -- but I'll enjoy the hunt when I get to it.

Also, I know my claim of them only having one FM synth is a bit of a shot in the dark, but I feel like these types of synths were 100% one-trick-ponies (In a positive way!) so I find it very unlikely that they would have/had/rented more that one.

The TX81z and DX7 cover enough different ground that many producers opted to have both. They're of the same family, but having both would be like having both a rackmount Alpha Juno and a JX-8P: same company, same general synthesis type, some ability to cover the same ground, but each capable of sounds the other can't come close to making.

(But I do know exactly what you're getting at, many people were allergic to making their own patches on any of the DX/TX family)

That said, I spent quality years with the TX81z, and it's hard for me to imagine Thomas and Guy-Manuel being that excited to have one. Despite my personal attachment to them, they're relatively cold, nerdy and not-that-immediately-gratifying -- at least compared to the hands-on analog joy machines DP tended to favor. I'd have an easier time believing they picked up a DX7 for the 80s nostalgia factor. There are many more "ahhh, that's my childhood" patches right out of the gate on a DX7, and the keyboard has a unique and satisfying clicky kind fo feel that makes you want to keep playing.

...but I don't know any of those folks personally, obviously... so I'm just guessing here.

Yeah -- I don't remember having any trouble getting a near-mint TX81z around the year 2000 -- they were everywhere then and still everywhere now. Cheap then, cheap now. I'm sure Yamaha sold even more DX7s, but not all of those DX7s survived into the next century -- the TX81z, on the other hand, is about as un-killable as synths get.

In terms of provenance for the sample we're hearing in the song, I'd say the highest likelihood is that it came straight from a TX81z, followed by DX100 then perhaps DX7 -- but it seems nobody has any evidence to rule out any of the many Yamaha synths that were capable of such a sound.

In terms of likelihood of DP sequencing a real TX/DX synth for that song, vs. using a sample one of them had lying around: what's the likelihood a 1990s NYC house producer shows up to a session with "70 samples", and none of them are LatelyBass/SolidBass? I mean... what are the odds of that? :D

Finley!

Good to hear from you.

Right now, I think I might need this question even more than you need the answer. :D

I've been pondering this one over breakfast...

I think we can break this up into 2 fundamentals:

1. Which synths could actually produced the "famous Yamaha FM preset" sounds heard on Discovery?

2. Did Todd Edwards + DP actually record the Yamaha synths in-question, or did they just show up to the studio sessions with these classic Yamaha DX/TX samples on a Zip disk?

Re: #1: Which synths could Lately Bass?

We're talking about this section of the song.

The "true" Lately Bass patch requires Yamaha FM architecture with at least 4 operators AND the multiple operator waveforms that were introduced with TX81z/DX11/TG5/V50... strangely there weren't many Yamaha products in that era or later that were patch compatible with the TX81z and it's 4-op multi-waveform siblings. The earlier 6-operator DX7/DX7II lacked the multi-waveform capability to be fully compatible, as did many other 4-op offerings like DX100 and FB-01. Yamaha (and the rest of the world) mostly focused on DX7 patch compatibility with FM-capable products in the 90s and beyond.

All that said, you can produce the VERY similar Solid Bass factory patch on pretty much any Yamaha synth that has at least 4 operators, as that patch doesn't use any of the extra operator waveforms that are unique to the TX81z and siblings.

Lately Bass vs. Solid Bass

Solid Bass reproduced on DX7

...and you can re-create Lately Bass by leveraging some of the extra waveforms available on the later SY series workstations (as Jim mentioned) fairly well, even though you can't import TX81z patches into those workstations.

Lately Bass reproduced on SY77

In my personal experience, Lately Bass and Solid Bass are VERY sensitive to both input velocity and the DAC quality/resolution of the synth they're being played on. The same patch with the exact sequencing might sound bright and smooth out of one old yamaha synth and dark and gritty out of another -- and that's before you've messed with any of the patch parameters... so even these YouTube direct comparisons can over AND under-sell similarities between Solid Bass and Lately Bass, depending on the units being used to demo each.

So... IF you believe the sound you're hearing in Face to Face is indeed a Lately Bass patch that used some of those non-sine waveforms, then it must be either TX81z/DX11/TG5/V50 or the later SY77/SY99.

IF you belive what you're hearing could be a Solid Bass patch with some EQing, then damn near all of Yamaha's FM synths are in-play as potential perpetrators, with the DX100 and FB-01 being among the most popular choices for SolidBass duties.

(note, the 1998 Yamaha FS1-R could load DX7 patches (but not TX81z type patches) and is theoretically in-play for Discovery -- just barely -- but I owned one of those back in the day and the output quality was very distinctive, it imparted it's own flavor to any DX voice you tried to recreate. The bass sound on F2F doesn't sound anything like the ultra-hi-fi sound of FS that I remember).

Re: #2: What if they just used a sample?

We're talking about a song famously made up of dozens and dozens of samples, as you are probably even more aware of than me. By the late 90s, there were all manner of factory sample CDs and early internet resources giving you pretty easy access to famous DX sounds. I don't hear any velocity-based sound modulation in the Lately Bass sound on F2F -- to me, this sounds like something that could have been achieved with just a single clean Lately Bass or Solid Bass sample.

Given this is a song that was born from DP and Todd Edwards loading "70 samples each" into a brand new Akai S6000 beast and having a go at it, what are the odds that this DX/TX "house bass" sound was just a sample they had floating around from a factory sample CD, internet FTP find, or sampled right off a Detroid techno track from the early '90s?

also i take this back, we might at well keep it. because AFX is on here and that's just aphex twin, so i figure it doesn't matter.

The infrastructure on the site doesn't really have a clear way to accommodate artists who release under multiple different solo aliases. (you cite a great example: Richard D. James, aka Aphex Twin, aka AFX, aka The Tuss, aka Caustic Window, etc, etc)

Current official guidance (I think?) is: you just put all the gear that one person uses (all projects, all aliases) under whatever their main alias/brand is (e.g. all Richard D. James, Caustic Window, AFX, The Tuss, etc gear goes under "Aphex Twin", the name recognized by the most people).

...but I do think it would be cool to have an official path to listing all of an artist's aliases/solo side-hustles on their main account. You can kind of cheat it right now by submitting aliases as "Groups" that the artist is a part of, but that feels wrong to me.

For the time being, I don't see any harm in having both an Eiafuawn and Clay Parton profile on the site. Others may disagree... but I wouldn't sweat it for now.

The important thing is that you cared enough to 1) make an artist profile in the first place, 2) then critically re-evaluate your choices and 3) then come here to ask what to do.

You're golden as far as I'm concerned. Just keep havin' fun and asking questions.

Thanks and rock on.

sad to be here again because for some reason you can't delete your own submissions(at least to my knowledge). after submitting a review for the Casio sk-1, I filled out the similar gear section with something that isn't similar at all, i did this because it said examples of what to put there where things that pear nicely, but things that pear nicely already have there own section that wasn't shown in the post review process.

No worries. I just deleted it for ya.

Thanks for letting us know that the text instructions lead you astray. Good catch.

verification burnout....

Yes.

but also, its not that hard. you just look at what they have then press yes or no.

No.

Thanks, dude. Seriously.

You get it.

If anyone needs some older submissions reviewed, chime-in.

I think I can squeeze in a few dozen reviews this weekend.

...I label ALL of my cables on both ends and the middle. They are spaced equally apart and the length is custom so there is no excess. I used to do hardwire install on networks.

THIS is the way. Bonus points if you left the client with color-coded as-built drawings.

Tony, I'm relived to hear you weren't posting that video just to mess with us. :)

Equipboard is all about specifics. This maybe isn't the best place to get advice on general approaches to blues guitar tone (yet!) -- but it's a great place to get specific info on exactly what gear and processes were used on a specific track.

We already knocked out that first one... even if the answer isn't something we all feel great about.

If you're game to serve up another track for the community to focus on, there's a decent chance you'll get some discussion on the gear and recording techniques used, and possibly mapping that info to the Les Paul-based setup you're currently using.

I'd like to think that there's someone out there, living in a van, toiling away in bars and coffee shops across the country, who just naturally has an "Eddie Dalton/Suno Blues AI" voice -- and that person ends up holding all the bargaining chips when people inevitably want to experience these Suno blues songs live.

Hello & welcome chopchop :)

I'm not sure how you're going to feel about this news, but there is a strong possibility that the content on Blues Rock Thunder's channel is 100% AI-generated.

My best guess is that BRT is uploading classic songs to Suno (or a similar AI music gen platform), and the platform's AI is generating a blues rock cover of that song based on some very specific prompting. These platforms have apparently had this ability to generate cover versions in various styles for a while now. This would mean there's zero signal chain in BRT's process: no guitar > pedal > amp + cab, it's all generated directly from the AI model.

If we take a listen to some blues rock on YouTube that is openly revealing it was made with Suno, there are many sonic similarities:

https://www.youtube.com/watch?v=3PBcR3XTUAk

https://www.youtube.com/watch?v=YsawFl91n_M

If generative AI is not your thing, and you're just looking to improve your own live/human blues guitar tone, I'd recommend picking a reference that is 100% confirmed to be human. I'm sure people here would be happy to lend some more specific advice if there were real guitars, amps and pedals used in the final recording.

I've been enjoying the updates.

I like how the in-line prices tell you so much more about what's actually going on.

https://imgur.com/a/EwZrF66

Right on. Drop us a line and let us all know how you end up liking it once it arrives.

https://equipboard.com/band/unrest

All good?

Surprisingly solid article :)

I feel seen.

... right now my son has my candy apple red j-bass, he's way into it... he's also got my jimwatt amp modded so the normal channel has exra low and a 2x12 with fanes... yes I gave my 13 year-old a punchy 50 watt tube rig, it sounds hella good even at low volume...

I can't even imagine having access to real gear at age 13. That's so awesome. Who is your son listening to, bass-wise?

I designed a really clever ken fisher type I waster volume for it on a dual ganged pot that also vries the global negative feedback with a soecial emphasis on fizzy tones using a well placed 100pf cap, the presence circuit resides in the last preamp section, tone control recovery and fixed bias phase inverter bias supply/buffer, its a weirdy but it works great...

Sounds delicious... audio demos?

if I decide to part with an SG I'll let you know

Thank you. At this point, if I ever do acquire and SG, I feel like you'd have to play it and give the thumbs up before I'd even put the money down.

"Yeah... a guy named Jim is going to show up at your place tomorrow with a portable workbench, some tools and an amp he built himself... if Jim gives your SG Standard the thumbs up, I'll accept your counter offer. Oh... Jim is going to need to play-test at midsize-venue volume, please warn your neighbors..."

...I'm thinking of purging again.

I need to do the same. All I do is bass in 2026, it seems. I haven't powered up a real synth since last year. I hate having old electronics sitting without regular use. It's immoral.

Unable to repro on iPhone 16pro

iOS 26.2.1(a)

USA/English

Thank you!

"Value by Category" would take up about the same amount of room, but that's just one person's opinion. It would be cool to see if anyone else has thoughts. Thanks!