Alex Jacques

And then obviously, if you work for a big production, it's going to sound really, really daft.

But obviously, if you start working for bigger and bigger productions, you then get world-class operators on the faders, which you don't get.

So I used to do a side channel called the pit lane channel.

And when it was Pierre Gasly versus Lewis Hamilton to the line in that drag race in Brazil, I just had someone who'd set the fader because it didn't have the resources because it was a side channel.

It was an alternative feed.

And so I was at a certain point and I nearly burst the box.

They could hear me through a concrete wall next door.

And...

And then you get, you know, we have an amazing sound operator who is just constantly, you know, at the beck and call of every major sports broadcast in the world.

And then he's, you know, riding that fader more than he would do.

He's got thoughts about how that voice should be compressed.

But then you have to sort of

do it differently again.

So you're always trying to improve as you go.

And you're always trying to tweak for what the broadcast needs, the level of production needs.

Um, and so that is always a challenge.

My style has always been to get excited and to, and to let the viewers know that's how I was in my living room as a kid.

It,

It took me a year to try and recreate it in that.

And to be honest, once they put me back into a commentary box and I could see the pit lane, it was a lot easier.