Distributed in 94 countries, Mix is the world's leading magazine for the professional recording and sound production technology industry. Mix covers a wide range of topics including: recording, live sound and production, broadcast production, audio for film and video, and music technology.
EVER WONDER IF SOMEONE’S PUTTING YOU ON? We always appreciate getting e-mails and comments about Mix and the industry in general, but every once in a while, we just gotta wonder whether someone’s putting us on. It’s the web equivalent of the phrase “O.K., Where’s the hidden camera?”—wondering whether Allen Funt is gonna come out from behind a curtain. And sometimes, maybe it’s simply a sad reflection on whoever actually sends these things.
One time, some guy inquired, asking for a recommendation about what kind of outboard mic preamp he should buy. Someone told him his tracks would sound much better if he bought a Neve preamp. I replied that to in order for us to maintain some kind of impartiality, we have a policy of not recommending any specific products unless it is part of a written article, review, etc. But out of curiosity, I asked him what kind of mics he had. He replied he had a couple of Shure SM57s.
Believe me, there are few mics more amazing than this must-have, time-tested classic, but at this point the “Candid Camera” alarm went off in my mind. However, diplomacy set in and I recommended he could probably get more quality for his money by first getting some better mics which later—once he’s ready to invest in a super-quality preamp—would really make sense. Problem is some schmoe, an “expert,” no doubt, gave some one-size-fits-all advice that really didn’t fit his particular situation.
Another time, some guy e-mailed after reading what we assumed was a thoroughly tongue-in-cheek article I wrote on the back page of our AES issue last year with a bunch of joke press releases called “Products You Won’t See at AES”. You can check it out here: CLICK HERE FOR ARTICLE.
Among other things—including gems such as “The Roach Coach Music Library,” a “Drunkulator” plug-in and a “Stoogelizer” outboard processor—the list described the “Virtual Sur-Reality” helmet, which would give users the visual impression they were mixing in Abbey Road studios or the Sydney Opera House rather than the cheesy studio or dumpy basement club they were in.
It was written in jest, yet some poor soul actually thought it was real (talk about sur-reality!) and wondered how he could contact the manufacturer. I’m sure it was quite a letdown for this person to hear the truth, but maybe there’s a lesson to be learned here that indicates there might be a market opportunity for someone to actually make such a product. Any takers? And hey, if it’s on the Internet, it’s gotta be real… doesn’t it?
When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com/ariel.html and check ‘em out. ________________________
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THIS HASN’T BEEN THE BEST WEEK. Jim Cowan, an old friend just passed away after a bout with cancer. Just 52 years young, he was a 20-year veteran of Neutrik USA (in fact, he was the company’s first employee), starting out as general manager and eventually becoming company president.
Jim was an amazing person who was loved by everyone in the audio industry and even though we lived on opposite coasts, seeing him at tradeshows was always a great experience. Even better was some years ago when we spent a week in Liechtenstein, checking out the sights, including visiting Neutrik’s plant and company HQ in this tiny European country of 62 square miles—barely larger than the 49-square mile footprint of the city of San Francisco. In those few days, I really got to know what an intelligent, creative and caring human being he was.
And anyone who ever met Jim would tell you he loved the pro audio industry. In a Mix interview, he talked about the satisfaction he felt from “meeting and having one-on-one conversations over the years with industry leaders and pioneers such as Hartley and Melia Peavey, Greg Mackie, Phil Hart, Charlie Wicks and Michael Laiacona—to name just a few. I have been fortunate to have met some of the most talented artists, engineers, installers and designers in the industry.” Jim also recalled that one of his most rewarding accomplishments was getting Neutrik’s Speakon connector accepted by manufacturers, users and installers. “It was a big challenge for Neutrik to create something totally new and to get the industry to like it, believe in it and support it,” he said. But Jim’s persistence and hard work paid off, with Speakon now accepted as a worldwide industry standard.
Jim was a devoted father to his sons, participating in their track and soccer programs and coaching youth basketball and Little League baseball teams. He enjoyed traveling, was a serious wine enthusiast and a proud member of the Red Sox Nation. Jim is survived by his wife Kate, sons Daniel and Gregory and his mother. As the disease that took him progressed, and he knew the end was near, he requested that friends who remembered him should donate to Ocean of Love, a non-profit organization dedicated to helping children with cancer and their families. It’s no less than I would expect from a man with so much love and who was loved by so many. Farewell, friend–you will be not be forgotten.
When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com/ariel.html and check ‘em out. ________________________
What do YOU think? CLICK ON THE “COMMENTS” LINK BELOW AND SPEAK OUT!
DURING MY 28-YEAR TENURE HERE AT MIX, I’ve done hundreds of interviews with people in all aspects of pro audio–engineers, producers, live sound mixers, artists, educators, studio owners, manufacturers, designers–you name it. But it isn’t very often that I’m the one being interviewed, although a couple of these instances occurred recently. One was by my old friend Alan Parsons, who was doing some kind of video documentary and talked to me about Mix magazine during the AES show. It’s too bad he didn’t interview me about the time we spent a week teaching audio seminars (and goofing off) in Argentina for some events sponsored by the wonderful Mercedes Onorato, but like the old saying goes, what happens in Buenos Aires STAYS in Buenos Aires. There are a lot of great stories about that trip, but maybe some other day…
My other interview was by the awesome, talented publicist Marsha Vdovin, who spoke to me a couple weeks ago about my work with the TECnology Hall of Fame, which I founded five years ago as a spinoff to the TEC Awards, to honor audio innovations and innovators from the relatively short (OK, 125-year) history of pro audio, going back to the early work of pioneers such as Edison and Berliner. Marsha’s project had to do with this year’s induction of Bill Putnam’s 1176 compressor—truly a classic in anyone’s book. In fact, I was equally honored to have Bill Putnam Jr. (of the reborn Universal Audio) be on hand to accept the award in the memory of his father.
The sad side of pro audio’s history is that it’s fleeting, very fragile and often poorly documented. Researching this stuff ain’t easy. Many manufacturers are long since out of business. At some companies, no one remains who has any knowledge of the original product—even a few years later. The history of pro audio—our very lineage—is woefully neglected and sources are scarce, if not impossible to find, so ANY effort to chronicle our past is a worthwhile effort. You can check out profiles and information about all of the TECnology Hall of Fame inductees to date by clicking on TECnology Hall of Fame, http://mixonline.com/TECnology-Hall-of-Fame/.
Anyway, after all these years, it was great to chat with Marsha about some of the background behind the event and recall a few highlights. But rather than spoiling all the fun, you can check it our yourself at the Heritage Section of Universal Audio’s website. These guys really understand the importance of history.
As a sidenote to this year’s TECnology Hall of Fame, one of this year’s other inductees was for the Kurzweil 250 keyboard, and although Ray Kurzweil wasn’t able to attend, we were pleased to have his daughter Amy accept the award on his behalf and keeping with the trend, Eric Blackmer, son of the legendary late David Blackmer, accepted the induction for his father’s classic dbx 160 compressor.
When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com/ariel.html and check ‘em out. ________________________
What do YOU think? CLICK ON THE “COMMENTS” LINK BELOW AND SPEAK OUT!
YOU CAN TELL IT’S AN ELECTION YEAR. Members of the Senate and House of Representatives in Congress are considering the Commercial Advertisement Loudness Mitigation Act, which would require the Federal Communications Commission to prescribe a standard to preclude commercials from being broadcast at louder volumes than the program material they accompany.
The text of this proposed legislation (bills H.R. 6209 and S. 3154) states:
“Within one year after the date of enactment of this Act, the Federal Communications Commission shall prescribe pursuant to the Communications Act of 1934 (47 U.S.C. 151 et seq.) a regulation that provides, in connection with any video programming that is broadcast or that is distributed by any multichannel video programming distributor, that—
(1) advertisements accompanying such video programming shall not be excessively noisy or strident;
(2) such advertisements shall not be presented at modulation levels substantially higher than the program material that such advertisements accompany; and
(3) the average maximum loudness of such advertisements shall not be substantially higher than the average maximum loudness of the program material that such advertisements accompany.”
When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com/ariel.html and check ‘em out. ________________________
What do YOU think? CLICK ON THE “COMMENTS” LINK BELOW AND SPEAK OUT!
THERE’S SOMETHING COOL, HIP AND INHERENTLY GREEN about recycling and every now and then I go by this very cool (and very Berkeley) place called Urban Ore, which is just a couple blocks away from the Mix offices. This is a locale where people bring old furniture, leftover building materials and obsolete technology stuff to be resold, reused and otherwise redistributed to people in the know. It’s essentially a huge old warehouse and outdoor sales area brimming full of STUFF of every sort (and well sorted), ranging from consumer electronics, plumbing/electrical supplies, picture frames, desks, sinks, tubs, windows, doors, slightly overused–meaning really beat up–musical instruments and occasionally (but alas, not too frequently) even PRO AUDIO.
But today in the electronics section–among the piles of Kodak Ektagraphic slide projectors, 1970s-era slide programmers/dissolve units (in case anybody is old enough to remember olde-style multimedia/multimage), Mac 8600s, vintage PCs, turntables, cassette decks and piles of Jaz/Zip/Bernoulli drives–was a more unusual item.
A Neve/Necam 96 power supply.
Unfortunately, no other Neve gear was lurking about, but at a mere $50 buckaroos, you could have this monster of monsters: About six rack spaces high, it must have weighed about 100 pounds–they just don’t make ‘em like this anymore. What awesome construction!!! I was even tempted to bring it home and adopt it myself for resale or some future project, but this was like the big one you toss back into the pond, hoping that it will make someone else’s day.
But the real mystery in the back of my mind was what tales this thing could tell. Where did it come from? What great projects did it once supply (pun intended) the juice for? Some things I may never know, so if anyone DOES know, let me know and help me finish this Unsolved Mystery for the rest of the world…
I hate telling you this, because, for one, I don’t want anyone to be misled and think that among the porcelain toilet tanks, printing presses and dictaphones that haunt this place, there are boxes of dusty Neumanns in every corner–which there aren’t, although today, they had a 15-inch Peavey Black Widow woofer (untested and missing its aluminum dust cap) for $12, a solid-looking single-15 cab in faux wood finish–empty, but sporting road handles and dual front ports for $25 and an empty (but extremely heavy) dual-12 cab–it was a generic roadcase-looking box (no handles)–for $20 or so. Yet at the same time, they were trying to sell some heavy black/chrome older steel Atlas speaker stands (NOT MIC STANDS) priced about $260–I’m not sure who came up with THAT price!
So you never know what to expect. Besides this week’s Neve PS, they also had a Sony SDDS 35mm projector soundhead for $25–not bad if you need one–and an Ampex 35mm mag stripe stereo reader (the “penthouse” style) also for $25, but it will be a while before that one moves… Oh, and if you happen to need to need some 35mm exhibition reels, they have both 6,000 and 13,000 foot versions in stock this week.
When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com/ariel.html and check ‘em out. ________________________
What do YOU think? CLICK ON THE “COMMENTS” LINK BELOW AND SPEAK OUT!
I FIRST GOT A REAL SWISS ARMY KNIFE back in the early ‘70s, when I spent a lot of time troubleshooting gear. I finally managed to destroy it (it essentially was worn out to the nubs) after it saved my butt about a thousand times, repairing hundreds of pieces of A/V gear, from simple P.A. rigs to elaborate 70mm projection systems with 6-channel Dolby playback. I even filed down the flat screwdriver that stuck out of the side of the knife body at a 90-degree angle so it would fit those reverse-threaded XLR set screws that holds the connector into place. That same attachment also made for a pretty formidable brass-knuckle effect, although that particular usage wasn’t mentioned in any of the official Victorinox literature.
Anyway, it’s too late for Christmas now, but I just heard about a slick new entry in the Swiss Army line—even cooler than the company’s Cyberknife of a couple years back, the one that even included mini Torx drivers for repairing PCs.
Although it’s a whopping $1,200 retail, Wenger Giant Swiss Army Knife™ V1.0 #16999 certainly tops anyone’s gift list—or for those companies looking for the ultimate in tradeshow swag—this one’s the ticket. At an actual size of 8.75×3.25-inches (WxL); and weighing in at 2 pounds, 11 ounces, it’s a bit large for the average pocket. However you get a lot here…
It touts 85 implements with 110 functions in all including a 2.5″ 60% serrated locking blade; nail file, nail cleaner; corkscrew; adjustable pliers with wire crimper and cutter; removable screwdriver bit adapter; 2.5″ blade for official world scout knife; spring-loaded, locking needle-nose pliers with wire cutter; removable screwdriver bit holder; phillips head screwdriver bit 0; phillips head screwdriver bit 1; phillips head screwdriver bit 2; flat head screwdriver bit 0.5mm x 3.5mm; flat head screwdriver bit 0.6mm x 4.0mm; flat head screwdriver bit 1.0mm x 6.5mm; magnetized recessed bit holder; double-cut wood saw with ruler (inch & cm); bike chain rivet setter, removable 5mm allen wrench, screwdriver for slotted and philips head screws; removable tool for adjusting bike spokes, 10mm hexagonal key for nuts; removable 4mm curved allen wrench with philips head screwdriver; removable 10mm hexagonal key; patented locking philips head screwdriver; universal wrench; 2.4″ springless scissors with serrated, self-sharpening design; 1.65″ clip point utility blade; philips head screwdriver; 2.5″ clip point blade; golf club face cleaner; 2.4″ round tip blade; patented locking screwdriver, cap lifter, can opener; golf shoe spike wrench; golf divot repair tool; 4mm allen wrench; 2.5″ blade; fine metal file with precision screwdriver; double-cut wood saw; cupped cigar cutter with double-honed edges; 12/20-gauge choke tube tool; watch caseback opening tool; snap shackle; mineral crystal magnifier with precision screwdriver; compass, straight edge, ruler (in./cm); telescopic pointer; fish scaler, hook disgorger, line guide; shortix laboratory key; micro tool holder; micro tool adapter; micro scraper–straight; micro scraper–curved; laser pointer with 300 ft. range; metal saw, metal file; flashlight; micro tool holder; philips head screwdriver 1.5mm; screwdriver 1.2mm; screwdriver .8mm; fine fork for watch spring bars; reamer; pin punch 1.2mm; pin punch .8mm; round needle file; removable tool holder with expandable receptacle; removable tool holder; special self-centering screwdriver for gunsights; flat philips head screwdriver; chisel-point reamer; mineral crystal magnifier, fork for watch spring bars, small ruler; extension tool; spring-loaded, locking flat nose-nose pliers with wire cutter; removable screwdriver bit holder; phillips head screwdriver bit 0; phillips head screwdriver bit 1; phillips head screwdriver bit 2; flat head screwdriver bit 0.5mm x 3.5mm; flat head screwdriver bit 0.6mm x 4.0mm; flat head screwdriver bit 1.0mm x 6.5mm; magnetized recessed bit holder; tire tread gauge; fiber optic tool holder; can opener; patented locking screwdriver, cap lifter, wire stripper; reamer/awl; toothpick; tweezers; and of course, a key ring—you won’t lose your keys if this sucker is attached—guaranteed.
Of all these functions, my fave would have to be the “12/20-gauge choke tube tool” (some of use work some pretty tough gigs), but the “shortix laboratory key” sounds intriguing as well…
When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com and check ‘em out.
AFTER WAY TOO MANY YEARS, APPLE FINALLY did a real makeover on Logic, its flagship music/audio production software, now offered as the “Logic Studio” bundle of production tools. It’s sort of the Final Cut Studio approach, which includes FCP, Soundtrack Pro 2, Compressor, DVD Studio Pro, Motion and more–pretty much a script to screen package.
And there’s a lot of good news here. Gone is Logic’s clunky look, instead Logic 8 uses a single-screen interface that’s streamlined and fast. The surround mixing is elegant and there’s a vocal comping feature that’s just amazing. Also in the bundle is Soundtrack Pro 2 (the same version from the FCP Studio bundle), Studio Instruments, Studio Effects (with some 80 plug-ins) and Studio Sound Library, with 18,000 Apple Loops and 1,300 sampled instruments. At $499 it’s almost stupid NOT to buy this package—whether you own a Mac or not.
But what really floored me was the not-so-lowly MainStage. Intended to simplify using software instruments onstage, this standalone app provides a live performance rig for guitar/keys/bass. Virtual keys instruments and guitar/amp/effects modeling is nothing new, but what’s the big deal?
First of all, ya gotta wonder why this is in a studio production bundle anyway. Someday, Apple might wise up and include this with its iLife software, but that’s not the point. I was absolutely amazed by the keyboard setups and their ability to do splits. Again, no biggie—I even have left/right-hand organ/bass splits on my vintage ’60s Farfisa organs. Custom splits are nothing new and nearly any decent keyboard controller can store/recall different split presets for different songs. Yet the real trick with MainStage’s split keyboard mode is its ability to do intelligent splits.
Many of us have experienced the frustration of playing a bass line that as it moves up the scale, will eventually start playing piano notes. But playing left-hand bass/right hand melody parts on a keyboard that can move the split as you play, keeping you in range is pure magic. Evidently MainStage runs some algorithm that tracks your hand movements and moves the split point accordingly. It’s awesome and is probably worth the program’s $499 bundle price. Of course, once your include all the other apps—Logic 8, Soundtrack Pro 2, etc.—this is one amazing bargain.
When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com and check ‘em out.
WALKING AROUND THE AES SHOW LAST WEEK, ya couldn’t miss it. Right out in the middle of the exhibit floor at New York City’s Javits convention center was a huge 30×30-foot pad of astroturf, with a rustic-looking cabin sitting right in the middle of it.
What is it? It’s a copy of Peter Gabriel’s backyard songwriting sanctum, equipped with a Solid State Logic AWS 900+ console /workstation controller, SSL XLogic outboard gear and additional Gear provided by Guitar Center Pro, including a Pto Tools HD rig, Auralex acoustic treatment, Argosy studio furniture and Henick-Lane air conditioning. Mix editor Sarah Jones and I sat down with Gabriel during the show and got his take on this. (Click here to check out the video interview.) Bringing “turnkey” to a whole new level, this “Shed of your Dreams” studio costs under $250K, depending on exact finish, specifications, the exact gear you choose and location—the user only need provide a concrete pad and electrical service.
Evidently the reaction at the show was overwhelmingly positive and from what I hear, several orders were placed. But $$$ aside, the concept of having a cool, prefab studio laid down at your location over a matter of days has a lot of merit.
The building itself is a 240-square-foot Summerwood Cheyenne cabin and it had a great vibe of its own. Gabriel’s own shed is decorated with some amazing (and quite valuable) artwork that’s NOT part of the purchase price. But as an avid art collector myself, I’d have no problem finding stuff from my own to spruce the joint up.
As an aside, my wife and I collect a variety of styles, but lately have been focusing on illustration art from science fiction. To get an idea of how cool some of this stuff is, you can check out one dealer we occasionally buy from—Worlds of Wonder at www.wow-art.com. Hey, just don’t complain to me next month because you spent all you money there, but even if you don’t, it’s a great source of eye candy—or a way of finding the right artist for your next album cover.
And while I was on the web, I checked out the Summerwood Products site www.summerwood.com (the guys who built the Gabriel shed) and was impressed by the array of designs and possibilities offered. More eye candy to be sure…
When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com and check ‘em out.
HERE WE ARE AND AES IS JUST A MONTH AWAY! It doesn’t seem so long ago when we were at AES (at least the San Francisco show) and now AES is upon us once again. If you haven’t done so already, now–or at least 21 days before the show to get those advance-purchase fares–is a good time to lock in those cheap plane tickets. Or if you’re really lucky to live within a manageable distance—train tickets.
Or to steal the lyrics from a song about another U.S. city, “GONNA TAKE A BUS. GONNA TAKE A TRAIN. EVEN IF I GOTTA WALK, GONNA GET THERE JUST THE SAME…
New York AES is the place to be if you’re an audio pro. By all indications, the show’s gonna be great, with hundreds of exhibitors hawking the latest hoo-hahs and a great selection of workshops, papers and events to keep you way busy on October 5, 6, 7 and 8th.
But the magic of AES isn’t necessarily the show itself, but a gathering of the tribes and often the best place to find the real action is late night, at the bar of the Marriott Marquis or any of the dozen other official AES hotels. In fact the number of products on the show floor that are directly attributed to sketches made on rum-soaked cocktail napkins from last year’s AES is just as staggering as the comical gait that many attendees have when exiting the bars at closing time.
If you’re really smart, call the Iridium Jazz Club (212/582-2121) and snag a couple tickets for one of Les Paul’s shows, Monday night October 8th. Les is really an American icon and in a day when the word “living legend” is bandied around to apply to nearly anyone, Les is the genuine article. The shows start at either 8 or 10 pm, but it’s best to get there early to get good seats, as there are no reserved seats and it’s first come, first serve. Check it out at www.iridiumjazzclub.com.
If you’re really, really smart, bring something for Les to sign after the show. He’s usually pretty nice about such things, unless you walk in carrying a Strat. In that case, you’re on your own, and you certainly don’t want to mar your New York experience by needing to drag yourself into an emergency room to have a (Fender) guitar neck extricated from one of your body cavities. My advice? Leave the Strat at home, bring a CD, LP or your ‘58 gold top Les Paul guitar to get signed. And watch out, because Les sometimes “forgets” to return your pen after he autographs something. In any case, a performance by the Les Paul Trio is a wonderful and unforgettable experience that’s well worth the $45 ticket price. Don’t miss it!
And if you really need a great reason to attend NYC AES, just say the words “Ray’s Pizza” three times and you’ll be magically whisked to the doors of the Javits Center. But if that fails for some reason, just grab a cab… from anywhere. And for more info about the AES show, visit www.aes.org. You’ll be glad you did!
When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com and check ‘em out.
THERE OUTTA BE A TRADESHOW FOR TRADESHOWS, where all these organizers can all meet and coordinate their dates for the upcoming year. Just about anybody who goes to a lot of audio tradeshows can remember those years when Musikmesse overlapped NAB, etc. And it never seems to end—next month’s IBC (the big European broadcasting show) overlaps PLASA (the big U.K. live sound show). Whether you’re attending or exhibiting, such intertwined schedules can really complicate your life.
But sometimes, there is some good news. Over the weekend, InfoComm and NSCA announced that they would combine their expos into a single event next year (June 18-20) in Las Vegas. Both organizations should be applauded for this move, which should really reinforce (no pun intended) and help build show attendance and the depth of the workshops/ancillary activities surrounding the expo itself. Faced with two similar (but certainly NOT identical) events, many showgoers–and many exhibitors as well–simply selected one or the other each year, leading to two competing events just a few months apart. After years of complaints about the situation from exhibitors and visitors, both organizations decided to take action and work together for a common good. Bravo!
And after a three-year absence, Summer NAMM is returning to Nashville in 2008. Indianapolis and Austin are great towns, but the only place where Summer NAMM seems to work these days is Nashville. As with other cities where Summer NAMM has been held—such as Austin, New Orleans, Chicago, Atlanta, Atlantic City—Nashville is also a great music town. But Nashville is a major recording center—another plus, with a great downtown convention center with affordable nearby lodging and is in the center of a huge population circle within a one-day’s driving radius, making it convenient as well. So far, so good. Unfortunately, Summer NAMM 2008 is June 20-22, and this timing overlap with the new, powerful, merged NSCA/InfoComm will create some tough decisions for a fair number of pro audio exhibitors in picking which show to attend/support.
The very real issue of overlapping tradeshows actually hurts everyone in the industry, especially in today’s tough business climate. So far, we have two steps forward, and one step behind. Maybe someday, in that perfect world where all these organizations do a little more coordination, this wouldn’t happen. The solution could be that “tradeshow for tradeshows” where all this occurs, but until that day…
When not working on Mix stuff, George Petersen records and performs with the SF Bay Area-based rock band ARIEL. Click here www.jenpet.com and check ‘em out.
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