August 27, 2025 • 17 mins
Ever been caught in a panic when Source-Connect 3 won’t talk to Source-Connect 4? You’re not alone. In this week’s Pro Audio Suite, the team dives into the Source-Connect Bridge—what it is, why it exists, and how it can save your session.
Robbo shares a real-world case of a talent stuck between versions, Robert explains how the Bridge works behind the scenes, and George breaks down when it’s the best option (hint: travelling VO talent on Windows, we’re looking at you).
We also get sidetracked on long VO sessions, Apple’s memo banning typewriters in 1980, and why agencies sometimes make a 10-second tag take two and a half hours.
Whether you’re a studio, talent, or just someone who’s had “version hell” ruin your morning, this episode is a must-listen.
🔗 Find out more at www.proaudiosuite.com
Sponsors:
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🎙️ Tri-Booth – Get $200 off with code TRIPAP200 at tribooth.com
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🎤 Austrian Audio – Making passion heard
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?
Get started.
Welcome.
Hi.
Hi.
Hi.
Hello everyone.
To the Pro Audio Suite.
These guys are professional.
They're motivated.
With Tech the VO stars.
George Witton, founder of Source Elements.
Robert Marshall, international audio engineer.
Darren Robbo-Robertson and Global Voice.
Andrew Peters, thanks to Triboo.
Austrian Audio, making passion heard.
(00:20):
Source Elements, George the Tech Witton and Robbo
and AP's international demos.
To find out more about us, check theproaudiosuite
.com.
Line up, man.
Here we go.
And welcome to another Pro Audio Suite.
Thanks to Tribooth.
Don't forget the code.
T-R-I-P-A-P-200.
That will get you $200 off your Tribooth.
(00:42):
And Austrian Audio, making passion heard.
Now, you had a bit of an incident
over the weekend.
Or actually, it was probably yesterday.
Robbo, with someone using Source Connect 3, trying
to connect with someone on Source Connect 4.
Other way around.
Yeah, actually.
I've had someone call me and they were
(01:04):
having some trouble with Source Connect.
In fact, they were panicking.
They were shitting themselves.
They had a session at 8 o'clock
in the morning.
And they downloaded their two-day license for
Source Connect.
And she got in touch with me because
she was panicking that there was no license
popping up in her iLock.
So, it kind of clinked with me that
perhaps she downloaded a 4, not realizing that
(01:26):
4 was the only one you could do
that with.
I actually found out that from Robert later
on.
But anyway, long story short, I got in
touch with Robert and he talked me through
the process of the bridge, which was going
to be the original plan because Robert kindly
dropped a 3.9 temporary license in this
lady's account to get her going.
(01:46):
But if she had to go the other
way with 4, we were going to use
the bridge.
And I'd never even heard of the bridge.
Every time we've discussed Source Connect 3 and
4 compatibility on this show, my understanding was
that they didn't talk at all.
So, anyway, we found the bridge and I
was shocked at how easy it is to
set up and how well it worked.
So, I kind of figured it would be
(02:07):
worth talking about today because I reckon it
would be a headache solver for a lot
of people.
It will.
I mean, I think there's a number of
advantages to considering the bridge.
It's true that bridges add latency because you're
going through two systems instead of one, so
it's not a direct connection.
(02:28):
But there's certain situations where it might be
almost best.
If you think about a voice talent who's
on the road with a Windows machine, they
can't get their ports forwarded.
Source Connect 3 really needs or wants port
forwarding.
Source Connect 4 doesn't need port forwarding.
So that talent who's on the road on
a Windows machine would be much better off
(02:50):
connecting via Source Connect 4.
And if they have a studio who, for
whatever reason, is still using version 3, then
the bridge might actually be preferred in that
situation at least because you know you're going
to get through to the bridge and you
assume the studio is set up.
And then you don't have to worry about,
(03:11):
will my ports work or not?
A little bit different for Mac users.
You know, Mac Source Connect 3.9 to
3.9, it has other means of getting
through without ports, so that's generally not as
big of a problem.
That traveling with Source Connect is really just
an issue for Windows users.
But the new issue that's starting to come
up is that Sequoia, for example, and the
(03:33):
newest Mac operating systems are really starting to
give a bit of trouble to Source Connect
3.
Like the nightmare situation would be, imagine a
talent running a really old Mac operating system
like Sierra that cannot do Source Connect 4.
And then the studio, fully updated, and they
(03:54):
can't do Source Connect 3 because Sequoia and
whatnot is having trouble with Source Connect 3.
So now, again, the bridge is the only
way to get across that one reliably.
And they're not as bad as, you know,
they're very quick to set up.
They're on everybody's dashboard.
I was surprised how simple it was to
set up.
I mean, literally, you go into your account,
you click on Bridge, you click the person
(04:15):
you want to connect to, thinks about it
for 30 seconds, 60 seconds, and bang, you're
good.
And then all you've got to do is
go back to your, whether it be 3
or 4, go back to your Source Connect
plug-in, and just instead of selecting the
person you're connecting to directly, you can select
the bridge.
Really simple.
(04:36):
So the one difference is that both people
have to connect to the bridge.
The bridge doesn't dial out to anybody.
Both ends dial.
And the bridge contact shows up on each
person's or each side's contacts list.
And in most cases, you don't even have
to really worry about, you know, it's bridge
792445.
But really, in most cases, people don't have
(04:57):
multiple bridges going simultaneously.
So it'll probably be the only bridge that
shows up on your contacts list because once
you're done with that bridge, it will go
away from your contacts list.
Yeah.
And the timing is because it takes up
a crap load of room on the server.
Is that right?
Well, it's a real system.
So there are a limited number of bridges,
(05:17):
actually.
I think there's eight of them.
Right.
Wow.
But we've not really had an issue.
I think people don't realize what, you know,
and they don't care.
They just want it to work.
But the amount of engineering and making that
automate and work that easily is, it's not
trivial at all.
It's pretty impressive that it does what it
(05:37):
does.
And, again, they put in that time, money,
and effort into building a system for free
that is really temporarily solving a problem until
everybody moves to the new version.
It's pretty cool that it's just there.
Yeah.
Three and four were so different, just to
fill everyone in, three and four are so
(05:58):
different that three does not connect to four,
thus the need for the bridge.
But also, for us, it made a lot
more sense to make something like the bridge
than to significantly delay and invest in a
huge feature that would only be useful for
maybe two years.
And then what's the point of the connections
(06:20):
to three within four?
I'd never seen it, and Robbo was talking
about it before we started recording this.
And so we did it, he said, jump
on and let's connect via the bridge, which
we did.
And I was like, holy shit, that was
really easy.
The bridges do cancel out, auto-restore, auto
-replace.
I would say that technically it's better to
(06:42):
connect directly between versions, but if there's any
reason why you or the studio can't use
whatever other version, the bridge is there.
And as you said, they're easy to use.
And unfortunately, I've seen some talent at times
where they're like, I'm on four, I need
to be on four because they're on Windows
(07:02):
and it's easier.
And the studio just went, no bridge, period.
Like, absolutely not.
And it's like, did you try it?
And they just throw down their whatever.
That's kind of annoying.
Yeah.
And what's your thought about the fact that
it's a bit like a car with a
meter and it has a clock.
And so when the clock gets below 15
(07:25):
minutes, you have 15 minutes to click add
more time.
If not because it's a limited resource, it
will cut the whole bridge off if you
don't keep on extending it.
Is that from both ends?
No, because the only end that manages the
bridge is the side that initiates it.
So if you call up the bridge, you're
calling it up for, you pick from your
(07:46):
contacts list who you want to connect with,
and it populates the bridge contact in your
contacts list and whoever you designated.
So then if you did that, you're the
person that's managing that bridge.
You have the clock.
You can do this from your cell phone.
If you're in the booth, you could have
your cell phone with a little clock clicking
away.
It's just a window.
(08:06):
You don't close it, and you just click.
I've got to be honest.
For me, for most of the Source Connect
sessions I do, half an hour would be
enough for maybe one or two tracks.
And if there was more, that extra 15
minutes, I mean, I think you can take
another 15 minutes three or four times before
you've got to actually refresh the whole thing.
(08:27):
Even more.
So it's funny how slow we are at
updating the web page.
It says 90 minutes, but the reality is
I think it gives you up to two
and a half hours of refreshes.
Well, there you go.
And that would be more than enough.
Should I ever do?
I fucking hope so anyway.
No, no.
Do you need at least two and a
half hours if you're doing a 10-second
tag?
(08:50):
Take 110.
Did I ever tell you that story?
When I was at George Pat's, I'd only
just left radio, and I was sort of
getting used to the, and I say this
in the nicest possible way, the pretentiousness of
advertising agencies, and we were launching a new
magazine.
It was called Take Five Magazine, and the
(09:12):
two Mels were in charge of the launch
of this magazine, and they did the TVC.
And Henry Zeps, who unfortunately has recently passed
away, RIP Henry, a great guy, they had
him down in a studio.
To do the tag, Take Five Magazine, out
now.
Two and a half hours later, Henry was
(09:33):
still in the booth and turned around and
said, listen, I've got to go.
If you don't have it by now, you'll
never have it, and left.
It sounds like that TV show, The Valkyries,
or what was it that you, the one
from England, where the guy's an actor?
Toast of London.
(09:54):
Toast of London, yeah.
Yeah, yeah, yeah.
Exactly.
Great show.
It's very funny.
But yeah, I've had sessions where it's like
the shorter the script, the longer the session,
and I'd won only a few weeks ago,
and it got to the point where I
just had to stop talking to make the
engineer jump in and start managing the session
because it was just getting right out of
(10:15):
control, and I thought, right, I'm just going
to not say anything, which then instigated the
engineer jumping in and going, look, I really
think we've got everything we need.
Unless there's something specific you need, I think
we're covered.
And eventually it was like, okay, great, thank
you, bye-bye.
(10:36):
At some point you just start doing it
exactly the same every time.
Like you just purposely.
I've had people come in here, though.
This is really weird.
I won't mention who it was, but a
voice talent came here during COVID and had
to do a session, and it's always the
thing, can you give us three in a
row of that short sentence or whatever, tag
(10:56):
or whatever.
This person did three in a row, but
they were all exactly the same.
Yes, people do that.
And then they go, oh, yeah, we actually
like the second one.
It's good, I think so.
Yeah.
It's just bizarre.
I think sometimes with your direction you've got
to be a bit clearer.
Can you give us three in a row?
(11:17):
I think it means to them, can you
give me three the way you hear it
in a row?
I think you've got to say, can you
mix them up, give us three in a
row or something like that, you know what
I mean?
Make it clear, because I've noticed that a
lot.
Add some variety, yeah.
Is it the same as what we say
when we say ABC?
Can you ABC that for us?
Yeah, give me an ABC on that or
three in a row, or a series of
(11:39):
three.
But that's why it's called ABC, not A
-A-A.
Actually, can you give me an A-A
and a B, please?
That's the Canadian version.
A-A-A.
A-A-A.
A.
I like A.
What do you think about B-A?
(11:59):
A.
I like C-A.
Yeah.
Well, since we're on a tangent, I've got
another good one for you.
It just stumbled into my inbox or my
whatever, wall or something, and it was a
memo.
I had to verify that this is actually
authentic, but it was a memo from the
executive staff at Apple in February 1st, 1980,
(12:24):
and the subject is called typewriters.
And it says, effective immediately.
No more typewriters are to be purchased, leased,
et cetera, et cetera.
Apple's an innovative company.
Live by the sword, die by the sword.
Yes, we must believe and lead in all
areas of word processing.
It's so neat, we all must use it.
(12:45):
And it goes on.
It says, by 1-1-81, no typewriters
at Apple.
And then it says in parentheses, Ken, get
rid of the deck word processor, A-S
-A-P.
You know who you are, Ken.
So at some point, SourceConnect 3 has to
go away and everybody has to move to
4 because technology marches on, you know.
(13:06):
It's so funny, you're caught in a corner.
Because if you don't improve the technology, then
everyone who wants to upgrade is pissed off
at you.
And then if you do upgrade the technology
and you have to move it forward and
then you have to leave something behind, everybody
who wants to hold on to their old
computer and their old system is pissed off
at you.
And you're just standing in the middle of
the road getting crushed by...
Run over.
(13:27):
But at least if you realize that, you're
ahead of the game than not realizing that.
Yeah.
Yeah, I mean, if you're not pissing somebody
off, you're doing something wrong.
Wait, I don't know.
Something like that.
Exactly.
I think there's a saying that goes along
those lines.
We piss people off every week if they
keep coming back.
So, you know, there's something in that too.
Yeah, exactly.
I'm still married, so here you go.
(13:49):
But one thing we should make clear also,
because if you go on to like ChatGPT...
Yes.
Oh, it says stereo...
It may give you some misinformation.
Well, it's not.
ChatGTP is not incorrect from what it's reading.
We have some incorrect information on our website
which we will fix.
It says that the bridges are stereo by
(14:09):
default.
They are, in fact, mono by default.
And we'll change that in time for SourceConnect
3 to completely go away.
Yeah, and this isn't about ChatGPT, and there's
a lot of people that, you know, either
people think it's magic or they don't trust
it, right?
But I will say this about ChatGPT 5,
like if you use it in search mode,
(14:30):
people don't know it has two modes, like
normal chat and search.
When it's in search mode, it references every
search result that it gives you in that
answer.
So, and if you're not sure, click on
the reference and read the original link.
In fact, I encourage you to do it
because that means the person who actually put
(14:50):
the content out there that it's stealing from
or scraping is getting rewarded because you're going
to their actual site, you know?
So, I recommend you do it.
I find it's funny because we used to
joke how, you know, when it was harder
to build your own search, we had a
search on our website.
Was it powered by Google?
Well, I forget what it was, but however
(15:11):
it went, I found it just myself and
other users found that it was easier to
search our website with Google than with our
own website.
Right.
Like Google searched our website better than our
own website could search itself.
That's right.
And it's kind of like, it seems to
be happening with ChatGPT now.
Yeah.
Well, that is definitely true on my website.
I could not get my web developer to
(15:32):
build me a search engine of my own
website to save a freaking life.
It's amazing with Google.
I built my own custom GTP, which is
not cheap to operate, but I have my
own custom GTP with my own language model
of my own freaking website so that you
can go and type into the chatbot stuff
you're looking for on the website.
That was my workaround.
(15:54):
And is it perfect?
No, but it's pretty damn good.
And it gives you a lot of useful
information in the process.
But I had to build something out of
a chatbot to be able to search my
own site, which is kind of insane.
When you think about it.
Exactly.
Is that GTPGTT?
The Le Mans GTP?
(16:14):
It's got a lot of names.
GeorgeBot, GTTBot, you know, et cetera, et cetera.
But I have it.
Since you're on that bend, I've got the
perfect way to end this episode.
If you've got the shits that version 3
and 4 of SourceConnect won't talk, build a
bridge.
And it's not a bridge too far.
It's very easy to find.
Well, that was fun.
Is it over?
(16:57):
All of this and more at our website.
(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Y'all ready to be history?
Get started.
Welcome.
Hi.
Hi.
Hi.
Hello everyone.
To the Pro Audio Suite.
These guys are professional.
They're motivated.
With Tech the VO stars.
George Witton, founder of Source Elements.
Robert Marshall, international audio engineer.
Darren Robbo-Robertson and Global Voice.
Andrew Peters, thanks to Triboo.
Austrian Audio, making passion heard.
(00:20):
Source Elements, George the Tech Witton and Robbo
and AP's international demos.
To find out more about us, check theproaudiosuite
.com.
Line up, man.
Here we go.
And welcome to another Pro Audio Suite.
Thanks to Tribooth.
Don't forget the code.
T-R-I-P-A-P-200.
That will get you $200 off your Tribooth.
(00:42):
And Austrian Audio, making passion heard.
Now, you had a bit of an incident
over the weekend.
Or actually, it was probably yesterday.
Robbo, with someone using Source Connect 3, trying
to connect with someone on Source Connect 4.
Other way around.
Yeah, actually.
I've had someone call me and they were
(01:04):
having some trouble with Source Connect.
In fact, they were panicking.
They were shitting themselves.
They had a session at 8 o'clock
in the morning.
And they downloaded their two-day license for
Source Connect.
And she got in touch with me because
she was panicking that there was no license
popping up in her iLock.
So, it kind of clinked with me that
perhaps she downloaded a 4, not realizing that
(01:26):
4 was the only one you could do
that with.
I actually found out that from Robert later
on.
But anyway, long story short, I got in
touch with Robert and he talked me through
the process of the bridge, which was going
to be the original plan because Robert kindly
dropped a 3.9 temporary license in this
lady's account to get her going.
(01:46):
But if she had to go the other
way with 4, we were going to use
the bridge.
And I'd never even heard of the bridge.
Every time we've discussed Source Connect 3 and
4 compatibility on this show, my understanding was
that they didn't talk at all.
So, anyway, we found the bridge and I
was shocked at how easy it is to
set up and how well it worked.
So, I kind of figured it would be
(02:07):
worth talking about today because I reckon it
would be a headache solver for a lot
of people.
It will.
I mean, I think there's a number of
advantages to considering the bridge.
It's true that bridges add latency because you're
going through two systems instead of one, so
it's not a direct connection.
(02:28):
But there's certain situations where it might be
almost best.
If you think about a voice talent who's
on the road with a Windows machine, they
can't get their ports forwarded.
Source Connect 3 really needs or wants port
forwarding.
Source Connect 4 doesn't need port forwarding.
So that talent who's on the road on
a Windows machine would be much better off
(02:50):
connecting via Source Connect 4.
And if they have a studio who, for
whatever reason, is still using version 3, then
the bridge might actually be preferred in that
situation at least because you know you're going
to get through to the bridge and you
assume the studio is set up.
And then you don't have to worry about,
(03:11):
will my ports work or not?
A little bit different for Mac users.
You know, Mac Source Connect 3.9 to
3.9, it has other means of getting
through without ports, so that's generally not as
big of a problem.
That traveling with Source Connect is really just
an issue for Windows users.
But the new issue that's starting to come
up is that Sequoia, for example, and the
(03:33):
newest Mac operating systems are really starting to
give a bit of trouble to Source Connect
3.
Like the nightmare situation would be, imagine a
talent running a really old Mac operating system
like Sierra that cannot do Source Connect 4.
And then the studio, fully updated, and they
(03:54):
can't do Source Connect 3 because Sequoia and
whatnot is having trouble with Source Connect 3.
So now, again, the bridge is the only
way to get across that one reliably.
And they're not as bad as, you know,
they're very quick to set up.
They're on everybody's dashboard.
I was surprised how simple it was to
set up.
I mean, literally, you go into your account,
you click on Bridge, you click the person
(04:15):
you want to connect to, thinks about it
for 30 seconds, 60 seconds, and bang, you're
good.
And then all you've got to do is
go back to your, whether it be 3
or 4, go back to your Source Connect
plug-in, and just instead of selecting the
person you're connecting to directly, you can select
the bridge.
Really simple.
(04:36):
So the one difference is that both people
have to connect to the bridge.
The bridge doesn't dial out to anybody.
Both ends dial.
And the bridge contact shows up on each
person's or each side's contacts list.
And in most cases, you don't even have
to really worry about, you know, it's bridge
792445.
But really, in most cases, people don't have
(04:57):
multiple bridges going simultaneously.
So it'll probably be the only bridge that
shows up on your contacts list because once
you're done with that bridge, it will go
away from your contacts list.
Yeah.
And the timing is because it takes up
a crap load of room on the server.
Is that right?
Well, it's a real system.
So there are a limited number of bridges,
(05:17):
actually.
I think there's eight of them.
Right.
Wow.
But we've not really had an issue.
I think people don't realize what, you know,
and they don't care.
They just want it to work.
But the amount of engineering and making that
automate and work that easily is, it's not
trivial at all.
It's pretty impressive that it does what it
(05:37):
does.
And, again, they put in that time, money,
and effort into building a system for free
that is really temporarily solving a problem until
everybody moves to the new version.
It's pretty cool that it's just there.
Yeah.
Three and four were so different, just to
fill everyone in, three and four are so
(05:58):
different that three does not connect to four,
thus the need for the bridge.
But also, for us, it made a lot
more sense to make something like the bridge
than to significantly delay and invest in a
huge feature that would only be useful for
maybe two years.
And then what's the point of the connections
(06:20):
to three within four?
I'd never seen it, and Robbo was talking
about it before we started recording this.
And so we did it, he said, jump
on and let's connect via the bridge, which
we did.
And I was like, holy shit, that was
really easy.
The bridges do cancel out, auto-restore, auto
-replace.
I would say that technically it's better to
(06:42):
connect directly between versions, but if there's any
reason why you or the studio can't use
whatever other version, the bridge is there.
And as you said, they're easy to use.
And unfortunately, I've seen some talent at times
where they're like, I'm on four, I need
to be on four because they're on Windows
(07:02):
and it's easier.
And the studio just went, no bridge, period.
Like, absolutely not.
And it's like, did you try it?
And they just throw down their whatever.
That's kind of annoying.
Yeah.
And what's your thought about the fact that
it's a bit like a car with a
meter and it has a clock.
And so when the clock gets below 15
(07:25):
minutes, you have 15 minutes to click add
more time.
If not because it's a limited resource, it
will cut the whole bridge off if you
don't keep on extending it.
Is that from both ends?
No, because the only end that manages the
bridge is the side that initiates it.
So if you call up the bridge, you're
calling it up for, you pick from your
(07:46):
contacts list who you want to connect with,
and it populates the bridge contact in your
contacts list and whoever you designated.
So then if you did that, you're the
person that's managing that bridge.
You have the clock.
You can do this from your cell phone.
If you're in the booth, you could have
your cell phone with a little clock clicking
away.
It's just a window.
(08:06):
You don't close it, and you just click.
I've got to be honest.
For me, for most of the Source Connect
sessions I do, half an hour would be
enough for maybe one or two tracks.
And if there was more, that extra 15
minutes, I mean, I think you can take
another 15 minutes three or four times before
you've got to actually refresh the whole thing.
(08:27):
Even more.
So it's funny how slow we are at
updating the web page.
It says 90 minutes, but the reality is
I think it gives you up to two
and a half hours of refreshes.
Well, there you go.
And that would be more than enough.
Should I ever do?
I fucking hope so anyway.
No, no.
Do you need at least two and a
half hours if you're doing a 10-second
tag?
(08:50):
Take 110.
Did I ever tell you that story?
When I was at George Pat's, I'd only
just left radio, and I was sort of
getting used to the, and I say this
in the nicest possible way, the pretentiousness of
advertising agencies, and we were launching a new
magazine.
It was called Take Five Magazine, and the
(09:12):
two Mels were in charge of the launch
of this magazine, and they did the TVC.
And Henry Zeps, who unfortunately has recently passed
away, RIP Henry, a great guy, they had
him down in a studio.
To do the tag, Take Five Magazine, out
now.
Two and a half hours later, Henry was
(09:33):
still in the booth and turned around and
said, listen, I've got to go.
If you don't have it by now, you'll
never have it, and left.
It sounds like that TV show, The Valkyries,
or what was it that you, the one
from England, where the guy's an actor?
Toast of London.
(09:54):
Toast of London, yeah.
Yeah, yeah, yeah.
Exactly.
Great show.
It's very funny.
But yeah, I've had sessions where it's like
the shorter the script, the longer the session,
and I'd won only a few weeks ago,
and it got to the point where I
just had to stop talking to make the
engineer jump in and start managing the session
because it was just getting right out of
(10:15):
control, and I thought, right, I'm just going
to not say anything, which then instigated the
engineer jumping in and going, look, I really
think we've got everything we need.
Unless there's something specific you need, I think
we're covered.
And eventually it was like, okay, great, thank
you, bye-bye.
(10:36):
At some point you just start doing it
exactly the same every time.
Like you just purposely.
I've had people come in here, though.
This is really weird.
I won't mention who it was, but a
voice talent came here during COVID and had
to do a session, and it's always the
thing, can you give us three in a
row of that short sentence or whatever, tag
(10:56):
or whatever.
This person did three in a row, but
they were all exactly the same.
Yes, people do that.
And then they go, oh, yeah, we actually
like the second one.
It's good, I think so.
Yeah.
It's just bizarre.
I think sometimes with your direction you've got
to be a bit clearer.
Can you give us three in a row?
(11:17):
I think it means to them, can you
give me three the way you hear it
in a row?
I think you've got to say, can you
mix them up, give us three in a
row or something like that, you know what
I mean?
Make it clear, because I've noticed that a
lot.
Add some variety, yeah.
Is it the same as what we say
when we say ABC?
Can you ABC that for us?
Yeah, give me an ABC on that or
three in a row, or a series of
(11:39):
three.
But that's why it's called ABC, not A
-A-A.
Actually, can you give me an A-A
and a B, please?
That's the Canadian version.
A-A-A.
A-A-A.
A.
I like A.
What do you think about B-A?
(11:59):
A.
I like C-A.
Yeah.
Well, since we're on a tangent, I've got
another good one for you.
It just stumbled into my inbox or my
whatever, wall or something, and it was a
memo.
I had to verify that this is actually
authentic, but it was a memo from the
executive staff at Apple in February 1st, 1980,
(12:24):
and the subject is called typewriters.
And it says, effective immediately.
No more typewriters are to be purchased, leased,
et cetera, et cetera.
Apple's an innovative company.
Live by the sword, die by the sword.
Yes, we must believe and lead in all
areas of word processing.
It's so neat, we all must use it.
(12:45):
And it goes on.
It says, by 1-1-81, no typewriters
at Apple.
And then it says in parentheses, Ken, get
rid of the deck word processor, A-S
-A-P.
You know who you are, Ken.
So at some point, SourceConnect 3 has to
go away and everybody has to move to
4 because technology marches on, you know.
(13:06):
It's so funny, you're caught in a corner.
Because if you don't improve the technology, then
everyone who wants to upgrade is pissed off
at you.
And then if you do upgrade the technology
and you have to move it forward and
then you have to leave something behind, everybody
who wants to hold on to their old
computer and their old system is pissed off
at you.
And you're just standing in the middle of
the road getting crushed by...
Run over.
(13:27):
But at least if you realize that, you're
ahead of the game than not realizing that.
Yeah.
Yeah, I mean, if you're not pissing somebody
off, you're doing something wrong.
Wait, I don't know.
Something like that.
Exactly.
I think there's a saying that goes along
those lines.
We piss people off every week if they
keep coming back.
So, you know, there's something in that too.
Yeah, exactly.
I'm still married, so here you go.
(13:49):
But one thing we should make clear also,
because if you go on to like ChatGPT...
Yes.
Oh, it says stereo...
It may give you some misinformation.
Well, it's not.
ChatGTP is not incorrect from what it's reading.
We have some incorrect information on our website
which we will fix.
It says that the bridges are stereo by
(14:09):
default.
They are, in fact, mono by default.
And we'll change that in time for SourceConnect
3 to completely go away.
Yeah, and this isn't about ChatGPT, and there's
a lot of people that, you know, either
people think it's magic or they don't trust
it, right?
But I will say this about ChatGPT 5,
like if you use it in search mode,
(14:30):
people don't know it has two modes, like
normal chat and search.
When it's in search mode, it references every
search result that it gives you in that
answer.
So, and if you're not sure, click on
the reference and read the original link.
In fact, I encourage you to do it
because that means the person who actually put
(14:50):
the content out there that it's stealing from
or scraping is getting rewarded because you're going
to their actual site, you know?
So, I recommend you do it.
I find it's funny because we used to
joke how, you know, when it was harder
to build your own search, we had a
search on our website.
Was it powered by Google?
Well, I forget what it was, but however
(15:11):
it went, I found it just myself and
other users found that it was easier to
search our website with Google than with our
own website.
Right.
Like Google searched our website better than our
own website could search itself.
That's right.
And it's kind of like, it seems to
be happening with ChatGPT now.
Yeah.
Well, that is definitely true on my website.
I could not get my web developer to
(15:32):
build me a search engine of my own
website to save a freaking life.
It's amazing with Google.
I built my own custom GTP, which is
not cheap to operate, but I have my
own custom GTP with my own language model
of my own freaking website so that you
can go and type into the chatbot stuff
you're looking for on the website.
That was my workaround.
(15:54):
And is it perfect?
No, but it's pretty damn good.
And it gives you a lot of useful
information in the process.
But I had to build something out of
a chatbot to be able to search my
own site, which is kind of insane.
When you think about it.
Exactly.
Is that GTPGTT?
The Le Mans GTP?
(16:14):
It's got a lot of names.
GeorgeBot, GTTBot, you know, et cetera, et cetera.
But I have it.
Since you're on that bend, I've got the
perfect way to end this episode.
If you've got the shits that version 3
and 4 of SourceConnect won't talk, build a
bridge.
And it's not a bridge too far.
It's very easy to find.
Well, that was fun.
Is it over?
(16:57):
All of this and more at our website.
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