WEBVTT 00:00:00.000 --> 00:00:04.160 Hey everyone and welcome to the Dan Show. We've got a bunch of great topics for you today. We're 00:00:04.160 --> 00:00:08.960 going to go through the whole set here. We're going to go through VMIX, cameras, everything today. 00:00:08.960 --> 00:00:13.120 We're also going to talk about merge messages. We're going to talk a little bit about merge 00:00:13.120 --> 00:00:17.280 messages, how they work, some record stats and other interesting stuff about them. 00:00:17.920 --> 00:00:20.320 Yeah, we've got a lot to cover today, so let's get into it. 00:00:22.960 --> 00:00:28.480 All right, so we're going to start off by talking about the set here. We've got this lovely table 00:00:28.480 --> 00:00:34.640 done by Nick Heavy, Callinan in Logistics. It's got some integrated lighting. It's got everything 00:00:34.640 --> 00:00:39.680 that we need right here on the table. So I guess the first thing that we got here is our laptops. 00:00:40.240 --> 00:00:45.760 They are all connected via HDMI. They go all the way back to the computer. I get a lot of questions 00:00:45.760 --> 00:00:53.760 about the mic arms. I don't know the exact brand of them, but I do know that they're from wheelchairs. 00:00:53.760 --> 00:00:59.440 So if you have a wheelchair or something like that and you need to hold something next to your 00:00:59.440 --> 00:01:06.800 mouth or like have an availability there, this kind of clicks on. It's rotatable. It's got this nice 00:01:06.800 --> 00:01:15.520 little locking plug there and it's flexible and they're quite strong. So they're more non-traditional. 00:01:15.520 --> 00:01:20.160 They're kind of non-standard, but they're really kind of nice for a nice solid mounting. 00:01:20.800 --> 00:01:27.200 They do have the tendency to droop a little bit. These mics are very heavy, but that's probably 00:01:27.200 --> 00:01:34.000 about it for the mic stands. They come in different kind of girths, I guess, and they've got a standard 00:01:34.000 --> 00:01:41.200 thread on the end and then this like ball detent. You can't rotate them, but you can pull them up 00:01:41.200 --> 00:01:48.560 if I can do this. There we go. So you can see on the mounting attachment here there's a bunch of 00:01:48.560 --> 00:01:54.640 like individual holes for these ball detents on the bottom. So you can kind of get them set in 00:01:54.640 --> 00:02:00.560 and then they don't rotate and then they click in really nice like that. Our microphones here are 00:02:00.560 --> 00:02:08.080 the Electrovoice RE20s. So these have less of a near field effect. So when you're getting close to 00:02:08.080 --> 00:02:12.720 it or you're kind of farther away, the sound doesn't change too much. It's a bit of a crossover 00:02:12.800 --> 00:02:20.160 between the SM7B and the RE20. And SM7B is basically just like a different brand of the 00:02:21.440 --> 00:02:28.320 SM57. So these are kind of a bit nicer. Yeah, they're both a dynamic microphone, so they've got a 00:02:28.320 --> 00:02:33.760 little bit of a lower output than something like a condenser. They don't pick up so much room noise 00:02:33.760 --> 00:02:43.200 or any crosstalk between the two guys. Headphones here are the AT-HM50X by Audio Technica. 00:02:45.200 --> 00:02:50.640 They're kind of, they're okay. They're okay. They get a little bit tiring after you've been wearing 00:02:50.640 --> 00:02:57.040 them for like five hours, but otherwise they sound fine and the monitoring's like not too bad. 00:02:57.040 --> 00:03:01.440 Yeah, a pair of stream decks here. So this is where Linus and Luke control everything. We'll 00:03:01.440 --> 00:03:06.800 kind of go through what the buttons do a little bit later when we move into VMIX completely. 00:03:07.600 --> 00:03:13.760 The lighting here on the table is RGB and it's completely controlled over Bluetooth with an 00:03:13.760 --> 00:03:19.840 iPad app. It's got a whole bunch of different modes. We can go like RGB puke, take up the brightness. 00:03:19.840 --> 00:03:27.040 Let me do that. There we go. Yeah, so they're pretty, they're pretty intense. We can increase 00:03:27.120 --> 00:03:34.080 the speed too. There we go. That's, that's a WAN Show. I wish we did it all like this. 00:03:34.080 --> 00:03:42.800 Yeah, that's great. Oh wow, that's, that's bright. Yeah, turn that down. Right, so we used to also 00:03:42.800 --> 00:03:47.920 use the iPad to control a couple of Titan tubes that we had at the back, but they were kind of 00:03:47.920 --> 00:03:53.040 dark. If you look at like last year or even like a few months ago before I installed these, 00:03:53.040 --> 00:03:59.920 the red and blue were kind of dim. So we use these new, they're really bright. 00:04:01.520 --> 00:04:10.240 These are like outdoor, I guess 80 watt or something like that rated LED lights, RGB, 00:04:11.040 --> 00:04:17.120 that we, I think we bought them for the whale land and I stole a couple, well I stole four 00:04:17.600 --> 00:04:24.320 to throw here. Due to the power outage we had, I guess back in December, everything now has 00:04:24.320 --> 00:04:30.320 jackeries supporting it. So there's a jackery just for these back lights and there's also a 00:04:30.320 --> 00:04:36.480 jackery up there for the china ball and aperture. This background is eventually going to get replaced 00:04:36.480 --> 00:04:40.800 with some new products that we're developing. I'm not entirely sure I'm supposed to talk about them, 00:04:40.800 --> 00:04:48.400 but you'll see that. Obviously they're covered in wrinkles. I'm so sorry. We'll get that fixed 00:04:48.400 --> 00:04:54.320 eventually. Just the fabric is really difficult to kind of, because it's foam, so it doesn't 00:04:54.320 --> 00:05:00.960 sit particularly well. What else we got? We got our secret Labs chairs. This is something that we 00:05:00.960 --> 00:05:04.960 don't get to show off too often just because they never use the side cameras. We've got a whole 00:05:04.960 --> 00:05:13.120 bunch of like weird set deck things over here. These are some Philips Hue LED bulbs which are 00:05:13.120 --> 00:05:17.680 controlled with a little controller on the desk there. We'll go through. Wow, these look like some 00:05:17.680 --> 00:05:23.520 old school bulbs. Yeah, they've kind of had a big resurgence with these like more aesthetic 00:05:23.520 --> 00:05:28.800 LED things instead of just like providing light. They provide a bit of ambience and set deck, 00:05:28.800 --> 00:05:36.160 that sort of thing. Behind we have our halo lights. They're wasps. They're kind of more 00:05:36.160 --> 00:05:41.600 just stuff we had lying around. Wanshoe gets the stuff that we have lying around, unfortunately. 00:05:43.360 --> 00:05:47.040 Let's dump under the desk and I'll show you the sort of cable management. 00:05:48.160 --> 00:05:54.640 Oh wow. It's better than it was, but it's still not as great as I think it could be. 00:05:55.600 --> 00:06:00.560 I've got this really nice eight channel snake by Mogomi. 00:06:02.480 --> 00:06:08.320 So this is just basically a single eight channels that go directly back to the computer. 00:06:10.240 --> 00:06:16.720 Cameras, cameras, cameras. These are the C200. Again, the three of these were just ones that 00:06:16.720 --> 00:06:21.600 we had laying around. They're probably a little bit overkill for like a podcast set. I think the 00:06:21.680 --> 00:06:26.800 bodies of these are like a few thousand dollars, but they're not quite as intense as some of our 00:06:26.800 --> 00:06:33.600 Sony products that we have. Well yeah, so we got three of those. These are just kind of 00:06:33.600 --> 00:06:38.160 to prevent a little bit of extra spill from the China ball. They connect via HDMI back to the 00:06:38.160 --> 00:06:44.000 computer and I think that's about everything we've got here. We've got a grid up here that needs to be 00:06:44.800 --> 00:06:48.400 a little bit more finished off, but that'll allow us to mount a whole bunch more 00:06:49.040 --> 00:06:54.960 stuff if we ever need to. And on the ceiling, I guess we've got those Elgato 00:06:56.080 --> 00:07:01.360 sound panels which don't really do much in this room, unfortunately. 00:07:03.920 --> 00:07:12.000 Yeah, I've got Linus's head. This is all like the extra stuff that we have. And this is my 00:07:12.080 --> 00:07:19.040 office, I guess. So I've got my stream decks. This is our audio system. Computers here. 00:07:19.040 --> 00:07:22.080 Don't look at the cable management under the desk. No. 00:07:24.240 --> 00:07:27.760 There was supposed to be some extra work where we routed a whole bunch of cables through this 00:07:27.760 --> 00:07:35.520 fake wall and unfortunately that didn't end up happening. So yeah, it's just going to sit down 00:07:35.520 --> 00:07:41.840 there and be ignored for as long as we can. Here's the controller for the Phillips Hue, 00:07:41.840 --> 00:07:47.840 you know, and you just turn them on and off and they kind of set however they were before, 00:07:47.840 --> 00:07:52.480 which is useful. Coming and turning everything on is basically push a couple buttons and it's 00:07:52.480 --> 00:07:59.120 all done. This is my microphone, so it's similar to those, but I have my inline preamp here. 00:07:59.120 --> 00:08:05.600 Because these are a dynamic microphone, the output of them is a lot lower than something 00:08:05.600 --> 00:08:11.360 like a condenser. And so we can use an inline preamp to bump that level up without introducing a 00:08:11.360 --> 00:08:17.840 whole bunch of noise. They're very, very similar to a cloudlifter, but I think they're about half 00:08:17.840 --> 00:08:23.680 the cost. And they're also way smaller and so much so that you can kind of have it attached to your 00:08:23.680 --> 00:08:30.720 mic directly instead of having this big box kind of somewhere else and having to use two cables. 00:08:32.000 --> 00:08:36.720 The two for the Wancho set are hidden underneath, so we are using those kind of two cables. So go 00:08:36.720 --> 00:08:41.920 snake, inline preamp, and then directly into the microphone. You can't use them with condensers 00:08:41.920 --> 00:08:50.960 because they need phantom power 48 volts to like actually function. Okay, so our microphones come 00:08:50.960 --> 00:08:59.760 into the audio rack. Linus and Luke go into this Apex Compeller. And what this is, is it's a automatic 00:08:59.760 --> 00:09:10.080 gain leveling system. So unlike a traditional gain control system, this one, if there's silence, 00:09:10.640 --> 00:09:16.480 it doesn't continue to bring the level up to like incredible high volumes and then they start talking 00:09:16.560 --> 00:09:23.280 than it ducks. So the noise floor stays where it needs to be. There's basically a gate on the 00:09:23.280 --> 00:09:28.400 voltage control to amplifier that controls the level of the gain. And it's really, really fast 00:09:28.400 --> 00:09:33.200 because it's pretty much completely analog. There's no plugins or anything you need. It's just kind of 00:09:33.200 --> 00:09:38.560 two channel in, two channel out. That allows me to kind of prevent Linus from clipping because 00:09:38.560 --> 00:09:44.240 sometimes he screams. And when you're about halfway through the Wancho and people are tired, you know, 00:09:44.240 --> 00:09:51.200 you're not on that extreme on style of existing that he kind of maybe is at the right at the 00:09:51.200 --> 00:09:56.880 start of the show. Yeah, so that's two channels. So I've got Linus and Luke here. Conrad, if you 00:09:56.880 --> 00:10:04.800 want to go tap one of the mics, maybe we can see it like functioning. There you go. So we've got our 00:10:04.800 --> 00:10:10.160 input here and we can sort of switch between that and then also the gain reduction. So you can see 00:10:11.040 --> 00:10:15.760 it's kind of holding that and there's like an attack and delay and release. And then you can 00:10:15.760 --> 00:10:20.800 also sort of adjust how much silence is required for that noise gate to trigger. And then if you 00:10:21.440 --> 00:10:27.760 stop, you can see that has popped on. And now it's holding that amount of gain reduction where it 00:10:27.760 --> 00:10:34.880 was the last step. So that noise floor doesn't come up and go crazy. And then that loops in through 00:10:34.960 --> 00:10:40.720 the rest of this rack. We've got this patch bay here. And so all of our inputs and outputs are 00:10:40.720 --> 00:10:47.600 kind of normal together. So if I do have to make a change, I can come in and patch it. But most of 00:10:47.600 --> 00:10:52.400 the time it just stays completely static. We've got a bit of a map here at the top. 00:10:54.480 --> 00:11:03.120 So our microphone ties come in through the top left here. And then they are completely brought 00:11:03.120 --> 00:11:10.240 through into the octopree here at the bottom. So the microphones are in here, one through eight. 00:11:10.880 --> 00:11:15.840 And then the ties back down to the octopree are underneath them, right? So they're always connected 00:11:15.840 --> 00:11:22.800 together. It's like a physical patch. This is our octopree. So this is our, I'm using this as a preamp 00:11:22.800 --> 00:11:30.720 and inline compressor. So the microphone comes through into the octopree and then it's looped out 00:11:31.440 --> 00:11:37.360 into the Apex, right? Because we have to provide 48 volt phantom power to the inline preamps. 00:11:37.360 --> 00:11:43.520 So it comes in through the octopree, out into the Apex for processing, and then it comes back into 00:11:43.520 --> 00:11:52.640 the Scarlet, which is our interface. And then we've got some lineouts here, which go into our 00:11:52.640 --> 00:11:59.840 headphone splitter. So our four channels of the lineout go into our headphone splitter so I can 00:11:59.840 --> 00:12:05.120 have two mixes. So we have our main mix, Luke, Linus, and myself over here on channel eight. And 00:12:05.120 --> 00:12:11.360 then if I need to monitor directly Vmix or the output to stream, I can simply hit one button. 00:12:11.360 --> 00:12:16.640 And now I'm on my submix, which I can control completely digitally and like route what I need to. 00:12:16.640 --> 00:12:21.680 So if we have a guest and I need to monitor that, but I don't want it in Linus and Luke's 00:12:21.680 --> 00:12:27.360 headphone mix, because there's a whole bunch of delay. Channel A is pretty much just direct 00:12:27.360 --> 00:12:31.840 mic monitoring. So there's no latency whatsoever. Otherwise, it makes it really difficult to like 00:12:31.840 --> 00:12:37.760 talk. Yeah, so the headphone outputs are this side. And then they go to the headphone extensions, 00:12:37.760 --> 00:12:46.560 which go to the table and also my side here on the floor. So that's kind of the audio thing. 00:12:46.560 --> 00:12:52.560 These two are connected via ADAT, which is optical. So this can accept like eight additional channels. 00:12:53.040 --> 00:13:00.400 Let's have a look at the computer next, I guess. So focus right gives you control panel. So you 00:13:00.400 --> 00:13:10.560 can see our eight channels of ADAT here, which are the those are the octopree inputs. And then 00:13:10.560 --> 00:13:17.120 analog one, two are the inputs from the compiler. So we don't necessarily have to use the compiler. 00:13:17.120 --> 00:13:25.120 It's digitally routed into the chain via analog, you know. And then my playback one through 10 00:13:25.120 --> 00:13:31.040 are at the bottom here. So I have two submixes, monitor outputs one, two go to their headphone 00:13:31.040 --> 00:13:37.520 mixes, and then line output three, four goes to the submix in the headphone splitter. And so if I 00:13:37.520 --> 00:13:42.880 need to adjust my submix here, I can like mute different sections or I can mute my microphones. 00:13:42.880 --> 00:13:49.520 All the microphones are muted. And so I'm just kind of monitoring my playback that way. So that's 00:13:49.520 --> 00:13:56.320 our end through the computer. After the focus right, it then goes into this really awesome 00:13:56.320 --> 00:14:06.400 little program called ASIO LINK PRO. ASIO is an audio transport protocol that's like extremely low 00:14:06.400 --> 00:14:13.200 latency. It does require some level of exclusivity. And so because we use three or four different 00:14:13.200 --> 00:14:20.560 programs, I don't want them to take exclusive control over the focus right. So we use ASIO LINK PRO 00:14:20.560 --> 00:14:26.720 as like a middleman. So ASIO gets full exclusivity. And then it can route it wherever it needs to be 00:14:26.720 --> 00:14:32.000 in through like digital data channels. It's kind of like voice meter or voice meter banana, but 00:14:32.000 --> 00:14:39.600 like a little bit more free in how you want to route it. So my ASIO routing layer is kind of a 00:14:39.600 --> 00:14:46.560 bit more complicated. ASIO has like basically four microphone inputs, if you want to think about it 00:14:46.560 --> 00:14:54.880 that way, or destinations that I can send to. So Reaper here, the output one, two is set to 00:14:54.880 --> 00:15:01.040 one of the ASIO outputs. And so that kind of comes in here, one, two, which then I can route 00:15:01.040 --> 00:15:06.000 somewhere else. And then the ones along the bottom are the outmixes, which because it's 00:15:06.000 --> 00:15:10.560 hooked into the focus right are kind of like the focus right line outputs. This is where it gets 00:15:10.560 --> 00:15:16.480 really complicated. I'm so sorry. And my sub mix B, I have the output from Reaper sending through 00:15:16.480 --> 00:15:25.520 main mix one, two up here into output three, four. And then that also goes into avid mix pros for 00:15:26.320 --> 00:15:32.000 eight channel outputs, one, two and one, two, probably just because I don't really use them. 00:15:32.000 --> 00:15:38.160 I just it's another destination they can go. If say I wanted to send it to a remote guest, 00:15:38.960 --> 00:15:45.520 I can use one of these as a speaker destination. So I can set my microphone input on like say 00:15:45.520 --> 00:15:51.280 discord or something like that into output one, two, so they can hear what I can hear on three, 00:15:51.280 --> 00:15:58.080 four and also hear what I'm outputting at the computer at the top of one, two, right. So it's 00:15:58.080 --> 00:16:02.800 kind of it's one destination, but it's also two destinations. And that's what ASIO link pro 00:16:02.800 --> 00:16:10.080 lets me do. So this lineup here is my direct microphone inputs. And what I can do is I can 00:16:10.080 --> 00:16:17.680 send them into the ASIO host mix. So now we're going from the scarlet, which is here into ASIO's 00:16:17.680 --> 00:16:26.080 kind of mic inputs. So in Reaper, like digital inputs seven and eight would be digital input 00:16:26.080 --> 00:16:35.920 seven and eight here. So I'm coming in analog one, two from the compiler to the scarlet in analog one, 00:16:35.920 --> 00:16:40.560 two, and then I'm routing one and two over to seven and eight. So that's now my 00:16:41.360 --> 00:16:49.360 ASIO link microphone inputs. And so input seven and eight are arriving here. Digital 10 is going 00:16:49.360 --> 00:16:54.480 to be from the octopree, which is my microphone. And that's just directly brought down because it's 00:16:54.480 --> 00:16:59.600 an ADAT input. It's like actually input 20, which can get really confusing when I'm like, whoa, 00:16:59.600 --> 00:17:04.400 what is it? I don't know. I have the avid pro speaker out just basically directly routed all 00:17:04.400 --> 00:17:11.200 the way down. So Reaper's output on channel one, two goes directly to playback one, two. 00:17:12.000 --> 00:17:19.920 I have that muted in the AMEX for Linus and Luke, but it's available for me to listen to if I want 00:17:19.920 --> 00:17:29.840 to in sort of playback one, two. Okay, so we've gone from analog into the focus right. So the 00:17:29.920 --> 00:17:36.320 computer in focus right control. And then we're going from the scarlet over ASIO into ASIO link 00:17:36.320 --> 00:17:42.240 pro. And then that goes into Reaper. So Reaper kind of just has four channels at the moment. 00:17:42.800 --> 00:17:47.920 You can see here we've got this will be Linus's mic. We've got Luke's mic. And then we've got my 00:17:47.920 --> 00:17:58.320 mic over here, the producer mic. And those are kind of just like raw from the computer. So analog 00:17:58.320 --> 00:18:05.600 one, two from the compiler. All of those go to our main channel, which has an output to one, 00:18:05.600 --> 00:18:12.480 two, which then goes into V mix. This has a bunch of different effects on it. So we'll come over 00:18:12.480 --> 00:18:19.920 here. I don't know if you can see that. Okay. So my chain is basically a master chain rather than 00:18:19.920 --> 00:18:27.280 doing any individual tweaking. We start with a compressor. And then we have a slightly different 00:18:27.280 --> 00:18:35.360 compressor. This is just some more free plugins. Then we have this like trail dynamic system as 00:18:35.360 --> 00:18:40.960 well. So I didn't want to use a gate because it can be a little bit harsh and a little bit 00:18:40.960 --> 00:18:46.160 difficult to like control the attack timing, especially when you have two people talking 00:18:46.160 --> 00:18:50.640 over each other and some strange pauses. And I wanted to keep the noise floor down as much 00:18:50.640 --> 00:18:56.480 as possible. So the nice thing about Reaper's built in like dynamic thing is you can set a custom 00:18:56.480 --> 00:19:04.240 roll off. So as people stop talking, it doesn't make it necessarily silent, but it just makes it a 00:19:04.240 --> 00:19:09.760 little bit quieter. So when that noise floor comes up, and you can kind of hear more of the room tone, 00:19:09.760 --> 00:19:16.480 it's not as offensive, right? And it's got a bit of decay you can see on there. And then we just 00:19:16.480 --> 00:19:21.600 basically go into a limiter. So it keeps everything at negative one, which is kind of like your main 00:19:21.600 --> 00:19:26.560 standard. I would like to implement some more real time mastering stuff or at least balance the 00:19:26.560 --> 00:19:32.400 levels to kind of master for Spotify and the rest of the platforms in real time. The problem with 00:19:32.400 --> 00:19:37.600 doing like a live thing like this without writing faders or doing a proper master is the levels don't 00:19:37.600 --> 00:19:43.680 really match. So Spotify, maybe our podcast is a lot quieter than the other ones. Most platforms 00:19:43.680 --> 00:19:49.200 like YouTube and Spotify and all of those like iTunes music and that sort of thing have a mastering 00:19:49.200 --> 00:19:55.520 standard of negative one decibels full scale and then negative 14 loudness units full scale 00:19:55.520 --> 00:20:02.720 LUFS, which is kind of a measure over time about how loud an entire piece is, if you want to think 00:20:02.720 --> 00:20:09.920 about it that way. So that'll happen sometime. Another Future Dan problem. Okay, so now we're in 00:20:11.280 --> 00:20:16.160 oh yeah, the bleep button as well. So there's another channel here, which is the bleep sound. 00:20:17.040 --> 00:20:22.160 That's channel four, which plays constantly. So it's constantly playing that bleep tone in the 00:20:22.160 --> 00:20:28.480 background, but it's muted. So we'll talk about how that functions a little bit later. And finally, 00:20:28.480 --> 00:20:34.240 we're into Vmix here. The nice thing about doing it this way is when we're in Vmix, we only have 00:20:34.240 --> 00:20:40.400 two channels of audio that come in. So we don't have to do any processing and we don't have to do 00:20:40.400 --> 00:20:44.400 any processing in Vmix. We don't have to worry about adding plugins. We don't have to worry about 00:20:45.360 --> 00:20:48.960 you know, making sure the levels are right because that's all handled in Reaper and then we just 00:20:48.960 --> 00:20:55.360 send in our final mix. So it's kind of like a pre-mix and then we have our final output. Vmix is 00:20:55.360 --> 00:21:04.480 nice because it allows for a secondary routing channel if we go audio outputs. So my headphone 00:21:04.480 --> 00:21:13.440 output is speakers 03, which is what you can kind of see over here on 34. So for me, I have basically 00:21:13.520 --> 00:21:20.000 three choices for routing. I can monitor the direct microphone inputs from Lucan Linus and myself, 00:21:20.000 --> 00:21:24.720 so no latency and hearing exactly what's being recorded. My second choice is to monitor the 00:21:24.720 --> 00:21:30.880 direct output from Reaper, which allows me to make sure that my plugins are working and then 00:21:31.520 --> 00:21:39.280 kind of all of that is just one output. And my third option is to monitor what Vmix is outputting 00:21:39.280 --> 00:21:46.720 through that secondary headphone mix. And because I only have one mix, I have to use the second one 00:21:46.720 --> 00:21:53.120 here. So I just mute Reaper output and I can listen to Vmix's output because you can see it adds 00:21:53.120 --> 00:21:58.880 a bit of latency there. And so it becomes really difficult to like monitor in real time if I'm 00:21:58.880 --> 00:22:06.560 just monitoring Vmix's output. And then yeah, I guess that's basically the entire audio chain. 00:22:07.360 --> 00:22:12.960 Simple enough for you. One of the reasons why it's so complicated is the versatility. 00:22:14.400 --> 00:22:20.720 If we were just doing all of this in OBS or all of this in Vmix internally, I wouldn't have the 00:22:20.720 --> 00:22:29.440 option to have so many places to monitor and for so many places of fine tune adjustment or control. 00:22:29.760 --> 00:22:36.640 I mean, this is pretty simple routing. It's just kind of like two inputs into another two inputs 00:22:36.640 --> 00:22:42.400 into another two inputs. But it gives me a place in the chain to like insert effects or like make 00:22:42.400 --> 00:22:50.560 modifications and the less plugins I can use, the more the computer is stable and the more kind of 00:22:51.120 --> 00:22:57.200 fast and responsive it is. And the more resources I have to like deal with video processing or like 00:22:57.920 --> 00:23:02.560 actually doing the streaming because it's kind of all one system. It's also nice having physical 00:23:02.560 --> 00:23:08.400 buttons like here. So if Linus is a bit too loud, I can just tweak him down a bit. I haven't touched 00:23:08.400 --> 00:23:13.920 these in a long time. It's kind of designed to be set and forget. So I don't have to be sitting here. 00:23:13.920 --> 00:23:20.800 Somebody else who has very little training can come down, they open Reaper, they open Vmix and 00:23:20.800 --> 00:23:26.240 then everything is good to go. It's basically two programs and you're done. That's kind of the other 00:23:26.240 --> 00:23:30.800 reason why it's so complicated in the back end to make it simple in the front end. You kind of have 00:23:30.800 --> 00:23:37.200 to go more complicated to make it more simple. Vmix next I guess from the video side of things. 00:23:37.200 --> 00:23:46.640 Vmix is pretty neat in that you can have like an obscene quantity of inputs. So in Vmix I have all 00:23:46.640 --> 00:23:55.920 of these. So currently I think there's about 84. 84 simultaneous inputs and these are all handled 00:23:55.920 --> 00:24:05.360 directly NVIDIA memory. So if I open up my task view here and see I'm running an RTX 4000 00:24:05.360 --> 00:24:12.640 which has 16 gigs of GPU memory. Currently there's about four gigs of VRAM used in this 00:24:12.640 --> 00:24:16.640 project. When we were doing some more of the 4k stuff for Dennis's integrations, 00:24:17.360 --> 00:24:23.520 it got up to like 10 or 11 gigs of VRAM and there wasn't like enough to do recording or 00:24:23.600 --> 00:24:29.680 streaming at the same time so we're getting a bit of hiccups. Like 4k MOV files uncompressed 00:24:29.680 --> 00:24:34.640 with transparency uses a lot of VRAM especially if they're held constantly. So if you're going 00:24:34.640 --> 00:24:42.160 to be using Vmix it's really GPU intensive and unless your set is as complicated as this you 00:24:42.160 --> 00:24:47.600 probably don't need an A4000. I used to run on a 2080 Super. 2080 Super was my old card. 00:24:48.080 --> 00:24:55.920 This computer has an i9 10980 XE which is a bunch of gibberish words. It's 36 core. 00:24:56.640 --> 00:25:02.080 Completely absolutely unnecessary but it runs 4 channel memory. Vmix is a fun beast. 00:25:03.280 --> 00:25:08.960 The nice thing about it is it has every single kind of built-in function that you would need 00:25:08.960 --> 00:25:13.440 already in it. Like you don't have to have any plugins that might cause performance issues or 00:25:13.440 --> 00:25:21.360 crash. Vmix from the get go has always been focused on 100% stability so I have touched wood. 00:25:22.000 --> 00:25:27.360 I have never had a crash with Vmix and I've been using it for like I guess nine years now 00:25:28.400 --> 00:25:35.600 and it's never it's never failed on me. And I guess that's great even with like hundreds of 00:25:35.600 --> 00:25:42.160 inputs. It supports a thousand inputs as well as a thousand simultaneous NDI camera inputs 00:25:43.040 --> 00:25:48.400 which is nuts. I don't know who has the internet bandwidth to use that much but it's pretty crazy. 00:25:49.760 --> 00:25:55.760 It can be a little bit difficult to get your head around how to structure a set like this but 00:25:55.760 --> 00:26:00.400 it's also applicable to OBS. Like you would do it I would do it in the same way just to kind of 00:26:00.400 --> 00:26:07.920 minimize work. So we kind of have our raw cams that come in here. So there's our raw cam from the 00:26:07.920 --> 00:26:14.160 wide cam. We've got Linus's camera and then we've got Luke's camera. We've also got their laptops 00:26:14.160 --> 00:26:21.280 and then Reaper audio and then Merch message lower banner. And then we have our first kind of like 00:26:21.280 --> 00:26:30.320 combination. I want to keep this banner open all the time but I don't want to have to make 00:26:30.320 --> 00:26:39.440 700 different versions of this with all my possible inputs right. So I want to have this 00:26:39.440 --> 00:26:45.760 is my broadcast image and then I want to be able to change things underneath it which kind of makes 00:26:45.760 --> 00:26:54.640 everything easier down the road. So this has a few multi-layers in it. So it's got a virtual mix 00:26:54.640 --> 00:27:00.880 which is kind of like another set of different cameras and then we have the lower banner and 00:27:00.880 --> 00:27:06.080 then we have another browser source over here which we'll talk about a bit later. So this is 00:27:06.080 --> 00:27:10.720 kind of our main thing and when I switch the cameras underneath right I'm switching between 00:27:10.720 --> 00:27:16.720 wide Linus and Luke. The browser source and everything I've done to it stays right there. 00:27:18.560 --> 00:27:23.120 That's kind of my favorite way to do it. This is done with a virtual camera mix. 00:27:23.120 --> 00:27:32.640 So vMix allows for four sub stream mixes which can also all be output simultaneously. So it's kind 00:27:32.640 --> 00:27:38.400 of obscenely powerful in that way. So the one that you're watching on stream is kind of mix number 00:27:38.400 --> 00:27:42.880 one for video and then mix two and three can be either used for other things or sent to other 00:27:42.880 --> 00:27:48.960 destinations. Something that we wanted to plan or like play with would be multi-camera simultaneous 00:27:48.960 --> 00:27:56.160 streams to FlowPlane. So you could pick which camera you wanted to watch like live on FlowPlane. 00:27:56.160 --> 00:27:59.280 I think that's been talked about a little bit. I don't know if that's ever going to happen. 00:27:59.840 --> 00:28:07.040 And so our our submix what our buttons on the stream deck do here is they actually change 00:28:07.040 --> 00:28:17.600 the input into mix two right. They change the input into mix two and then I use mix two in the 00:28:17.680 --> 00:28:25.440 camera only set so that I have one input into my kind of final output. So it's this kind of live 00:28:25.440 --> 00:28:31.120 compositing right. It's just the one but I can still change it and it's a submix powering a 00:28:31.120 --> 00:28:37.280 final mix. So if I want to add something to the main output all I have to do is add another button 00:28:37.280 --> 00:28:42.000 to change it in the submix and then I don't have to touch anything else. The other nice thing about 00:28:42.000 --> 00:28:51.760 using a submix is my color correction is all done directly in the final output. So instead of making 00:28:51.760 --> 00:28:59.360 a change say in the wide cam right I want to do color correction here. Now I have to duplicate 00:28:59.360 --> 00:29:04.800 that color correction to this one and this one but when you use submixes like this you can just 00:29:04.800 --> 00:29:09.520 apply color correction to like every single camera simultaneously and then if you want to make a 00:29:09.520 --> 00:29:14.160 change it's in one place. That's kind of the idea make a change you only have to do it once 00:29:14.160 --> 00:29:18.560 ever makes it faster I can do it live I don't have to fuss about you know all that sort of stuff. 00:29:20.480 --> 00:29:29.280 Ping is our kind of a software that we use to do like remote calls. So it's basically very 00:29:29.280 --> 00:29:35.600 similar to discord but the nice thing about ping is you can get a direct link to your guest 00:29:36.480 --> 00:29:44.400 as like a browser source and then we can add that directly to OBS or Vmix without having to like 00:29:44.400 --> 00:29:48.160 screen record or screen capture it's just you just throw it in there and it's great. 00:29:49.120 --> 00:29:55.360 Same with the audio that's just basically that's another one in here so our guest audio like you 00:29:55.360 --> 00:30:02.400 would set your speaker in discord to one of these inputs like three four and then you can bring that 00:30:02.400 --> 00:30:09.360 into Vmix by grabbing one of the digital outputs as well the same thing you would kind of use for 00:30:09.360 --> 00:30:15.680 voice meter or anything like that and then we have our pop-up banner we've got our picture and picture 00:30:16.320 --> 00:30:23.520 so this is another thing that we can do is we can add our multi-view here of our like camera 00:30:23.520 --> 00:30:30.960 thumbnail but then we can just move it somewhere else so right it's down here in the corner right 00:30:30.960 --> 00:30:39.760 so that's our like complete submix there and then when we go to Linus's laptop the whole main mix 00:30:39.760 --> 00:30:44.560 moves down there and I get rid of the banner because we don't need it and then I can display their 00:30:44.560 --> 00:30:51.280 laptop there so it's all extremely seamless when we go between the two and I made it do 00:30:51.280 --> 00:30:57.920 it all zip thing because it's kind of fun right um then what else what else we got we've got our 00:30:57.920 --> 00:31:07.120 output clock yeah a lot of shows always late custom outputs we've got our intro so if we go back to 00:31:07.120 --> 00:31:15.680 our main thing here the intro is triggered with another shortcut here but Conrad has implemented 00:31:15.680 --> 00:31:21.520 this really neat thing of browser sources which we'll talk about a bit later so if we roll our 00:31:21.520 --> 00:31:29.040 intro here we've got play back there you know we can still talk over the intro if we want 00:31:29.600 --> 00:31:36.400 and then the wan intro let's see if it's over here it has a timer that counts down and then when the 00:31:36.400 --> 00:31:45.920 timer is finished it turns on a browser source which plays the sponsors right so the nice thing 00:31:45.920 --> 00:31:50.800 about vmix is you can do these like really advanced trigger things with timers and you can trigger 00:31:50.800 --> 00:31:56.160 timers with other timers or like multiple timers simultaneously if you want really advanced 00:31:56.160 --> 00:32:03.120 weird things to happen so when I hit this it triggers a timer if I look at the triggers here 00:32:03.120 --> 00:32:08.320 there we go so on transition and it turns on the secondary overlay so what it's actually 00:32:08.320 --> 00:32:17.440 doing is it's putting the the it's putting the intro video over top of the the camera right so it 00:32:17.440 --> 00:32:24.560 doesn't it doesn't like switch to it it just it just places it over top and then what it'll do 00:32:24.560 --> 00:32:31.680 is it'll set the countdown timer back to its its start right I want to play 18 seconds right so 00:32:31.680 --> 00:32:40.640 it'll reset the countdown to 18 seconds and start it playing and then when we leave it switches 00:32:40.640 --> 00:32:49.040 automatically back to our our cam only and stops the countdown now the countdown then has other 00:32:49.920 --> 00:32:56.480 triggers so when the countdown finishes it then adds this as a secondary layer so we're right 00:32:56.480 --> 00:33:03.520 we have these four sub mixes for for video production and in seven seconds five seconds 00:33:03.520 --> 00:33:09.520 something like that what this will do is it'll trigger this to turn on there we go and then 00:33:09.520 --> 00:33:16.240 it'll trigger another countdown timer to set the length of how long that stays on screen how long 00:33:16.240 --> 00:33:21.600 it displays the sponsors and another reason why we do this is because I can make a change of that 00:33:21.600 --> 00:33:27.120 really easily if some guy from the business team comes down and is like we'd really like you to 00:33:27.120 --> 00:33:33.680 show the sponsors for a little bit longer on screen all I have to do is right click title editor 00:33:33.680 --> 00:33:39.840 settings and then like well now it's four seconds right I set that to four seconds and now this 00:33:40.720 --> 00:33:45.520 they'll display for four seconds right so instead of having to reauthor like an entire video or 00:33:45.520 --> 00:33:51.040 anything like that I can just change one setting and it's done immediately one place one setting 00:33:51.040 --> 00:33:56.720 adjusts everything that's kind of the whole goal of being fast and efficient it used to be more 00:33:56.720 --> 00:34:02.160 complicated because they would produce these pictures and then we would have I would have to 00:34:02.160 --> 00:34:07.200 individually display them on screen for a set amount of time so it was like five to six timers 00:34:07.200 --> 00:34:14.000 and the beautiful tool that Conrad's developed to simplify that even more the outro is cool and 00:34:14.000 --> 00:34:18.240 more complicated but we'll talk about that a bit later what else we got we got the integrations for 00:34:18.240 --> 00:34:24.000 Dennis I can't show one of them unfortunately but we can talk about a couple of the other ones 00:34:24.080 --> 00:34:34.320 so these are triggered with this dream and deck and basically I get a script and then I read along 00:34:34.320 --> 00:34:40.080 with Linus and just push the buttons in order the green one here indicates the next integration so 00:34:40.080 --> 00:34:44.960 we have integration one integration two and integration three I can do 32 and if he screws up 00:34:44.960 --> 00:34:51.440 and gives me more I can have a little couple extra ones on that and all that they really do is just 00:34:51.520 --> 00:34:59.840 play a video that loops it's not very complicated the first one it has some individual triggers 00:34:59.840 --> 00:35:05.520 so when I push this it plays the first music and when I hit my next integration it'll stop the music 00:35:05.520 --> 00:35:12.080 and play the next piece of music so it's it's a little bit more simplified it also allows us to 00:35:12.080 --> 00:35:18.960 have a camera over camera so we can do those layer things and like have Linus say in the 00:35:19.920 --> 00:35:24.400 in the corner brand seemed to like to see Linus's face I have no idea why 00:35:26.000 --> 00:35:30.880 that's the integrations they're not super weird and then when I go back to cam only there's 00:35:30.880 --> 00:35:37.920 another trigger that stops all the music and like makes it completely finished we've got our banner 00:35:37.920 --> 00:35:42.160 here which is another browser source which is integrated directly with merge messages so we 00:35:42.160 --> 00:35:47.600 kind of have three different sections that are that are merge messages that aren't just merge 00:35:47.600 --> 00:35:58.880 messages this browser source and then as well as our sponsor integrations and then also the top 00:35:58.880 --> 00:36:06.000 down banner at the top and then also the outro but I think I will let Conrad take it from here 00:36:06.000 --> 00:36:12.160 and talk to you about merge messages all right so let's talk a little bit about merge messages 00:36:12.160 --> 00:36:19.680 I am Conrad a developer at Flowplain and merge messages is my magnum opus so where does merge 00:36:19.680 --> 00:36:26.080 messages come from at Flowplain we have this thing called creative day and so what that is is the 00:36:26.080 --> 00:36:31.920 last Friday of every month every developer gets to work on whatever they want it has to be work 00:36:31.920 --> 00:36:37.680 related and you're it's supposed to be so you can learn new things and so that's where merge 00:36:37.680 --> 00:36:44.880 messages came from was I wanted to learn web sockets Shopify web hooks and OBS browser 00:36:44.880 --> 00:36:50.800 sources I had also just gotten access to github co-pilot and I wanted to play with that as well 00:36:50.800 --> 00:36:58.800 I created merge messages initially in a day just using github co-pilot and I would write little 00:36:58.800 --> 00:37:04.240 comments and then get it to generate code so the original version of merge messages is actually 00:37:04.240 --> 00:37:11.680 entirely AI written but it has since been completely refactored so how does merge messages work 00:37:11.680 --> 00:37:18.960 so when an order is placed on Shopify in the cart stage of the checkout you have a form that you 00:37:18.960 --> 00:37:25.200 can opt into and you can put a little piece of text and that will be your merge message so we 00:37:25.200 --> 00:37:30.800 have a server this running and when this server starts up it creates a web hook subscription 00:37:30.800 --> 00:37:38.560 over to Shopify on order create so when Shopify creates an order it's going to send our server 00:37:38.560 --> 00:37:44.960 a request containing information from that order and we can extract information from that such as 00:37:44.960 --> 00:37:53.360 your email your name and what your actual merge message is we extract information from the order 00:37:53.360 --> 00:38:00.160 and we generate a merge message object that object gets added into a backlog which stores 00:38:00.160 --> 00:38:06.240 more information about it such as the time remaining until it displays its order in the queue 00:38:06.240 --> 00:38:12.160 and so on if we come here there's this little stat in the control that's basically the time 00:38:12.160 --> 00:38:17.200 remaining so when a message comes in there's a hundred and eighty seconds or three minutes 00:38:17.200 --> 00:38:23.760 for Dan to do something before it will just enter a queue when it enters a queue it then 00:38:24.480 --> 00:38:31.840 in turn in order displays on the banner itself or various other browser sources such as the 00:38:31.840 --> 00:38:39.280 pop-up if we're viewing someone's screen and whatnot so when a merge message comes in Dan views it 00:38:39.280 --> 00:38:44.960 in the incoming table he has the message really big nice and center so he can read it and then on 00:38:44.960 --> 00:38:51.520 the side he has various controls of what he can do to it so for example he could say oh I hate this 00:38:51.600 --> 00:38:57.440 message I do not want this to display I'm going to archive this message and then it goes away and 00:38:57.440 --> 00:39:03.520 gets tucked into a different table which you can view separately so there's this follow-up button 00:39:04.240 --> 00:39:09.760 which will flag the message so that we will follow it up with an email later in the week 00:39:10.320 --> 00:39:15.840 there's this support button which will send it to support like it'll create a ticket in their 00:39:15.840 --> 00:39:21.920 ticketing system so they'll reply to it there's a potential which is sort of a category I don't 00:39:21.920 --> 00:39:28.560 understand but they seem to use it so it's fine with me potential curate this is what happens 00:39:28.560 --> 00:39:35.040 when Dan decides your message is great I want Luke and Linus to answer this on screen so he 00:39:35.040 --> 00:39:41.520 curates it there's the show option so that just displays your message and no response and then 00:39:41.520 --> 00:39:51.280 there's the reply option so when you click the reply option this form comes up and you can come here 00:39:51.280 --> 00:40:00.080 and type a response and then click enter and it will splice this message directly after the 00:40:00.080 --> 00:40:06.720 initial message in the queue if the initial message has not displayed yet it will actually append 00:40:07.280 --> 00:40:13.440 the original message and the reply message to the end of the queue there's also these template 00:40:13.440 --> 00:40:21.440 responses which we sort of need to rework none of these are really useful but you can just click 00:40:21.440 --> 00:40:27.840 this and it will just add it to the end of whatever you've typed and then you can hit enter or 00:40:27.840 --> 00:40:34.080 click submit and the response will be set after the incoming table there's the potential table 00:40:34.080 --> 00:40:41.360 so what the potential table is is during the when after dark Dan decides that a message goes into 00:40:41.360 --> 00:40:46.880 the potential table that means he wants Luke and Linus to deal with it during the WAN Show after 00:40:46.880 --> 00:40:52.960 hours you know when they dim the lights and just read merch messages so there's a couple options 00:40:52.960 --> 00:40:58.080 they can curate it so that Dan will read it oh now I need to potentiate a couple more 00:40:58.880 --> 00:41:06.320 they can curate it they can reject it because they hate the message and they think Dan should 00:41:06.320 --> 00:41:13.200 not have potentiated it they can reply to the message themselves and they'll sign it LS or 00:41:13.760 --> 00:41:19.200 ll if they reply to it or they can just archive it straight from here if they don't want to do 00:41:19.200 --> 00:41:27.280 anything with it the curated table is pretty simple it's just for Dan to come here hey Dan 00:41:27.280 --> 00:41:32.240 hit me with three merch messages and he will read off three merch messages when he's reading the 00:41:32.240 --> 00:41:39.520 merch messages he has this broadcast button so if I click this what it does is it will actually 00:41:39.520 --> 00:41:49.120 display the message on the Kyron so it's there visible for when he's reading it also pauses the 00:41:49.120 --> 00:41:55.760 queue so that any merch messages that might be displaying during this time they won't so that 00:41:55.840 --> 00:42:01.200 you actually have an opportunity to have your messages displayed and that's what these really 00:42:01.200 --> 00:42:10.640 obnoxious buttons are for you can see nice RGB but what this does is it's just a nice reminder 00:42:10.640 --> 00:42:17.200 to resume the queue so it doesn't stay paused so if I click this it'll go away and now the queue 00:42:17.200 --> 00:42:23.360 is resumed and it's going to keep cycling through the merch messages that are queued up to display 00:42:23.360 --> 00:42:29.520 on screen there are two more tables which are fairly boring just a push to stream table which 00:42:29.520 --> 00:42:37.920 includes you know just a message and if it's response if it got one and the archive table 00:42:37.920 --> 00:42:45.040 so this one's kind of fun if we think you're doing some egregious advertising or you somehow 00:42:45.040 --> 00:42:50.240 borough merch messages and your message couldn't be there we can purge it entirely from the queue 00:42:50.320 --> 00:42:57.040 and the backlog and it won't show up in any data exports we have all sorts of cool stats 00:42:57.600 --> 00:43:03.600 that can be displayed to luke Linus and Dan so they can keep a track of what's going on 00:43:03.600 --> 00:43:10.080 so we have the stream duration obviously important merch message count and the most 00:43:10.080 --> 00:43:17.120 merch messages we've ever gotten in a day is 1700 and that was after the hack happened and 00:43:17.120 --> 00:43:24.640 we lost our youtube channel um you guys came through and just overwhelming support crashed 00:43:24.640 --> 00:43:31.520 the merch message server it was amazing but we were receiving about 19 merch messages a second 00:43:31.520 --> 00:43:38.400 at some points and we were maintaining around 40 merch messages a minute consistently throughout 00:43:38.400 --> 00:43:44.400 the show and that was just too much for the server to handle and a race condition happened and the 00:43:44.400 --> 00:43:51.520 server came down but that's actually being patched so it's not even possible for that to happen now 00:43:51.520 --> 00:43:58.560 when Linus leaks the dashboard i get a lot of comments that this is a very ugly UI and to some 00:43:58.560 --> 00:44:05.120 degree they're right because you're not supposed to care about how internal tools look they're 00:44:05.120 --> 00:44:10.960 just supposed to be functional and this is the most functional thing i've ever made a row of 00:44:10.960 --> 00:44:18.720 buttons at the top a bunch of detail summaries with information that doesn't really have to look 00:44:18.720 --> 00:44:26.560 nice you can however set the color to be whatever you want it's nice and uh customizable i mean 00:44:26.560 --> 00:44:32.880 compared to something like LTT Store Floatplane like it's not client facing so we really don't 00:44:32.880 --> 00:44:39.840 have to worry about making it actually look nice it just has to look functional over everything 00:44:39.840 --> 00:44:46.800 else but what a browser source is is in vmix or obs or whatever broadcasting software you use 00:44:46.800 --> 00:44:53.680 you can usually create an element that you can put in a frame and you just give it a url that url 00:44:53.680 --> 00:45:00.080 will be an actual website that just decides what displays in that element so if i switch over if it 00:45:00.080 --> 00:45:06.960 create a little sponsor here and i click show this sponsor thing will come up so this would be if 00:45:07.520 --> 00:45:13.360 Dan is not streaming a WAN Show but we still need sponsors to display on screen he can use this 00:45:13.360 --> 00:45:22.080 element and it will display a sponsor on screen when he wants to there's also the pop-up element so 00:45:22.080 --> 00:45:28.320 what this is is if Linus and luke are sharing their screen they can use the pop-up browser 00:45:28.320 --> 00:45:34.480 source and this will just display a little square from the top of the screen and that way it's less 00:45:34.560 --> 00:45:40.960 obtrusive we don't have the whole wan banner obstructing half of their screen and they can see 00:45:42.160 --> 00:45:48.560 this is the banner the chyren as i like to call it because that's what it is and as you can see 00:45:48.560 --> 00:45:56.000 it's just a web page you can just go to it displays your messages nice and fun we have the 00:45:56.640 --> 00:46:03.360 sponsor spots for the intro as Dan was talking about earlier where after that intro sequence is 00:46:03.360 --> 00:46:10.640 played it will show this on screen briefly and that way he doesn't have to have it generated 00:46:10.640 --> 00:46:18.560 as an image every time instead he can just insert some sponsors into the merge message dashboard 00:46:18.560 --> 00:46:24.000 and they'll just be appended to this list or he can remove sponsors or whatever he wants to do 00:46:24.000 --> 00:46:31.920 and finally we have the outro browser source we use merge messages for the outro for a couple 00:46:31.920 --> 00:46:42.560 reasons first of all switching to an outro scene through vmix is kind of tedious and not easy to 00:46:42.560 --> 00:46:48.080 do so using a browser source that just displays on top of everything is very simple to do it's 00:46:48.080 --> 00:46:53.920 basically just a web page that sits there and we can also have the outro sit there for as long as we 00:46:53.920 --> 00:47:01.200 want all right that is all for merge messages i am working on a blog post for the newsletter that 00:47:01.200 --> 00:47:06.960 will go up in a few months hopefully but let's throw it back to Dan so the last thing we kind of 00:47:06.960 --> 00:47:12.320 have to go over is the stream deck integration and stream deck has some implementations directly 00:47:12.320 --> 00:47:20.000 with obs but with vmix and kind of also reaper i went a little bit of a different route our stream 00:47:20.000 --> 00:47:26.320 deck integration actually uses midi i have this secondary program called loop midi which is like 00:47:26.320 --> 00:47:33.680 virtual midi ports and then all of these are like another free plugin that is just midi control 00:47:34.320 --> 00:47:41.120 so each of the buttons here instead of sending direct messages it just sends midi controls and 00:47:41.120 --> 00:47:46.640 there's lots and lots of different uh there's lots of different data sources that you can use for 00:47:46.640 --> 00:47:52.880 these and we're just using the the cc messages i spent ages trying to figure out how to get 00:47:52.880 --> 00:47:58.720 the bleep button working and i if you remember there was always problems with it that integration 00:47:58.720 --> 00:48:05.280 was in obs and that was kind of like a toggle mute so the bleep button was playing constantly 00:48:05.280 --> 00:48:12.880 in obs and then the stream deck triggered a toggle mute in obs when you're trying to bleep 00:48:12.880 --> 00:48:20.640 yourself in obs it triggers the push to mute uh instantly right and that doesn't work with the delay 00:48:20.640 --> 00:48:26.080 from the audio and the camera so what i had to do is i had to write an auto hotkey script to 00:48:27.760 --> 00:48:34.720 press the shortcut after like 144 milliseconds so that it would be timed properly and then 00:48:35.440 --> 00:48:40.480 because it also triggers the push to mute instantly i had to program a second one that when you 00:48:40.480 --> 00:48:47.040 release the button it kept it held for another 140 milliseconds or something like that so it was 00:48:47.040 --> 00:48:51.040 it was very very difficult to like time properly and it was also very difficult to like get it 00:48:51.040 --> 00:48:57.520 working consistently so what we do now is we use this midi control so when i push the the 00:48:57.520 --> 00:49:03.760 square bleep you can see it updating the the midi data there right so when you push the the 00:49:03.760 --> 00:49:09.360 square bleep it triggers midi and then what that does is we have a midi control in reaper and what 00:49:09.360 --> 00:49:14.480 that does is it just solos this bleep thing here because the other thing that we want to do is we 00:49:14.480 --> 00:49:21.440 want to mute the output so you can't hear the swears underneath the bleep and this allows it to be 00:49:21.440 --> 00:49:27.360 absolutely perfectly real time with the audio because they're all kind of married in the pre-mix 00:49:28.800 --> 00:49:36.400 and it's incredibly robust like the midi doesn't fail ever it's really fast it's really responsive 00:49:36.400 --> 00:49:40.080 because you're manually pulling a keyboard there's no latency anything like that so 00:49:40.880 --> 00:49:45.520 love that aspect of it and then that gets fed directly into vmix with like 00:49:46.800 --> 00:49:56.000 with no delay required so it's super robust everything else is kind of also midi shortcuts 00:49:56.000 --> 00:50:04.240 and then they come into vmix through the vmix shortcut system so we have all of these different 00:50:04.240 --> 00:50:12.080 shortcuts for all of the different inputs and outputs and they're they're really easy you kind 00:50:12.080 --> 00:50:20.080 of just you come here you go find you push your your button it finds the midi control immediately 00:50:21.200 --> 00:50:27.600 and those are those are done instantly if we bring the stream deck back up 00:50:28.400 --> 00:50:32.720 yeah these are pretty easy you just put in a control change you can pick your channel 00:50:32.800 --> 00:50:40.480 you can pick your command so we have all of these we have 127 for 16 different channels so that's 00:50:40.480 --> 00:50:48.000 kind of a few you can also set your button type so hold push toggle for all of these so for example 00:50:48.000 --> 00:50:58.240 the producer is a toggle so what my producer live button does is it mutes and unmutes my microphone 00:50:58.240 --> 00:51:04.800 here and the nice thing about doing it with the midi is these are always in sync so if I close 00:51:04.800 --> 00:51:12.480 down the stream deck or I close down the or close down reaper it's not backwards so I can have it 00:51:12.480 --> 00:51:19.600 green and I know that green is always unmuted right because it's a you're pushing a note or 00:51:19.600 --> 00:51:25.280 you're not pushing a note so the toggle works really really well for that cam only is you know 00:51:25.280 --> 00:51:30.960 switch why cam we have independent control over the various cameras or I can come down and go to 00:51:30.960 --> 00:51:38.160 like Luke's laptop and then in the bottom whoops let's close that in the bottom left here so we 00:51:38.160 --> 00:51:44.800 can switch down to Luke laptop and still have control over the various cameras in the picture 00:51:44.800 --> 00:51:50.960 and picture so that's kind of really nice and simple what else is there yeah we can trigger our 00:51:50.960 --> 00:51:55.680 intro out outro we can turn on my producer cam hello there we are looking here 00:51:57.280 --> 00:51:59.680 turn my producer cam on and off that sort of thing 00:52:01.840 --> 00:52:06.400 and then we've also yeah it's the same thing that works for Dennis's integrations 00:52:06.400 --> 00:52:12.720 and then over here this is a new thing that we're experimenting with so this is the add-on deck for 00:52:12.720 --> 00:52:23.440 like other extra things v-max allows you to have output logs to file so for our editors it works 00:52:23.440 --> 00:52:31.360 really nice if we have timestamps right so when we start the show I can hit a various timestamp 00:52:31.360 --> 00:52:41.200 here and what that'll do is write to the log file that is generated along with every single recording 00:52:41.920 --> 00:52:48.400 um the exact time of the recording plus my my custom uh wording for what the timestamp is 00:52:49.120 --> 00:52:54.880 I also have this kind of production clock here um for the length of the WAN Show because we're 00:52:54.880 --> 00:53:01.040 trying to keep it to to about three to three and a half hours now and so when we go live on youtube 00:53:01.040 --> 00:53:07.920 what this will do is it'll start this timer so I have a very um detailed understanding of where 00:53:07.920 --> 00:53:13.440 I am in the show and where I need to push them um I made some I made some little cards here 00:53:14.640 --> 00:53:18.720 two or three more topics right which just keeps Linus and Luke on track 00:53:18.720 --> 00:53:24.800 and I just I just plop them there and they can see exactly when when that's supposed to happen 00:53:24.800 --> 00:53:29.440 and I can keep an eye on the time um because I would be because of the pre-show the recording 00:53:29.440 --> 00:53:35.840 time and the actual live time is slightly different um so it's very difficult to get an accurate picture 00:53:35.840 --> 00:53:41.280 of of where all our time timestamps are thanks so much for tuning in that's about it for the Dan show 00:53:42.000 --> 00:53:45.760 tune in next time same bad time same bad channel bye 00:53:52.480 --> 00:54:00.880 okay so now I just need a quick quick pickup talking are you still recording all right