line and bringing those together and getting an I/O with the analog quality that we're known for along with the ability to run all of your digital emulations, but not just as coprocessor, but in-line track monitoring through it. So you can be running console emulation in Apollo and tracking through that and hearing what it's like through a tape machine, any of our compressors. The latency is a sub 2-milliseconds so you can play your guitar through it and be listening. What would your father have thought of the product? It looks like a console and you can put up to four inserts on each one with some extra buses. And also a kind of monitoring section, which is really cool. I think he would be surprised at the way we look at and dissect gear. He definitely wanted to get stuff right, but I think that for some reason the industry has become more particular and we have got to nail that 1176 or we have to nail that Fairchild or whatever. And I think we obsess about it, frankly more than I think he obsessed over stuff back then. I don't know if that's a good or a bad thing. What are your thoughts on the way music is being produced today? How is it different from when your father was making products? At the end of the day you also have a generation that is listening to what it means to alter and process music. They