at it. It's on the rack, it's there, you know what it does. On the other hand fewer people are using line-in, line-out external rack mount effects now. It's in the box. It's a customer that, if you want to stay in the box and have 1176 on every channel, you can. That's the digital value. What have been the hardest components to model? I think generally magnetics have been hard along with non-linearity's in general. Linear stuff, if something is really and truly linear, that tends to be easier. Although, a linear EQ, with a lot of interaction between bands can also offer its own type of complexity. Non-linearities that occur in feedback loops occur in some of the most interesting devices with interesting sonic characteristics. These tend to be very complicated. Additionally, these often involve a lot of computational complexity because as soon as you have non-linearities, you are going to get overtones and you want to be able to model all of the harmonics without aliasing, so there's a burden of getting the algorithm right but there's a burden of implementation because you need a lot of processing power if you want to do it alias-free. I think we've got our digital stuff incredibly, incredibly close to analog. If you look at what we're doing now versus what we were doing ten years ago, we just keep pushing the envelope each time. We have more and more processing power and we're getting better and better results. Let's