YAMAHA YHT-1840 Sound System Owner’s Manual
- May 15, 2024
- Yamaha
Table of Contents
- YHT-1840 Sound System
- S0ME THINGS TO CONSIDER
- KEY COMPONENTS OF THE SOUND SYSTEM
- THE MIXER
- CONNECTION ABILITY
- CONNECTING TO THE STAGE
- SINGLE BRAND CHOICE
- ANALOG MIXERS
- POWERED MIXERS
- DIGITAL MIXERS
- SPEAKERS
- FIGURING OUT THE POWER DO YOU WILL NEED
- ACTIVE (POWERED) VS. PASSIVE (UNPOWERED) SPEAKERS
- SPEAKER DRIVER CONFIGURATION
- UNDERSTANDING CROSSOVERS
- BI-AMPLIFICATION
- INTELLIGENT SPEAKER SYSTEMS
- MONITOR SPEAKERS
- SPEAKER CONNECTORS
- IN-EAR MONITORING
- SUMMING UP
- Read User Manual Online (PDF format)
- Download This Manual (PDF format)
THE YAMAHA GUIDE TO CHOOSING A
SOUND SYSTEM
YHT-1840 Sound System
WHAT IS THE BEST SOUND SYSTEM for your house of worship? The answer depends on different things — there are no one-size-fits-all formulas. Bundled or packaged solutions can be a starting point but the best sound system for your application is the one that’s designed specifically for your needs. This guide will give you a good starting point in finding what’s right for your congregation.
S0ME THINGS TO CONSIDER
Here are questions you will need to answer when planning out a sound system.
Will your system be portable or permanent? congregations can and do meet
in many different types of places: community halls, roller rinks, movie
theatres, coffee shops and more. If this describes your situation, you
probably need a portable sound system. However, if you meet in a dedicated
space or established church building, a permanent installed sound system would
be the better solution.
What is the shape of your room? The sound system’s job is to direct sound
to where the people are in the room, and away from the walls and ceiling. The
speakers need to match the size and geometry of the room. For example, a long
narrow room with a high ceiling will require a different approach than a
short, wide room with a low ceiling.
What is your worship style? Worship style often dictates sound system
requirements. If you’re just amplifying the pastor as he gives his message, a
small system with good vocal intelligibility is all you may need. But if
you’re also amplifying a large choir or a full worship team with modern
electric instruments, your system will be able to reproduce all the instrument
and vocal frequencies clearly and evenly. And if you have multiple worship
styles, you’ll need a scalable solution.
Who’s running the system? In most cases, you’ll have volunteers with
different skill levels running sound, so user-friendliness is a necessity. The
system should be designed to match the skill level of the team tasked with
running it.
What’s in your future? You should have a plan to future-proof your sound
system. When designing a system, keep in mind what your needs may be in one,
two and even three years. Try to create a system that can grow with your
congregation and all your activities.
KEY COMPONENTS OF THE SOUND SYSTEM
Your sound system needs to sound great and perform consistently. Regardless of
any specific requirements, there are components that are key to every sound
system. A good sound system designer can tailor these components for you.
Mixer:
When searching for a sound system, one of the first things you need to look
for is a mixer. And the first consideration for a mixer is the number of
inputs and outputs you’ll need for all your PA requirements. Write down
everything that will go into and out of your sound console: your worship band,
vocals and instruments; choirs; announcement microphones; speaker microphones,
etc.; audio sends to places like the foyer, cry rooms, hallways, etc. — it’s
often not just the main sanctuary that requires audio of the service; possible
video live stream; video recordings; etc.
Speakers: The next part of the sound system to look at is speakers.
Quality PA speakers make the difference between a great-sounding system and a
one that never seems to sound right. There are different factors to consider
when choosing the right PA speakers for your application and building space.
Those include powered or passive, portable or permanently installed, and
ceiling mounted or floor standing. All these choices will be based on your
room configuration and congregation size.
Stage Monitors : If you have a worship band and vocals, they’ll need to
hear themselves. Stage monitors can be an affordable way to have monitoring
for the band. However, if stage noise and real estate are a concern, an in-ear
monitoring system (IEM) may be the better choice for your situation. In either
case, quality stage monitoring is essential. It’s important to have a
conversation with the audio team and the band to decide what will work best
physically and budget-wise.
THE MIXER
An audio mixer has two primary jobs: it lets you blend and adjust audio
signals from microphones, musical instruments and other audio sources; and it
sends those mixed and polished signals to its output jacks, which then connect
to amplifiers, loudspeakers and/or a recording system. There are three types
of audio mixers.
Each type has its pros and cons.
- Analog
- Powered Analog
- Digital
Do you need a mixer for a portable or permanent system? If you meet
outdoors, inside a temporary location, or you have an on-the-go ministry, then
you’ll most likely need a mixer that can be easily portable. Later in this
guide we’ll discuss self-contained, self-powered, analog, and digital systems
that are designed for different portable applications. We’ll also explain and
give examples of consoles designed for permanent installation applications,
from small to large congregations.
What is your worship style? Ranging from traditional to contemporary,
you’ll have different requirements depending on your worship style. If you’re
just amplifying the minister’s message with maybe one or two acoustic
instruments with one or two vocals, a small console may be all you need. But
if you have a large choir or a worship team with electric instruments, your
mixing needs are going to be more complex. If you have multiple worship
styles, different campus locations and the need to interconnect them all, a
coordinated networked system will be needed.
Who is your tech staff? From the beginning, it’s important to know the
experience level of the people who will be running the sound system. Houses of
worship tech staff can range from having experienced techs who know the system
inside and out, to volunteers who may only be capable of moving three faders
and nothing more, so experience level is a big part of the decision. The group
experience level of your operators will decide what interface will work best;
is the console laid out in such a way that it’s easy to use — or can be easily
learned — and allows for intuitive access to settings? A good mixer is one
that allows you to adjust a large quantity of variables and parameters, allows
the operator to see what they need to see without getting overloaded, and then
can interact quickly with all those parameters.
Figure out the inputs and outputs will you need? One of the first
criteria to think about is the number of inputs and outputs you currently
need, and then look at what you may need in the next two to three years. You
may only need 16 or 24 channels now, but what if the music ministry expands,
requiring more input and output channels, especially for more monitors. What
if your building grows and you need to send more audio feeds to different
rooms, or you decide to live stream. All these circumstances will certainly
increase your I/O requirements.
CONNECTION ABILITY
Will the main sound board be needed to communicate with ancillary consoles? You need to consider how well the console will work with another mixer — from the same manufacturer or a different one. If you need more consoles for broadcast or monitors, for example, will you need to buy the same board as the front of house (FOH), or can a smaller, less expensive board work for those positions? As well as considering your Input/Output (I/O) needs for the future, it is important to consider the overall possible “network” expansion of your system. You may eventually get to a place where not everything can be done from the FOH board alone and you’ll need to add more consoles.
CONNECTING TO THE STAGE
While an analog “snake” will work for analog and digital boards, a digital console should be paired with the digital snake designed for it. Digital snakes use a CAT5E or CAT6 cable to send all the FOH I/O to the stage — or any other networked console or device in the system. The greatest advantage of a digital snake: it’s a single cable that replaces the large, heavy and cumbersome analog snake and has the ability to communicate with other devices on your audio network. It also greatly reduces your chances of having a faulty cable among all those other cables.
SINGLE BRAND CHOICE
If growth is in your future, whether that means your worship team and/or your
campus, it’s important to think about how your tech team will perform rotating
from one console to another. Houses of worship can have multiple rooms running
at the same time on service days, all in need of sound engineers, and those
engineers are often rotated among the rooms. If you have consoles from
different manufacturers, that often entails multiple training sessions to make
sure the entire staff is competent on the different platforms. Churches today
opt for “brand family” consoles so that the training is on same operating
platform no matter the sizes or models. For example, Yamaha
QL and
CL mixing
consoles use the same workflow, making it easy for a tech to mix on a CL5 this
week and a QL1 next week. Brand family also works great when using a Dante
network — all the consoles use the same protocol and are easily recognized by
the network.
TAKE TIME TO TRAIN
If you’re upgrading your console, set up the new one next to the old one if
possible. A great deal of the preliminary work in setting up a new console can
be done by using the old one as a reference, for tasks such as connection
routing and labeling. This also gives the tech team a chance to get inside the
workflow of the new console as compared to the workflow of the old console.
Don’t underestimate the amount of time required for the audio techs to learn
not only how to use new consoles, but also how to improve their mixing skills
on them. Even if the board is considered easy to use, there will still be a
learning curve. Each operator needs a reasonable amount of time to push
buttons, move faders, and discover what the console is capable of, and then
get comfortable with how it works. While there may be more capability and
flexibility built in, there are going to be more variables and parameters they
can use.
ANALOG MIXERS
Analog mixers are divided into channel strips with rotatory knobs that control
gain, EQ, effects, compression, and AUX sends and returns. All the controls
needed to run the board are physically found on the mixer. This type of
configuration decides the physical size of the console. A mixer with 16
channels or less will have a relatively small footprint, but when more
channels are required, the footprint will get significantly larger as more
channel strips are added.
For the most
part, analog mixers usually have a shorter learning curve and are often a good
choice for teams that have limited audio mixing experience.
Many analog consoles include built-in effects and compression, like the Yamaha
MG
Series
and MGP
Series. These
consoles offer 6-32 input channels and, for the most part, don’t require
external effects generators or compressors. However, you may want to consider
an external sound processor to help balance the overall room sound.
If you’re budget conscious, analog mixers usually cost less than digital
models, but they lack the automation and programmability you might want for
more complex setups. While there’s no wireless network remote control, analog
consoles like the MG Series do offer a USB connection for both input and
output operations.
While digital mixers offer a great deal more mixing options than analog
mixers, analog can be a great choice for those on a small budget or for those
tech teams that have limited audio mixing experience.
POWERED MIXERS
A powered mixer is an integrated solution that combines power amplifiers with
a versatile mixer in a single, compact unit. A powered mixer easily connects
to passive speakers, making this type of system literally “plug and play.”
Like the Yamaha
EMX
Series, powered mixers have two main channel outputs and, depending on the
model, additional AUX and recording outputs, as well. AUX channels are line-
level, allowing self-powered monitor speakers to be added to the system if
needed.
The EMX Series
offers the same features as a stand-alone analog console: built-in
compression, 3-channel semi-parametric EQ, and up to 24 DSP presets for
effects. The EMX7 also has a 9-band EQ and an on-board feedback suppressor.
Despite powered mixers’ compact construction, only speakers and microphones
are needed to configure a fully functioning, extremely portable, reliable
sound system with all the tools needed to mix.
DIGITAL MIXERS
Digital mixers offer a wide range of control and recall capabilities. You have
the capability to setup “scenes” on the mixer then save them into the memory
of the mixer. This is very handy when you may have different groups using the
mixer for different functions, all with different needs. When you need to
restore the board back to your main service setup, a press of a button recalls
all your settings instantly. Scene saving is also great for making quick
scene-by-scene changes during holiday theatrical productions.
Most digital mixers also allow wireless remote control. Yamaha digital mixers
use the remote software
StageMix,
which allows you to use an iPad to walk around a room while making sure the
music sounds good everywhere. (Different manufacturers have their own version
of remote software.)
If your worship band is using In Ear Monitors (IEMs), Yamaha
TF,
QL,
CL,
DM and
Rivage
PM
Series
digital mixers coupled with
MonitorMix
— the Yamaha personal monitor mix software — gives each band member the
ability to control their personal monitor mix, freeing the FOH engineer to
focus on the house mix.
Digital mixers
also come equipped with “presets” that allow the sound engineer to select
specific microphones in use and what they’re being used for; what type of
instrument inputs are being used; and what type of IEM is being used. These
presets help the audio engineer “dial-in” the EQ and compression for these
channels, making for not only a quicker setup, but a better sounding overall
mix.
Digital mixers also offer DSP effects, from reverb to delay, that can be
applied to an input channel.
Another advantage digital mixers have is overall size. Because they can have
multiple “layers” that are accessed by the push of a button, you don’t have to
have all the individual channels physically installed on the surface.
For example, a 48-channel console can have 24 physical input channels DCAs, or
“groups” of channels, on the board’s surface — this is “layer one.” By
pressing the “layer two” button, the next group of channels, 25-48, appear.
Additionally, there are easy access buttons to view and control the outputs,
effects and AUX sends, all on their own layers and instantly accessible.
If it’s necessary to record the service, most digital consoles come equipped
with a USB port that will accommodate a USB memory device. When the record
function is engaged, a stereo mix from the mains bus can be recorded as an
audio file. If you need to be able to record each independent channel, Nuendo
Live
software from Steinberg, installed on a laptop and connected to the console,
will multitrack record separate channels. This is a great resource if you want
to be able to create virtual sound checks or be able to do a full mix down of
any performance.
A full digital setup also means using a digital cable. An I/O rack like the
Yamaha TIO
1608
uses a single CAT 5E or CAT 6 Ethernet cable that runs from the console to the
I/O rack located at the stage. Even systems that require 120 or more I/O
channels are easily managed on this one cable, ending the need for large,
heavy, and expensive analog snakes. Additionally, the system can be connected
to through
Dante to
other Dante-enabled components in the system. This allows streamlining
connections, aiding in troubleshooting and routing signal to where you need
it.
Digital mixers can be flexible for any need or setup.
SPEAKERS
Achieving consistently high-quality live sound can be a challenge. Your choice
of PA speakers can decide whether you’re mixing to make something good sound
great or struggling to solve sound reinforcement problems.
There are three basic categories of systems:
- Personal PAs
- Medium-sized PAs
- Full-scale PAs
Personal PAs consist of single speakers or mini-speaker arrays, which serve as both main speakers and monitors. Medium-sized PAs consist of a pair of speakers on either side of the stage plus monitor speakers on the stage. Full- scale PA systems involve multi-speaker line arrays and complex monitoring systems.
FIGURING OUT THE POWER DO YOU WILL NEED
If you’re asking the question, “How much power is required for a PA system?”
then the real question should be, “How loud do you need it to be for your
room?” Power requirements vary according to your unique situation. First, the
size and shape of the room is important. Then add in the number of people —
human bodies make terrific sound absorbers. Are there windows or hard surfaces
that sound can bounce off? What type of flooring do you have: carpet, exposed
concrete, etc.? Do you have an open ceiling or a drop-down tile ceiling? How
much electrical power is available in the room, and where is it going to be
installed? It’s important to have as much of this information as possible
ready when you consult a systems integration company.
While a speaker’s wattage will affect its volume, its max SPL (Sound Pressure
Level) is a better indicator of how loud the speaker can go. Understanding a
speaker’s coverage angle is also important. A powerful speaker with a narrow
coverage angle will reach fewer people than a less powerful one with a broader
coverage angle. It is also vital that you consider the speaker’s sensitivity,
which is a measurement of its ability to effectively convert power into sound.
Sensitivity refers to the SPL that a speaker can produce from a one-watt
signal, at a distance of one meter. The sensitivity spec measures efficiency
and is a strong indicator of a speaker’s loudness, which is why a less
efficient 1,000-watt speaker isn’t necessarily louder than an efficient
500-watt speaker. In fact, a 500-watt speaker with a sensitivity of 98dB will
be the same volume as a 1,000-watt speaker with a sensitivity of 95dB.
ACTIVE (POWERED) VS. PASSIVE (UNPOWERED) SPEAKERS
If you’re not familiar with active speakers, the important thing to know is
that the power amplifier and crossover are built into the same cabinet as the
speakers. The benefit is, all you need are the speaker and a sound source,
whether that’s a mixer, a music player, or even an instrument in certain
circumstances. Powered speakers simplify your PA system and are faster and
easier to set up. However, they aren’t always the best option when designing
complex systems for permanent installation in large auditoriums and halls.
Passive speakers need separate power amplifiers and sometimes crossovers, too.
For most small- to medium-sized rooms, passive speaker systems may not be the
simplest option for a sound system. But for larger, more complex systems, it
can be a huge benefit to have your system components separated. Because of the
extreme amount of power needed for large systems, using separate amplifiers
prevents your speakers from being overheated by the amps. And system
maintenance in the long term is much easier when you don’t have to climb to
the rafters to adjust your amplifier settings.
Because passive speakers don’t include power amps, their wattage isn’t an
indicator of how powerful they are. Rather, it’s an indicator of the power
they can manage. You’ll generally find two values for power handling: their
RMS (root mean square) value refers to how much continuous power the speaker
can manage, while their peak value refers to the maximum power level that the
speaker can manage in short bursts. Thus, if you have a speaker rated at 50
watts RMS and 150 watts peak, then it can manage 50 watts of continuous power
with occasional peaks of up to 150 watts.
As you can see, choosing between active and passive speakers has more to do
with how you’re using the system than whether one type is superior to the
other. Smaller churches may prefer the simplicity and reliable sound quality
of active systems, while large churches will most certainly require the
versatility and modular nature of a passive system.
SPEAKER DRIVER CONFIGURATION
When choosing the right speaker for your needs, its driver configuration is
another variable to consider. If the speaker only has a single full-range
driver, that driver must cover the entire frequency range. A small speaker
that is great for high frequencies won’t reproduce low frequencies well, and a
large speaker that’s good for lows won’t reproduce high frequencies well.
What’s the solution? Multiple drivers. Speakers with multiple drivers do a
much better job of reproducing the whole frequency spectrum. These types of
speakers split the frequency range between two drivers — usually a high-
frequency driver and a low-frequency driver. By giving each a specific
frequency to cover, you increase the speaker’s output, frequency range and
efficiency.
UNDERSTANDING CROSSOVERS
A crossover is a device that divides an audio signal into separate frequency ranges that are routed to different drivers (speakers, tweeters, horns, etc.) in an audio system. For example, a two-way crossover may include a low pass filter, which passes a signal with low frequencies to a subwoofer, and a high- pass filter, which sends proper frequencies to the tweeter. Crossovers can have passive or active designs. You don’t need to know everything about crossovers to set up a good system but knowing where the crossover points lie in the sonic spectrum can help you set up a better mix.
BI-AMPLIFICATION
Bi-Amplification is the process of dividing an audio signal into two frequency
ranges which are then sent to two separate amplifiers that, in turn, drive
separate loudspeakers. An active crossover network sends low frequencies to
the larger driver (woofer) and high frequencies to the smaller driver
(tweeter). Bi-Amping also allows the amplifier(s) to be chosen or designed
specifically to match your speakers and enclosures. Bi-Amping, Tri-Amping and
beyond have been used in soundreinforcement systems for years and have become
quite common in active studio monitors, as well.
AN ALL-IN-ONE PA SOLUTION
For small churches or “on-the-go” ministries, a portable all-in-one
solution may be the best solution. Systems like the Yamaha
STAGEPAS
Series integrate a mixer with a built-in amplifier, passive speakers, signal
processing, and even effects into a simple, compact design. These PA systems
can save you money, time and space. Plus, they’re easy to set up and
use.
INTELLIGENT SPEAKER SYSTEMS
There are now speaker systems that can automatically recognize what you’re
plugging into them and will optimize their sound accordingly, like the Yamaha
PX Series
amplifiers. They can recognize whether you’ve arranged them vertically on
speaker stands or horizontally on the stage as floor monitors and will
automatically change their sound for that orientation. Other built-in
intelligent features can include automatic feedback suppression, networking
capability and remote control. How you plan on using your system on a regular
basis determines which of these advanced features, if any, will ultimately
benefit you.
SUBWOOFERS
Subwoofers are speakers that are built for reproducing just the low bass
frequencies. However, just adding a subwoofer will not necessarily make your
system louder. When properly implemented, they can allow you to run your
system at a lower overall volume while still keeping a full-range punch and
impact.
- Active Subwoofers
- Passive Subwoofers
Subwoofers usually focus on the 20Hz to 100Hz frequency spectrum, which can be
difficult to reproduce accurately with smaller PA speakers. Larger speakers
can respectably reproduce low frequencies but for true full-range sound, you
need a dedicated subwoofer.
Subwoofers can also play an important role in filling out the sonic spectrum
for any room or worship style. Subs also allow the main speakers to sound
better, giving them valuable headroom to better reproduce the dynamics of your
instruments and vocals. As with full-range speakers, subwoofers can be either
active or passive.
MONITOR SPEAKERS
When the worship band is playing and singing, they need to be able to hear
themselves; proper monitoring is crucial to a good performance. There are two
types of stage monitors: wedges and side-fills. A wedge is essentially a
speaker cabinet with an angled back so it can be placed on the stage floor.
Their angled shape allows them to aim sound up toward the performer’s ears,
while their low profile keeps them from blocking the audience’s view of the
performers. Side-fills are larger full-range speakers that are placed off to
the side of the stage. They enable performers to hear a rough mix of the whole
band, while wedges offer individual mixes to each performer.
When
it comes to stage monitors, bigger isn’t better. Low-frequency buildup onstage
is an ongoing issue and since larger speakers produce more bass, they only
contribute to the problem. Monitoring speakers with a narrower coverage angle
and a pronounced upper midrange will do a better job of penetrating the dense
sound onstage. Consequently, it’s better to have more focused stage wedges
than to have fewer monitors with broader coverage and deeper lows.
Stand-mounted monitors are smaller, unobtrusive monitor cabinets usually
mounted on a mic stand and placed closer to the performer’s ear for better
intelligibility and less overall sound pressure onstage. Keyboard/synth
players will be able to hear themselves better with a stand-mounted monitor.
SPEAKER CONNECTORS
Normally, the choice of cable connectors is decided by the connection types on
the speakers you have chosen. When connecting a mixer’s outputs to multiple
crossovers, then those to power amplifiers, and then those to speakers, you’ll
most likely be using at least two different cable connector types. Because
audio equipment does give you a choice of connections, this reference guide
should help you decide which cable connector type is best for your situation.
SpeakON is a type (and brand) of multi-pin connector that’s commonly
found on speakers and amplifiers with high wattage ratings. SpeakON connectors
offer an exceptionally reliable connection, they can manage extremely high
power, and they’re durable. TRS is the abbreviation for “Tip-Ring-Sleeve.”
This term describes ¼” (or “) balanced connectors. A TRS plug can be found at
the end of most headphone cords, if you want to know what one looks like. It
looks like a standard ¼” plug with an extra “ring” on its shaft. TRS
connectors are used wherever you need to have two conductors plus a ground
(shield) in one plug.
XLR (External Line Return) is a circular three-pin connector with
positive, negative, and ground pins. These are normally used for transmitting
balanced mic-level signals to mixers or line-level signals to powered
speakers.
TS is the abbreviation for “Tip-Sleeve” and refers to a specific type of
¼” connector that’s set up for two-conductor, unbalanced operation. The tip is
generally considered the “hot,” or where the signal is applied, while the
sleeve is where the ground or shield is connected.
IN-EAR MONITORING
The concept of in-ear monitoring is quite simple. Introduce a high-quality
signal to the musician’s ear that allows them to clearly hear the mix at any
chosen volume. In-ear monitoring has been around since the mid-1980s and was
originally used only by top touring professionals because of their cost.
However, technological advances in recent years have put in-ears within reach
of musicians on a budget.
The benefits of using IEM’s for the musician and engineer are at once clear:
better sound, improved stereo imaging, less vocal strain, protection against
hearing damage, portability, increased gain before feedback, and lowered
onstage volume. In-ear monitoring works best with relatively low stage
volumes, so it’s ideal for acoustic performers and electric ensembles who use
low-powered instrument amps. If your sound is reliant on massive guitar amp
stacks, in-ear monitoring is probably not the way to go.
In-ear monitoring systems are best known for their ability to reduce stage
volume. When each band member hears vocals or instruments through wedges and
instrument amplifiers, competitive monitoring (individual band members turning
up to hear themselves better) often results in a loud, cacophonous stage. This
has the effect of muddying the house mix and causes excessive overall volume
as the sound engineer is forced to turn up the mains to compensate for stage
levels.
When used in conjunction with personal mixer systems, such as those by Aviom,
in-ear monitors give musicians absolute control of their own monitor mix
onstage. Artists can have any mix they want at any volume. Singers can
independently increase their voice’s volume separate from the band’s mix,
reducing voice fatigue and the risk of hearing damage. This also gives the
engineer better isolation, because loud stage monitors bleed into adjacent
microphones, which can muddy the overall mix. For smaller venues and bands
without the luxury of a separate monitor engineer and console, it frees up the
FOH mixer from having to send separate cue mixes.
SUMMING UP
We strongly suggest that, if possible, you should consult with a reputable
system integrator experienced in designing, installing and servicing PA
systems. While this guide only touches on areas you, as a consumer, need to be
aware of, hopefully we’ve given you enough of a start on your journey to your
dream sound system. Armed with that information, you are now better equipped
to find the right gear to match your needs and budget.
LEARN MORE
Please visit our
website to see the full
lineup of Yamaha professional audio equipment. If you have any questions or
would like more information on Yamaha products in worship, please visit our
worship site and select
Contact Us from the top menu. We look forward to hearing from you.
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