Technical Considerations-Is It My Dulcimer or Is It Me?

Dulcimer, friends, to the Wednesday morning livestream from Dulcimer Crossing, And I am excited to have Aaron May Lewis here again with us today for the 2 of us to take a look at this topic today. Is it me? Is it my dulcimer? Is it my dulcimer? Or is it me?

Yeah. Sometimes there's a buzz or a ringing sound or my fingers hurt a lot when I'm playing. And the question is, is there something wrong with my dulcimer, or do I need to do something differently? Am I being impatient, and I just have to work through the the pain points, or is there something that I really actually need to change? So we wanna talk about that.

Yeah. I think this is one of those live kind of questions that happens for everybody because when we're doing something new, we always assume, sometimes correctly, that we're doing it wrong. Right. I I don't know what I'm doing, so clearly it's me. And sometimes be my 12.

It must be me. And it's, you know, that's not out of the realm of possibility. Sometimes Mhmm. We are the the reason. It's just our inexperience and not knowing and doing something different.

But other times, it is the instrument, and there are some adjustments that can be made to the instrument to make a difference. And this doesn't only relate to mountain dulcimers. It also relates to hammered dulcimers, and I have an example for that that we'll use later. But, let's talk about first fingertips because I think the thing that a lot of us experience when we're playing particularly a steel stringed instrument, is pain. Right?

Sore fingers. It's I get sore. When I first started playing guitar, I took my nylon strings off my guitar and put on steel strings. That caused a problem with the bridge later on where immediately it was difficult under my fingers. And it felt like every finger was on fire.

And I was sure that they were gonna start bleeding at any minute. And I I just you know, I was gritting my teeth playing, and I couldn't get in the sound I wanted, and it made me so disappointed. I just put it down. And I tried to watch TV. I tried to read a book.

I tried to do chores, and I all of them, all I wanted to do was play. So I came back and gritted my teeth and did it some more. The process seemed like it last forever, but it was really only a couple weeks Yeah. As long as I kept doing it. If I stopped until the pain went away, and started up again, woah.

There's that pain. So Right. That is that, you know, adjustment period that has to happen with anything new, but especially when what you're doing is supposed to create some calluses on your fingers. Did you have an experience like that? Well, I was very young when I started playing the dulcimer, so I do not remember my first getting of getting calluses.

But what I do remember is that when I went through my cancer treatments when I was 20, one of the side effects is all rapidly dividing cells are killed, including skin cells. And so my calluses ceased to exist after, I don't know, 2 treatments. There just weren't calluses on my fingers anymore, and there was nothing I would be able to do to have calluses during that time period because just the nature of what was happening is that I would the skin sloughs off faster, therefore, you can't have calluses. So I remember playing without calluses during that period, the soreness and the tenderness, and then the the rebuilding of calluses after that and realizing, like, oh, I will have calluses again. It's just a a season of time.

So if I have students who are really struggling with the discomfort and we have assessed that their dulcimer is fine, and they want something to sort of help bridge that space. My recommendation is liquid Band Aid. Liquid Band Aid. It sort of functions or some sort of, you know, some sort of, like, another layer of skin. They there's a few different names for the the liquid Band Aid product.

But, essentially, it's like giving yourself one extra layer of calluses on those fingers, and it can just help a little bit with, like, okay. They're not gonna bleed. They're not going to. They're okay. I have taken care of my fingers.

I can play. It's still uncomfortable. You'll still feel the pressure of the strings on your not callus fingers, but, it gets better. And the the beauty of calluses versus finger cots or something like that, which I've also heard recommended, is, they don't stick to the strings, and finger cots are designed to stick to things. It's why you use them when you're counting money or or paper or something like that.

Talon suggesting electric tape. The the black electric what, base players do for their, for their right hand. Their Yeah. Picking hand a lot of times is wrap some tape around that finger that's plucking the strings over and over again. So it's like giving yourself a manicure but on the other side.

Yeah. Yep. That's how I think about it. And then they last for a little bit, and they need a little they may need an up up, you know, re what do you call retread, but they aren't gonna need a whole lot because if you keep playing, you're actually developing under that. You're developing the calluses.

Yeah. And if you accidentally lose a callus for some reason, sometimes they, you know, they they break off or they get a little thing and it gets caught on something. Doing that, fixing fixing that with just one finger is also another option. So Mhmm. That's a good, is it me kinda thing.

What if it how Sometimes sometimes you can make an adjustment to your dulcimer, though, to make it a little easier in that process too. Like, I play with fairly heavy gauge strings, but I always suggest with new students whose hands don't have palaces or young kids, just put a little bit lighter strings on your dulcimer so you don't have quite as much tension. It's not quite as much work to press that string down if the if the gauge of the string is lighter. You can't maybe strum as hard. Gotta lighten up on your strumming hand, but that also might be a good practice for you.

It could be. Yeah. You're you're, driving your semi truck over the flower bed with your strumming hand over the light strings instead of tiptoeing through the tulips. You might yeah. That's a, I know that I I built my first dulcimer, and so I carved all the notches and did all that kind of thing.

And the instructions said put 3 nickels on top of each other, and that's and then put that at the bridge, and that's how high the string should be off the fretboard. Three nickels is pretty thick. And That one's pretty high. And, I eventually said it was really hard to play everywhere. And it's my dulcimer.

I built it, so I didn't feel bad about it. I just notched my notches lower. But the thing I experienced was I had to be careful how low I went on this side because if this side was pretty low, I could create a string buzz back here. And the fur and the strings the frets wouldn't make any difference. I'd push this push here.

I'm gonna change cameras for me so you can see what I mean when I say here. And let's get that one. I got knocked cockeyed. I push here and here and here, and I get the same note for all 3, which means I had a high fret right here. Yeah.

And the two ways to deal with that is to have the string come up a little higher or to have the fret file down. Mhmm. And those are those are 2 different things. That may not be a user fix. But if you're crafty and you have FRET files, which are not just like a regular mill rasp or a mill bastard or something like that's the name of that particular file.

It's it's grooved a little bit so that you're filing over the fret to crown it again after you've got all the the dents in it that come from playing it for a long time. If you have that kind of a file, you might be able to do it, but maybe maybe not. Ellen, you're noting noting Nicola at the 7th fret should just have breathing breathing room. So there you go. That is generally these days because that was over 40 years ago in my handwritten instructions that came with the kit that now people use things in metric inches.

So it's it's point something you know, point 0 point something or other that or maybe not point 0 because that's the strings, but it's gonna be a measurement that could be made at the 7th fret and at the 12th fret or at the at the bridge, which are luthier kind of tricks. So if you wanna check out what the luthier say, that's something you can always do. Mhmm. So that has to do with string height and string gauges. Is there anything else we want the buzzing that happens Ah.

If we don't have our finger in the right place on the fretboard or we aren't actually pressing down quite enough, but that you can sometimes have buzzing because you have a high fret like you are naming, or you have actually some part of your fretboard needs an adjustment. And so sometimes assessing, is it my fingers or my hand position, or is it that my instrument always buzzes in this place? So let me change my camera. So, you know, first thing is to note where in the space of the fret your finger is and making sure that you're kind of toward the strumming side of the space, not toward the headstock side of the space or towards the right side of the space. But then I start to get curious about, does it happen on every string at that fret?

Does it happen does the buzzing only happen when I'm pressing down with my ring finger? But if I press with my index finger, everything seems to be fine. Because if that's true, then the problem is my ring finger, not my fret. Right? If it happens on every string then I might have a problem with a fret, But if it happens only on one string, I might wanna play with how how hard am I pressing and where am I at.

Am I actually touching the fret, or am I too far away from it? Am I not in that kind of sweet spot for it? Or am I pressing too hard? I'm actually mashing the string into the, fretboard too much, or am I over strumming? And when I'm over strumming, it's causing this, like, extra big vibration.

I don't even know. Yeah. Like that. I can get that, like, clunk sound out of my dulcimer, and that can be a strumming hand issue. So I just get really, really curious about the micro sounds.

A lot of times people will notice, like, oh, well, when I play a c chord, something buzzes. Okay. That's good to know. Now take one finger at a time. Is your pinky finger by itself buzzing?

Is your ring finger by itself buzzing? What if you play those 2 together? Sometimes what happens is one of my fingers is a little too flat, and I'm touching a string, and that's causing a buzzing sound. So if I play just one finger, it's fine, but when I add a second finger, now it buzzes. So there can be adjustments to our hands and our positions and how we press that can fix a buzz usually.

Well, the other thing that I've noticed a lot of people will they're tired when they come to their dulcimer. And especially if they have a bout right here, they'll lay their hand here and play, and then they'll reach across to try to do things. And that's when instead of coming down on top of the string with my fingertips, I'm playing with the flat part. Not only do my fingers not all reach the dulcimer at the same place, but that's where something can be laying so flat that it's touching and you don't notice that it's touching. And, also, then I have to push so hard with my finger to get that same kind of clear tone where if I had let the weight of my hand by keeping my hand off of the dulcimer, only touching it with my fingertips, my hand can help with I mean, gravity can help that.

Now if you're someone who plays over the top of your instrument, gravity isn't gonna help that exact same thing in the same way, and that's when I stand to play and teach this way, I notice I have to adjust my hand in order to not have some of that buzzing. Mhmm. And if I'd be playing kind of like what your typical way is at a kind of a 45 or something like that angle Mhmm. Then you kinda get the benefit of the gravity and that. Right?

Mhmm. Yep. So hand position and letting gravity help you is a good thing. Mhmm. And also not anchoring your hands so that you can't really reach something because it's laying flat here and kinda stuck here.

When it's not anchored, then I can move up now the fretboard a lot more smoothly. Yeah. Yeah. Yeah. I rest my thumb on the side of my dulcimer a lot, but it also moves a lot.

Like, my thumb is my thumb my whole thumb is moving, and it's sort of guiding my whole hand into position. So my hand is very much sort of moving as I go up and down the fretboard as opposed to trying to reach something. And, you know, I've had tendinitis in this part of my wrist, and so one of the things I had to make an adjustment for is that when I stretch to reach something, and I have hypermobile joints, in in my stretch, that I was often stretching my pinky sort of back and by itself, and so then my pinky was doing all of the work of pressing and the weight of my hand was more toward my index finger and thumb. And I had to make an adjustment to actually get my elbow out a little bit further so that my elbow lines up with my my pinky finger even when I'm stretching, and then I'm, like, stretching forward and the weight of my arm lines up with my pinky instead of lining up with my index finger, well, our pinky and ring fingers are our weaker fingers. So that's just a helpful thing in general that the way if you kinda think about where is the straight line from my elbow, I want it to be with my pinky.

I don't necessarily need it to be with my thumb because my thumb is stronger already. Because in real life, other things besides playing dulcimer, you probably use your thumb quite a bit, but probably not so much your pinky. I got a question. When you say it's resting on the dulcimer, is it more sliding along the fretboard, or is it more resting on the dulcimer, or is it in the crease? So, yes.

Because so, actually, this dulcimer, you can really see where my thumb rests. Oh, you got a groove. Right? Wearing. Uh-huh.

Yeah. So my thumb rests here. Okay. And then as I come up, my thumb rests here. Okay.

So it changes, but part of that, I think, has to do with the fact that my dulcimer is not flat across my lap like this. It's at an angle, so the, headstock is towards my left knee, and then it's also tilted up a little bit. And so I have not flat on my lap, tilted up a little bit, definitely at an angle where the headstock is more towards my knee and the wider curve is tight against my stomach. So when I'm here, my thumb is resting on the top of the fretboard, but is also or the, soundboard, but it's also touching the fretboard. The tip of my thumb is touching the fretboard.

But as I come up here, I my thumb goes into the curve of the dulcimer somewhat Okay. And actually rests on the side of the instrument. And then as I come up here, it's back on the top again. Okay. Interesting.

But it's not touching the fretboard here. It's Yeah. A little further away. This is a side note, but it relates to what we're talking about. I've always told people that if I could have, Larry Conger's thumb and Aaron May and Aaron O'Rourke's pinkies, I would have the perfect hand.

And I've because of watching you and playing with you and looking at Aaron O'Rourke's exercises, I've been a year at working with my pinky, and I did some exercises the other day that I wrote that didn't involve the pinky, and all of a sudden my pinky was playing. Nice. It it only took a year. No. They it took a year to surprise me and not have to think about it.

So Yeah. Yeah. That's kind of like the building up of the calluses. As we do something over and over again, it can seem like a chore at the beginning, and then you forget about the chore, and then all of a sudden it can become automatic. And Yeah.

So that's in terms of technique, the is it me, that would be a is it me thing, Technique kinda thing. We talked about why to have or the I the idea of having some lighter strings if you're having some problems. You mentioned that you use heavier strings. Why did you choose that? I do not have a light touch on the dulcimer.

I I have a pretty aggressive playing style, a pretty aggressive strum. I want I like to play with other instruments a lot. Bluegrass is my primary context. It's fast and, usually 4 to 8 people kinda playing together in a circle. And so I wanted my dulcimer to have more kinda punch and volume, but and that means that when I when I'm gonna strum it nice and hard, I don't want the strings to flop at all.

And so I have my action a little bit higher, and I have my strings a little bit heavier. So it my dulcimer fights me just a little bit, But that allows me to really dig in and play, like, a a pretty crisp single string punchy punchy sound on my instrument. Whereas if I had lower action and I had lighter strings, when I start to do that, I I get a little buzzing sound. Because you're that's what you're talking about, your your strum maybe having to be a little more delicate Yeah. Or elegant.

Uh-huh. Yeah. Now I was playing some of the, new harmony dulcimers that they just had for display at the Black Mountain Festival, And I said, man, I'm liking the playability of these a lot, but I would definitely need my action adjusted. I'm getting buzzing. And the head luthier was like, oh, yeah.

You're getting buzzing because you need the action a little bit higher. And I was like, yeah. Yeah. I do. So there that is a good argument for matching the dulcimer to your style of playing.

Yeah. We've talked about, Christian Hewitt did a workshop with us last last autumn in which he talked about using very light gauge strings and and plugging in and turning up the gain so that he could do all the intricate fingerstyle things that he did. If you you mentioned to me that when you tried to do those on your with your action and your strings, it wasn't working the same. And then it's like, oh, yeah. He told us that.

Right. Yeah. Part of it is, like so if I do a hammer on at the 4th fret, I get quite a bit of noise out of my dulcimer. I don't know. I realized my microphone is on the other dulcimer at how well you can really hear it, but there's there's a a lot of extra sound in that, and that's because my action is high and this part of the string is also ringing when I do a hammer on.

So I can do some things to kinda mute that, like deaden the string behind the place where I want the hammer on to happen so that this part isn't buzzing so much. But, also, I just don't do hammer ons with bigger space. And a big part of Christian Hewitt's style is to do, like, a hammer on here and then also hammer on a bigger space away with his other hand, and it's it's beautiful and it's noisy on my dulcimer because my dulcimer is definitely not set up for that. So that, you know, like like, it's been mentioned in the chat, this is why we keep our favorite luthiers in business because we might need more than one kind of dulcimer to play the kinds of music we want to play. Yeah.

I based on your experience playing with you, but also playing with my fiddling pal, Vi Wycombe, who really digs into the fiddle. There's so much tone there, and my my dulcimer strung with the strings that it came with just seemed anemic in in in tandem. And then when I'd play with you, it's like, oh, mine does it doesn't seem to match. Obviously, there's a lot of differences in our styles of play and kinds of dulcimer. And it was mentioned earlier that somebody prefers the double string rather than and I always have a double string on most of my instruments.

So that's one of the differences. But when I beefed my strings up with your consultation, it balanced our duo a lot better because there was more there there. Mhmm. It does mean I have to play it differently. Right.

Right. There's one other, variation that I wanna make sure I don't forget hammered also, so I'm mentioning that. But Uh-huh. You have a radius fretboard. Right?

I do. On this dolcemars. Mhmm. And that that can make a difference. The size of frets can make a difference.

Yeah. I don't know. Has has jumbo frets. This is my chromatic, obviously. It has jumbo frets up to here, and then it has smaller frets as it gets into the higher octaves.

Interesting. I hadn't heard about that hybrid. When I had this, nylon string, I asked for the flat fretboard because I don't play up like this. I play on my lap mostly. Mhmm.

But the large frets mean my touch has to be a lot lighter. Right. And it's similar to in that way of playing Galax with my notar as it's it's I call it skating over the string. I'm not pushing down. I'm just skating.

There's enough height in the fret that when I'm behind and close, the string is stopped to where it should be, and it it, lets me play more smoothly. So sometimes the lower frets don't help that. Sometimes they do. Yeah. Yeah.

Yeah. The bigger frets, I do think, make a difference in in not having to press as hard. So even though I have higher action and heavier strings, sometimes my hand gets more tired playing my my dulcimer with the flat fretboard that actually has lighter gauge strings on it. So this one, I have a double melody string, and I use I use 12, 14, 20 something on the bass. And on this dulcimer, I'm using 14, 16, 20 something, and it's a shorter scale length too.

So there's even more tension in the string because it's not as long. But my hand will get more tired on this dulcimer because it has smaller frets, and it's, got the flat fretboard. And so I notice, like, pressing and holding cords on this dulcimer makes my hand feel more tired than it does on this dulcimer with higher action and heavier strings, but also bigger frets and a radius fretboard. So like, 4 different variables there. There are.

Jamie's mentioning that, sometimes when we're she calls it a technical term, smooshing. When we're really smooshing to get something, if the strings are not, providing enough resistance to us, it's really easy to push them out of tune. Yeah. You're you can slide back and forth. You can even if the strings are too light of a gauge, when I push a little harder, I can hear the string go in and out of tune depending on the pressure on the string.

So that's another piece of it's is it me? Is it my string? I might modulate the string a little bit if I find that that's a lot of problem. The other thing I was gonna say about this is I when I was recording, on my 'twas in the moon of wintertime recording, which is holy smokes, 20 years old this year. It was released, I think, in March of 20 of 03.

But you listen to it. You play it. You work on it. You practice it. You play it.

You listen to the mixes, and then I go, that really sounds not nice. There's a lot of noise. It was sounds of the thing my fingers on the fingerboard, sounds of the strings when I was picking my fingers up, ping, little pull offs I didn't intend and all these kind of things. And I went back to the engineer and said, I really don't like this. This he go and he just looked at me with a you know, one of those sympathetic grins, you know, say, this is the way you played it.

And it really was not the instrument. It was my technique. And I wasn't happy with it, so I had to go practice a lot on just that tune and rerecord it so that I could get it in the in the neighborhood of what I wanted it to be. Mhmm. Now for hammered dulcimer, there's not as much that we we tend to talk about with the well, there's certainly not anything in terms of the the touching of the strings, but there is a place to hit the strings where there's kinda about an inch away from the bridge is usually the sweet spot.

And for me, an inch is this knuckle, the first knuckle of my pinky. So if I aim for something like closer and I really hear wood or bridge further away, I hear a different tone, and I have the possibility of actually actually touching a different string because of this valley between the bridges. And that's what I wanted to call attention to. I had an instrument that was the first one that had a bridge on this side, and this bridge was way over here. And I had a really hard time playing in the optimal place to play and in the place where I was gonna hit the string I wanted and not the string I didn't.

And so I asked the builder if it was possible to move this bridge a little ways further. So I actually sent it back to him, and, the builder did that. And it made the playability and actually the tone, it was a much smaller instrument than this. So tone was really not a big difference because it didn't change a lot, but it made the playability and the accuracy a whole lot easier to achieve. So in that case, it was partly my technique, but partly when it was too close, this an inch away here and an inch away here put these really close to each other, and it made it almost impossible to play the right string when I wanted to.

And, certainly, when I realized what was happening, it made me more anxious, and that made it even more harder to play the accurate one because now I'm thinking, oh, no. I'm gonna miss it. And then sure enough, I did. Yeah. Well, if someone is discovering or trying to discern this, what can we suggest to them to do when they're trying to sort out, is it my dulcimer or is it me?

One case The curiosity questions about, does it always happen at this fret? Does it always happen with this finger? Does it always happen with this string? Those would be my questions to pay attention to. Changing the gauge of your strings up or down by a few 100 of, size will not hurt any instrument.

So you can totally experiment with that piece on your own without any fear of hurting your instrument. So try heavier strings and lighter strings and see if that does have an impact. And then after that, you're generally looking at probably working with a luthier to help you make adjustments in terms of action and frets. Sometimes too, the frets need to be dressed because the fret itself has a little, divot in it where the string has pressed into it repeatedly over time. So if you have a new buzz showing up, it may be not you because you've done the same thing and you've been playing for a while, but it may be a physical thing in the fret.

And, generally, asking around to the people who play other acoustic instruments for somebody in your area who does luthier setup work. It does not necessarily have to be a dulcimer specific luthier if you live in a part of the country where that is not something that's close to you. I always say, you know, if if the person who built your instrument is available to do setup on your instrument, that would be the ideal situation, but that is not always available to us. And so someone who's who regularly works on acoustic instruments is gonna have a similar kind of experience with action and fretboards. And in person festivals who have a dulcimer doctor is great.

If if you are at a festival that has a dulcimer doctor, it's great to make an an appointment just for a checkup. And you get to talk to someone who's cool and who loves dulcimers. You get to meet a friend, and you have someone who helps you understand your instrument. There are other many luthiers who really don't understand how dulcimers work because they don't have necks. They Mhmm.

You know, it's fingers stretched over a box in the air strings, and it's not the same. And so sometimes you can get some help from a a allusier who has great experience with what they do, but maybe not dulcimer specific. So maybe like a generalist and you need a specialist, but it's worthwhile doing that. It for me, also, like I mentioned with the recording experience, recording yourself playing and listening means I get to have a different ear when I listen. When I'm playing, I'm having the experience of the instrument vibrating, touching my body in some place, And and I'm in it and thinking about everything, but when I listen to it separately, sometimes sometimes the experience of playing feels so good, and I listen to it separately and go, oh, man.

I'm not happy with something. And then helping me figure out and diagnose what it is I'm not happy about is Right. That's a that playing recording. If you can do a video recording, like, with Zoom or something or have have set up your camera and have it on your phone and do it, you can you can gain self evaluation experience that'll help you make that. Maybe this is something that's just me.

I can try these techniques. Maybe it's something that I need to do with the dulcimer, and I could try these things. So that'll get you going in a in a long way down the path. Well, this is a great topic, Aramae. Thanks for for bringing it up.

We have some things coming up that deal with this, like, you have something Saturday. I do. I'm doing a a string changing Zoom party. I always try to change my strings around the time of corn tune. That has become a rhythm that just keeps me in fresh strings.

So I'm gonna change my strings on Saturday, and so there's, just a free come and go Zoom session on Saturday afternoon. If you want to watch me change my strings, get some information about changing strings, or do it with me because it's intimidating and scary to do it by yourself sometimes. And and how do we find out about that? So that information, I can share it on the Dulcimer Crossing, Facebook page. I'll do that, and then it will just be right there.

Excellent. That'll be wonderful. The other things are you mentioned Quarantunes, and this is the last week to sign up for the Quarantune Festival, the 9th Festival, which is pretty darn amazing. There are seats open. There are concerts.

There are t shirts. There is live vending, which happens a week from tomorrow, and workshops on Friday Saturday concerts, Thursday, Friday, Saturday, and Sunday. One concert ticket gets you into all the concerts. So there's lots of ways that, you can take part in that whether or not you can take workshops, but registration ends this Saturday. So that's one of those things to keep in mind that is coming up.

We also have another event that I want to highlight, which, is open registration is open for which is taking place in March. Do you wanna say anything about this, Sarah Mae, since I did all the talking? We are Dulcimer Crossing is hosting a 4 equidistant dulcimer day. And so we will have a variety of instructors who regularly play with a 4 equidistant string configuration on mountain dulcimer. Aubrey, Leo, Thomasina, Bradley, Grant, and Sue are all people who've been playing with a 4 equidistant setup for a long time.

There will be a few different tuning options represented, some sort of basic technique things for how to get used to forkliftistant string as well as some more advanced things that you can do by having that set up. And so we're really excited. It'll be just like a one day all day event on oh, what's the date? It's in March. Right?

March 11th. So you can check all of that out. We'll post the direct link to that in the Facebook page too. While you were talking, thank you for talking, I put it into the chat. Oh, you did it.

And it'll be in the newsletter as well as the string changing event will be in the newsletter. So Awesome. Thank you again, and amazing. Live event is in February with Rick Thumb. So the Hammer dolls were focused when yeah.

Yeah. Yeah. And Aaron May did a wonderful chromatic one last week. And we're shopping, mentor level students get access to the archives and can view all of those. And we've had a good collection of, of instructors and topics, and I've been inspired by everyone.

And Me too. There have been some really amazing things. I find myself referencing the live things I picked up from those live events on a pretty regular basis. So Yeah. They're worth it.

Well, thank you for joining us today. Make sure that you have, have joy through the music in your life every day. Not don't wait just for the weekend. We're those for our players are not living for the weekend. We're living for every day.

Yay. Play tunes every day. Yeah. Well, thank you, and Thanks. See you all all.

Bye.

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