WEBVTT 00:00:11.330 --> 00:00:12.791 Hi, how're you doing, Justin here. 00:00:12.791 --> 00:00:14.913 Welcome to IM-155, 00:00:14.913 --> 00:00:16.636 which is a rhythm guitar lesson, 00:00:16.636 --> 00:00:22.236 and we're going to be checking out chips, spreads, splangs and muted strumming. 00:00:22.236 --> 00:00:24.807 Now, I'm gonna be doing these on an electric guitar, 00:00:24.807 --> 00:00:26.737 but you can do all of these techniques 00:00:26.737 --> 00:00:29.231 and all of the other stuff that we've been doing so far 00:00:29.231 --> 00:00:31.883 in this Foundation 5, on an acoustic too. 00:00:31.883 --> 00:00:34.144 Just some of the techniques kind of sound cooler on electric, 00:00:34.144 --> 00:00:36.532 which is why I'm playing electric for this stage. 00:00:36.532 --> 00:00:39.737 Now, the first thing we're gonna check out is a thing called "chips". 00:00:39.737 --> 00:00:41.889 Now, hopefully if you think back a little while, 00:00:41.889 --> 00:00:44.587 you'll remember we did that snare hit, 00:00:44.587 --> 00:00:48.337 where we learned to strum (plays) with a little bit of a hit noise, 00:00:48.337 --> 00:00:54.767 which kind of replicated the snare drum that a drummer would play on beats 2 and 4. 00:00:54.767 --> 00:00:57.937 Now, a very common kind of second guitar part, 00:00:57.937 --> 00:01:00.492 -- or first guitar part, if you're playing with a keyboard and bass, 00:01:00.492 --> 00:01:02.032 like a full band kinda setting -- 00:01:02.032 --> 00:01:05.729 is to play what we call "chips" on beats 2 and 4. 00:01:05.729 --> 00:01:08.858 And a chip is a very, very short strum. 00:01:08.858 --> 00:01:10.131 So, if you've got your chord, 00:01:10.131 --> 00:01:12.846 I'm just gonna be using a G barre chord here. 00:01:13.723 --> 00:01:16.673 I'm just turning my volume down a little bit, so I can hit the guitar a bit hard. 00:01:16.673 --> 00:01:18.187 So a chip would be: 00:01:18.187 --> 00:01:22.373 . . . 00:01:22.373 --> 00:01:24.270 Really, very, very short. 00:01:24.270 --> 00:01:27.305 "Staccato" is the word for this very short sound. 00:01:27.305 --> 00:01:29.843 . . . 00:01:29.843 --> 00:01:31.411 TWO, three, FOUR. 00:01:31.411 --> 00:01:40.132 One, TWO, three, FOUR. 00:01:40.132 --> 00:01:44.166 It's that kind of thing. Very, very short little chords. 00:01:44.166 --> 00:01:48.777 Now, I already mentioned to you that they're happening on beats 2 and 4. 00:01:48.777 --> 00:01:50.937 So, what you really listen to when you listen to the song: 00:01:50.937 --> 00:01:51.829 . . . 00:01:51.829 --> 00:01:53.279 TWO, three, FOUR. 00:01:53.279 --> 00:01:59.591 One, TWO, three, FOUR. 00:01:59.591 --> 00:02:03.660 Don't be afraid to count until you get used to feeling where 2 and 4 are. 00:02:04.475 --> 00:02:07.086 Chips sometimes come on other beats. 00:02:07.086 --> 00:02:08.701 There's a couple of famous examples that 00:02:08.701 --> 00:02:11.292 they are kind of happening on the "and" after 4. 00:02:11.292 --> 00:02:13.811 So, 1, 2, 3, 4 and (plays) 00:02:13.811 --> 00:02:16.299 1, 2, 3, 4 and (plays) 00:02:16.299 --> 00:02:18.872 That kind of thing. 00:02:18.872 --> 00:02:22.184 But, most commonly they happen on beats 2 and 4. 00:02:22.184 --> 00:02:23.586 So, it's worth practicing counting along 00:02:23.586 --> 00:02:25.768 and putting your chips on 2 and 4 00:02:25.768 --> 00:02:28.202 There's a few things that you want to be aware of 00:02:28.202 --> 00:02:31.013 that will help to get your chip really short, bright 00:02:31.013 --> 00:02:32.686 and kinda tight. 00:02:32.686 --> 00:02:35.249 And the first thing is the fretting hand. 00:02:35.249 --> 00:02:37.325 Now, normally if you're doing this kind of chips, 00:02:37.325 --> 00:02:39.262 you wouldn't be doing it with open chords. 00:02:39.262 --> 00:02:42.407 You tend to do this kind of thing with barre chords, 00:02:42.407 --> 00:02:44.896 and all kind of little versions of barre chords, 00:02:44.896 --> 00:02:47.917 like the triad shapes that we looked at earlier, 00:02:47.917 --> 00:02:51.344 or very commonly it's played this... (plays) 00:02:51.344 --> 00:02:54.007 It's like an E shape barre chord -- if I play a G chord -- 00:02:54.007 --> 00:02:57.045 but we just play the thinnest four strings. (Plays) 00:02:57.045 --> 00:02:58.682 Now, actually let's go to a close-up 00:02:58.682 --> 00:03:01.092 and check out a couple of the really common shapes 00:03:01.092 --> 00:03:03.082 that we use for chips. 00:03:04.021 --> 00:03:05.791 This is one of the most common grips 00:03:05.791 --> 00:03:07.220 for playing chips. 00:03:07.220 --> 00:03:11.224 It's essentially a small version of our big E-Shape barre chord, 00:03:11.224 --> 00:03:12.737 -- this is a G chord at the 3rd fret -- 00:03:12.737 --> 00:03:16.021 and you can see here, now, we've just kind of done a smaller one, 00:03:16.021 --> 00:03:19.561 we've dropped the barre down, put the 3rd finger where the 4th finger was 00:03:19.561 --> 00:03:23.572 (plays) and we end up with this little four-string G chord. 00:03:24.203 --> 00:03:27.158 It helps if the tip of the 3rd fret is muting the 5th string. 00:03:27.573 --> 00:03:30.948 Now, the lowest string can either be muted by bringing your thumb over 00:03:30.948 --> 00:03:34.698 or by the strumming hand sitting on the thickest string. 00:03:35.621 --> 00:03:37.729 Now, at this point I'd also like to explain to you 00:03:37.729 --> 00:03:38.307 . . . 00:03:38.307 --> 00:03:41.986 the idea of how you press down the chord for the chip. 00:03:41.986 --> 00:03:45.506 Because, what the idea is, is that you'd leave your fingers in position. 00:03:45.506 --> 00:03:49.155 So, my fingers are in the right spots now, but they're not pressing down. 00:03:49.155 --> 00:03:51.924 And then I press down, just at the moment as I strum 00:03:51.924 --> 00:03:53.393 and then immediately relax again. 00:03:53.393 --> 00:03:57.364 . . . 00:03:57.364 --> 00:04:00.204 Now, I'm not doing any muting with my strumming hand at all. 00:04:00.204 --> 00:04:01.923 That's all left hand. 00:04:01.923 --> 00:04:04.575 . . . 00:04:04.575 --> 00:04:07.289 That's the idea, and it's really quite important that you learn 00:04:07.289 --> 00:04:09.854 how to do this "press & release", "press & release". 00:04:09.854 --> 00:04:12.584 It's almost... If I'm not pressing, then 00:04:12.592 --> 00:04:18.523 . . . 00:04:18.523 --> 00:04:20.212 I was just doing continuous strumming 00:04:20.212 --> 00:04:22.365 which is not a bad little exercise 00:04:22.365 --> 00:04:24.294 in order to get used to the idea of keeping them 00:04:24.294 --> 00:04:26.041 . . . 00:04:26.041 --> 00:04:27.351 really nice and short. 00:04:28.166 --> 00:04:31.239 Now, the other... That's a Major, that's a G Major. 00:04:31.239 --> 00:04:33.203 The minor version (plays) would be that. NOTE Paragraph 00:04:33.203 --> 00:04:36.173 Just lifting off the 2nd finger, 3rd finger, 00:04:36.173 --> 00:04:37.543 1st finger playing a little barre. 00:04:37.543 --> 00:04:43.275 . . . 00:04:43.275 --> 00:04:45.321 Very, very common little grip that one, 00:04:45.321 --> 00:04:47.172 for doing some chips. 00:04:47.172 --> 00:04:49.161 Now, the other one that's very common 00:04:49.161 --> 00:04:50.795 is this one: (plays) 00:04:50.795 --> 00:04:53.961 which is... Now, we have talked before about using... 00:04:53.961 --> 00:04:56.247 ... doing an A-Shape barre chord like this 00:04:56.247 --> 00:04:58.214 using the 3rd finger to do a little barre. 00:04:58.214 --> 00:05:00.192 When you're doing chips (plays), sometimes... 00:05:00.192 --> 00:05:02.963 ...'cause you really wanna hear that thinnest string there, 00:05:02.963 --> 00:05:04.167 people play it like this: 00:05:04.167 --> 00:05:06.756 . . . 00:05:06.756 --> 00:05:08.532 It's also easier to get this 00:05:08.532 --> 00:05:10.335 really, really short press-on when you're doing that. 00:05:10.335 --> 00:05:14.218 With the barre it's a little bit harder to get the press, 00:05:14.218 --> 00:05:16.944 and it's exactly real hard to get that thinnest string. 00:05:16.944 --> 00:05:18.645 So, usually when you're doing chips, (plays) 00:05:18.645 --> 00:05:19.816 you'd probably play it this way: 00:05:19.816 --> 00:05:20.724 . . . 00:05:20.724 --> 00:05:22.301 That'd be the Major. 00:05:22.301 --> 00:05:23.290 And the minor. 00:05:23.290 --> 00:05:26.023 . . . 00:05:26.023 --> 00:05:26.779 G Major. 00:05:26.779 --> 00:05:29.674 . . . 00:05:29.674 --> 00:05:30.983 G minor. 00:05:30.983 --> 00:05:33.275 . . . 00:05:33.275 --> 00:05:35.400 And the other really common one that gets used, 00:05:35.400 --> 00:05:37.465 which is a shape that we haven't really looked at yet. 00:05:37.465 --> 00:05:38.732 . . . 00:05:38.732 --> 00:05:40.640 This would be a C-Shape barre chord. 00:05:40.640 --> 00:05:43.240 Now, I don't really recommend that you spend too much time on this one yet. 00:05:43.240 --> 00:05:44.731 Can be a little bit tricky. 00:05:44.731 --> 00:05:46.108 But the root note,... 00:05:46.108 --> 00:05:47.718 Or the root note for the full chord 00:05:47.718 --> 00:05:50.473 is with the little finger and the 2nd finger. 00:05:50.473 --> 00:05:52.660 Just like it was an open C chord: 00:05:52.660 --> 00:05:54.200 There's a regular C, 00:05:54.200 --> 00:05:55.961 there's C without your first finger, 00:05:55.961 --> 00:06:00.437 move it up two frets, 1st finger does a little barre. (Plays) 00:06:00.437 --> 00:06:04.228 But, what's really commonly played (plays) is the thinnest four strings. 00:06:04.228 --> 00:06:05.704 . . . 00:06:05.704 --> 00:06:07.181 And this would be a D chord, 00:06:07.181 --> 00:06:08.277 there's the root note, there, 00:06:08.277 --> 00:06:09.665 we're just not playing the low root. 00:06:09.665 --> 00:06:14.462 So we got there: the 4th fret, 2nd fret, 3rd fret, 2nd fret. 00:06:14.462 --> 00:06:16.076 So, the first finger's doing a little barre. 00:06:16.076 --> 00:06:23.745 . . . 00:06:23.745 --> 00:06:25.584 Really, really common little movements these. 00:06:25.584 --> 00:06:28.079 So, you got G (plays) 00:06:28.079 --> 00:06:29.876 G minor (plays) 00:06:29.876 --> 00:06:31.526 C (plays) 00:06:31.526 --> 00:06:33.590 C minor (plays) 00:06:33.590 --> 00:06:35.213 and D. 00:06:36.043 --> 00:06:37.450 Now you know what they sound like, 00:06:37.450 --> 00:06:39.528 you're gonna find examples of chips 00:06:39.528 --> 00:06:40.793 all over the place. 00:06:40.793 --> 00:06:42.278 If you just keep an ear out now 00:06:42.278 --> 00:06:43.539 you won't be able to avoid them. 00:06:43.539 --> 00:06:45.316 They're in lots and lots of different songs, 00:06:45.316 --> 00:06:46.963 in lots of different styles. 00:06:46.963 --> 00:06:48.335 I'm going to put a list of songs 00:06:48.335 --> 00:06:50.102 that use them really obviously, 00:06:50.102 --> 00:06:51.779 on the web site. 00:06:51.779 --> 00:06:53.090 The next technique we're going to check out 00:06:53.090 --> 00:06:54.573 is called a "spread", 00:06:54.573 --> 00:06:57.183 which is basically a slow motion strum. 00:06:57.183 --> 00:06:58.419 Sounds kinda like this: 00:06:58.419 --> 00:07:14.222 . . . 00:07:14.222 --> 00:07:16.346 And what's really important with a spread, 00:07:16.346 --> 00:07:20.283 is that you realize that it's the last note that you play 00:07:20.283 --> 00:07:22.136 that lands on the beat. 00:07:22.136 --> 00:07:25.886 The rest of the spread comes before the beat. 00:07:25.886 --> 00:07:27.671 So, if we're doing it in really slow motion, 00:07:27.671 --> 00:07:28.501 we're gonna gave like: 00:07:28.501 --> 00:07:30.544 Three 00:07:30.544 --> 00:07:32.193 Four 00:07:32.193 --> 00:07:34.911 (plays) One. 00:07:34.911 --> 00:07:39.015 So, literally, that last note wants to sit with the beat, 00:07:39.015 --> 00:07:39.866 just at the end. 00:07:39.866 --> 00:07:41.719 Takes a little bit of practice, but again: 00:07:41.719 --> 00:07:43.296 if you've got your metronome on, 00:07:43.296 --> 00:07:46.268 just practice making sure that the last note of the chord 00:07:46.268 --> 00:07:50.103 each time is the one that lands right on the beat. 00:07:50.103 --> 00:07:52.702 Now, again, I'm going to put a list of some songs 00:07:52.702 --> 00:07:56.862 that have good examples of spreads in them, for you to go and listen to, 00:07:56.862 --> 00:07:58.900 because, the best way to learn this kind of stuff 00:07:58.900 --> 00:08:01.328 is to hear them being used in the real world. 00:08:02.128 --> 00:08:04.499 The third rhythm technique we're gonna check out today 00:08:04.499 --> 00:08:06.371 is one called the "splang". 00:08:06.371 --> 00:08:08.484 Now, I know "splang" is a bit of a funny word, 00:08:08.484 --> 00:08:10.864 and to be honest, I don't really see it written down that often, 00:08:10.864 --> 00:08:13.817 but I've heard loads of producers use it over the years, 00:08:13.817 --> 00:08:16.835 and what it kinda means is: like a spread, 00:08:16.835 --> 00:08:18.499 but it happens right on the beat, 00:08:18.499 --> 00:08:20.745 and it usually just happens on beat 1. 00:08:20.745 --> 00:08:23.531 It's normally played as a second guitar part. 00:08:23.531 --> 00:08:26.278 So, if there's one guy playing like your normal kind of strumming, 00:08:26.278 --> 00:08:27.744 on electric or acoustic, it wouldn't matter, 00:08:27.744 --> 00:08:31.117 you'd end up doing this as an overdub. 00:08:31.117 --> 00:08:33.004 So, like recording a second guitar part. 00:08:33.004 --> 00:08:34.606 Normally it'd be played something like this. 00:08:34.606 --> 00:08:36.569 So: 2, 3, 4. 00:08:36.569 --> 00:08:45.109 1 (plays), 2, 3, 4. 00:08:45.109 --> 00:08:49.781 (plays), 2, 3, 4. 00:08:49.781 --> 00:08:51.137 Set nicely, just right on the beat. 00:08:51.137 --> 00:08:54.431 . . . 00:08:54.431 --> 00:08:56.667 It's also a good thing if you've got a keyboard player 00:08:56.667 --> 00:08:58.654 that's playing a whole lot of stuff in your band. 00:08:58.654 --> 00:09:00.183 Sometimes playing rhythm, 00:09:00.183 --> 00:09:01.964 or if there's two guitar players playing rhythm, 00:09:01.964 --> 00:09:05.315 there's lots of reasons why sometimes you don't want to play too much. 00:09:05.315 --> 00:09:09.172 Sometimes you need the dynamic of the song to kind of sit down a little bit, 00:09:09.172 --> 00:09:11.022 and you don't want to keep strumming all the time. 00:09:11.022 --> 00:09:15.519 So, you can add in a few splangs here and there for, say a verse. 00:09:15.519 --> 00:09:17.787 You wouldn't just kinda throw one in randomly, I must say. 00:09:17.787 --> 00:09:19.283 You normally would do it. 00:09:19.283 --> 00:09:22.596 A good place for a splang is the third verse, 00:09:22.596 --> 00:09:24.963 so the verse that comes after the first chorus, 00:09:24.963 --> 00:09:28.168 'cause that part of the song usually kinda dies down a little bit, 00:09:28.168 --> 00:09:29.271 the dynamic of it. 00:09:29.271 --> 00:09:33.816 So, if you can insert some splangs there, in the third verse, 00:09:33.816 --> 00:09:36.683 you'll find that the kind of the dynamic of the tune drops a little bit 00:09:36.683 --> 00:09:38.950 and you can build up again for the next chorus, 00:09:38.950 --> 00:09:40.751 and then the bridge and the double chorus and out. 00:09:41.628 --> 00:09:43.817 Learning to kind of arrange the songs 00:09:43.817 --> 00:09:47.536 and using these kind of techniques to create a kind of a dynamic to the tune, 00:09:47.536 --> 00:09:49.599 is a really important kind of part of, 00:09:49.599 --> 00:09:52.605 getting from kind of begginery kind of songs where 00:09:52.605 --> 00:09:54.636 you're just playing the same strumming all of the way through 00:09:54.636 --> 00:09:58.189 and you don't really think about stuff like dynamics or the build of a song, 00:09:58.189 --> 00:10:01.032 and that's the kind of thing that you want to start thinking about now 00:10:01.032 --> 00:10:03.203 and that I want you to start paying attention to. So, 00:10:03.203 --> 00:10:04.866 whenever you listen to a song, 00:10:04.866 --> 00:10:06.881 see if you can keep an ear out on 00:10:06.881 --> 00:10:09.472 exactly how they are arranging the guitars in the song, 00:10:09.472 --> 00:10:11.069 'cause you'll find, most of the time, 00:10:11.069 --> 00:10:14.219 it's not exactly the same all of the way through the song. 00:10:14.219 --> 00:10:16.205 There'll be other bits: a second guitar here, 00:10:16.205 --> 00:10:19.374 or the first guitar on drop out for a little while, that kind of thing. So, 00:10:19.374 --> 00:10:20.463 have a listen to it 00:10:20.463 --> 00:10:23.558 and listen now that I've mentioned a couple of these different kind of common 00:10:23.558 --> 00:10:26.402 overdub techniques, or second guitar techniques. 00:10:26.402 --> 00:10:30.144 Have a listen and say where they occur, you know. 00:10:31.252 --> 00:10:34.033 Cool! They're good fun, and they'll make a big difference to your playing. 00:10:34.510 --> 00:10:37.967 Now, the last thing we are gonna check out is the muted strum. 00:10:37.967 --> 00:10:39.989 Now, this sounds really cool on acoustic guitar, 00:10:39.989 --> 00:10:41.768 but it sounds great on electric as well. 00:10:41.768 --> 00:10:46.194 And the basic idea is that instead of having a regular strum with no muting, 00:10:46.194 --> 00:10:47.207 like going, you know: 00:10:47.207 --> 00:10:48.698 . . . 00:10:48.698 --> 00:10:50.655 Just to pick a really easy chord progression: 00:10:50.655 --> 00:10:52.334 down, down-up, up-down. 00:10:52.334 --> 00:10:54.423 You do the same thing, but you rest 00:10:54.423 --> 00:10:57.856 the outside part of your strumming hand palm, 00:10:57.856 --> 00:11:00.239 just on the edge of the bridge, 00:11:00.239 --> 00:11:02.588 where the string kinda meet the bridge. 00:11:03.603 --> 00:11:06.504 Of course, it means that you're not making a big movement with your arm any more, 00:11:06.504 --> 00:11:09.226 you're just making a little movement with your hand, you know 00:11:09.226 --> 00:11:11.757 . . . 00:11:11.757 --> 00:11:13.850 That would be: down, down-up, up-down. 00:11:13.850 --> 00:11:15.643 down, down-up, up-down. 00:11:15.643 --> 00:11:17.342 And you can see it's got a different... 00:11:17.342 --> 00:11:19.821 it's got a bit more kinda chugginess to it. 00:11:19.821 --> 00:11:21.260 Sounds different. 00:11:21.260 --> 00:11:30.762 . . . 00:11:30.762 --> 00:11:33.073 It's a really, really good fun thing to get into doing this. 00:11:33.073 --> 00:11:36.106 And you will find that it kind of changes the whole tune, a souse. 00:11:36.106 --> 00:11:37.171 You know, if I'm going: 00:11:37.171 --> 00:11:42.270 . . . 00:11:42.270 --> 00:11:43.169 You can play there: 00:11:43.169 --> 00:11:49.522 . . . 00:11:49.522 --> 00:11:51.774 It's got a whole different kind of vibe to it. So, 00:11:51.774 --> 00:11:54.169 getting into this muted strum, it's just easy. 00:11:54.169 --> 00:11:55.133 It is, literally, 00:11:55.133 --> 00:11:57.922 just the same old strumming patterns that you've been checking out, 00:11:57.922 --> 00:12:01.546 but trying to get that outside of the palm sitting on the strings. 00:12:01.546 --> 00:12:03.438 That doesn't have to sit there ALL the time, 00:12:03.438 --> 00:12:05.043 and this is kind of the cool thing about it. 00:12:05.043 --> 00:12:07.336 It's not kind of so rigid, you don't wanna be going like: 00:12:07.336 --> 00:12:09.109 (playing) down, down-up, up-down. 00:12:09.109 --> 00:12:10.560 down, down-up, up-down. 00:12:10.560 --> 00:12:13.037 Because it just kinda... what... it hasn't got any life, 00:12:13.037 --> 00:12:13.810 it hasn't got any vibe. 00:12:13.810 --> 00:12:16.520 So, it's kind of about the hand lifting up a bit. 00:12:16.520 --> 00:12:18.949 . . . 00:12:18.949 --> 00:12:19.912 up, up-down. 00:12:19.912 --> 00:12:21.526 down, down-up, up. 00:12:21.526 --> 00:12:25.092 So, for both those "up's" (plays) they're kinda without the mute: 00:12:25.092 --> 00:12:27.083 Down, down-up, up-down, 00:12:27.083 --> 00:12:28.846 down, down-up, up-down. 00:12:28.846 --> 00:12:33.751 . . . 00:12:33.751 --> 00:12:35.453 Do you get the idea? Just experiment! 00:12:35.453 --> 00:12:38.572 Have a go at trying to do some strumming patterns that you like, 00:12:38.572 --> 00:12:40.635 the ones that you feel are kind of groovy, 00:12:40.635 --> 00:12:42.286 with a little bit of this kind of 00:12:42.286 --> 00:12:43.977 muted strumming technique. 00:12:43.977 --> 00:12:46.272 Well, I hope that's given you a few new techniques 00:12:46.272 --> 00:12:48.800 that you can incorporate into your rhythm guitar playing. 00:12:48.800 --> 00:12:52.823 It really makes a big difference if you start thinking about the dynamics of the tunes. 00:12:52.823 --> 00:12:55.411 So, make sure you listen to the songs that you really like, 00:12:55.411 --> 00:13:00.778 and see if you can steal their ideas and steal their kind of... form of their dynamics. 00:13:00.778 --> 00:13:03.503 Like where the song is loud, where the song is quiet. 00:13:03.503 --> 00:13:06.684 Try and get incorporating these techniques as soon as you can, 00:13:06.684 --> 00:13:08.453 because it's really the playing of them 00:13:08.453 --> 00:13:11.053 that will help them work their way into your playing. 00:13:11.053 --> 00:13:13.394 If you just think about them and practice them by themselves, 00:13:13.394 --> 00:13:15.810 they won't probably ever happen naturally in your playing. 00:13:15.810 --> 00:13:17.473 It's through playing it a lot, 00:13:17.473 --> 00:13:20.477 that they'll start to become instinctive and natural. 00:13:20.477 --> 00:13:22.012 OK, hope you've had fun with that. 00:13:22.012 --> 00:13:23.826 I'll see you for another lesson very soon. 00:13:23.826 --> 00:13:25.581 Take care of yourselves, bye-bye.