Kustom Powered - HV30 experiment

Bang! It was February 15 and I got blown away by the performance of the Kustom HV30 combo amp that I decided to take with me to a gig. The place was called Amos Café located along Kamias Road Quezon City I was invited by Renmin Nadela of Republika Delata / Agaw Agimat for Guerilla Music Productions. An Indie production outfit that I am honored to be a regular feature. I often bring along a Defender V50 an all tube amp which my Boss sir Alvin Q offered to me as a work perk but for this event I had the crazy idea of bringing in a smaller amp and see how it would hold up against the amps that were installed in that joint they were mostly 100 watt combos. I knew that the Kustom amplifier lines are very conservative in publishing power ratings ever since I first tried them but I wanted to see how far they can go. Just by feeling the amps nominal volume levels I kinda know that the Kustom 30 watt rated amps can hold up against 50 watt ratings from other brands so I thought that this would be a perfect time for a case study. In all fairness the HV30 is equipped with an amazing speaker emulated output so in case It fell short of what I expect it to do I can always plug it to the P.A. but as we breezed through the soundcheck (a jam of Richie Kotzen’s “Doin what the devil says to do” Check out the link ) I felt that I don’t need to hook up to the P.A. The HV30 had so much headroom that I was able to cut through. The usual combo amp matching is 60 watts vs 100 watts guitar and bass amp respectively but the experience proved my theory I was using a 30watt combo but I was right there between the drums and bass.

Work Perk

Please enjoy this instrumental Jam of a song from the Spirit of Radio CD which I released this year. I used it to demonstrate the sound the of the Kustom Amp KG210fx - pretty good amp for an entry level solid state model excellent price and cosmetics as well. I feel very honored to have been offered a Job by http://www.modulardisplaypro.com/ what else could be a dream day job for a guy like me? It's been a long time since I was connected to any Music Gear marketing company now I'm back and really excited. I'd probably write more in the next few weeks regarding this new Job and new toys that I've been playing around in the office. My job entails doing these things shown in these videos on a regular basis. Hope you enjoy them as much a I did.









Please feel free to comment

"My Shoe Rocks" Concerts - Marikina

My first outdoor gig as Bone Pagligaran and it was a blast having to be in the same bill with “Flippin soul stompers”, Callalily, and Argos. We did well and survived after taking the stage late with FSS ang Callalily going on first. It’s always tough to follow bigger acts on a live show especially if the audience response is to be the barometer. FSS’s magnetic performance is just incredible while Callalily’s massive teenage psycho screams was deafening if one does not carry enough guts to go on with the show one probably won’t take the stage. Against all odds we went on, after all we were just happy to be there. Had some little tech problems but we made it through. Jojo and Warner were really good considering it was our first outdoor gig together I guess it was Warren’s first ever. I am just so thankful for the opportunity to share my music live in the biggest crowd I’ve ever played so far as Bone Pagligaran.

I hope there’s more to come

here are clips from that performance...

The 3 stages of modern music's decline

The majority of the public especially the record industry thinks that Piracy is the main reason for modern music decline, I however don’t exactly buy that, I believe the Record Industry itself has the biggest influence on music’s decline.

1) In the 80's we got insanely amazing musicians, but they were marketed by superficial looks... they were treated as GODs, It worked for that decade it got out of hand and reached equilibrium. As they get more superficial as the years progressed the attention to the music shifted to the just “the looks”. The Public just couldn’t see through the music anymore because of the visual superficiality we got tired of it and started to hate it. In reaction to this...

2) In the 90's we got stripped down sincere artist and musicians they were not so amazing in terms skill and refused to be treated as GODs while some of them were also great the result however was the majority of the next generation musicians thought they could get away with very little or no skill in music (so did the record industry) and they did, a lot of people that cant play became Rockstars it got out of hand as well and reached equilibrium midway through that decade. It didn’t even last long, we all agree that by 1995 till 2000 all we got were short lived Label Produced acts. In reaction to this...

3) In 2000 and beyond the record industry combined the formula of the last 20 years of successful music marketing that pushed the quality of music and music acts down the flusher. They took the “visual superficiality” of the 80’s and the “keep it simple and stupid” concept of Music of the 90’s (KISS acronym), and it had to come in the digital age where technology allows literally those with no talent at all to become Rockstars and Pop Stars. In the 80’s we got GOD’s in the form of Glam Music Celebrities, at least they had powers in the form Musical Skills. In the 90’s These GOD’s became flesh when they took the “Music Celebrities can be mere men with acceptable music skills in flannel jackets, goaties, and thrift shop clothing” motto.

Thanks to the record industry for the most part, The GOD’s Died or left us. Generally speaking all we have right now are Music Celebrities with little or no talent at all (mostly no talent the rest needs more cultivation or half baked) mostly teenagers dressed in contemporary Barbie concepts, Nursery Rhyme level musical skills and vocabulary, and a standard “cool” Youtube video. To my count it’s been 15 years since we had our last real wave of music revolution and I believe we are due for it, we still have real Artist and Musicians in an alternate universe called the “Indie” music scene just waiting to be tried out by the massive public. I don’t know hows that gonna happen but yet I am keeping the faith.

The Record Industry is the biggest contributor to this decline I hope they take it upon themselves to redeem them and start signing quality Artists again. Those that have devoted themselves to their music and craft and not just those who looked good on TV who got the most TXT Votes.

Guitar Chat

As much I’ll miss the customary free drinks while having guitar conversations with younger players and peers in between live sets, I took the liberty of sharing these common topics by means of this blog to everyone who is interested in my style as a guitar player.

A style built on personal and logistical limitations

The first would be “The Sound” – The most common pick up line would be… “sir ano yang tatak ng gitara mo tsaka setting ng mga FX mo ganda kasi po ng tunog?” Like most of you know I’ve been using OEM and self built copies for the longest time (I haven’t had branded guitars in like 6 years or so) and I usually play through 3 or 4 basic cheap pedals. Most of the time they just wonder, how I pulled off that sound or “The Sound” Since I always get these questions I developed this standard response… “When I was starting out I didn’t have the resources to play with branded equipment so I developed the ability to tweak and maximize whatever gear combinations that I am playing through. Even my sound is built from logistical limitations I had no choice but to try to sound good with what I have. Fast forward to the present I could somehow get close to my identified sound (whatever that is) with whatever gear combination. How does one do that? Usually that’s the follow up question. My response to this is that I am only dialing in tones according to what I hear and see in my mind… again somehow I get close to that. No special techniques, secret tricks, no nothing. Much of that although debatable I believe is the combination of my anatomical or physiological structure, and emotional response to music…. The gear combinations are just augmentations of the sounds which I am attempting to make. Since “Tone” and “sound quality” are arbitrary I put less emphasis on them as the identifying sound and more on the Metaphysical element… well for me at least.

The second would be “The Technique” – I always say that I am not a very technical player at all, my first heroes where actually Anti-Heroes…Dave Evans and Johnny Marr. But of course later I discovered an inclination to African American music as I go back in time studying. Although I don’t sound like traditional blues players 90percent of what I do is borrowed from R&B, and 70’s east coast soul. Again the emphasis is on the Metaphysical element and not so much on technique. I’m not saying that I didn’t study theory, actually I did. In the first 2 years of my venture into guitars I did the rigid studying of Scales, Modes, and Progressions. But I started to appreciate my playing when I started to just play and not mind theory. In doing so it allowed me to play freely and not constantly think of what to play next. That was the beginnings of my spontaneous style of playing. You still need to study theory but let it sink to your sub conscious mind to be able to play free and not continually analyze your performance in realtime. In short study with your Left brain and play with your right (http://www.funderstanding.com/content/right-brain-vs-left-brain). What usually happens in my experience is I just ride the music and about a couple of milliseconds before I actually play a part I grab it and try to put lots of conviction to it. I don’t think too early and I don’t super impose what to play. It’s all within the moment give or take those milliseconds. I guess the fluidity in my playing is attributed to that behavior. This behavior again is a result of my personal limitations. I have very poor verbatim memory that means I’m better at remembering things in context so naturally improvising is the better approach for me. I am naturally inclined to play simple but fluid and effective rather than super imposed complex thought off parts but obviously challenged. A few coherent set of words communicates well than a thousand words you missed.

That’s all for now I hope you got something out from this.

My thoughts on Angie’s easy way out

In respect to his family and the service he rendered to this country I held these thoughts until he was brought to his final resting place. But as a citizen of this nation, as simple and ordinary as I am I feel the need to pitch in my personal thoughts on this matter through this article objectively as much as I am moved by the tragic way he ended his life in relation to the issues at hand.

Question is… Why would he end his own life? So here we go…

A) If Angie’s intention was to take full responsibility on this scandal much like the way of the “Samurai” then he gets his (and his Family’s) honor back. In my book that is very noble and commendable, that is an example to all who aspire and is given privilege in public office. However one element is missing for this to be the case. There was no clear admission of guilt, but personally I’d like to think that Donald’s book in his hand and that Him being a military leader implies that this is the case… if it was the case then in my book he gets his honor back. On the other hand since I need to be objective as well the absence of a clear admission of guilt leads to case “B” on his easy way out.

B) Case B would be his intention was to save his Family, the AFP, and/or his Friends (if in case he/they are guilty of the allegations) from further incrimination with regards to the said issue as the hearings progress and digs deeper into the belly of the beast. And so taking with him to his grave whatever facts he may have had that could give more light and solution to this crisis. In one sense it is still commendable… him being a Father protecting his family, his loyalty to his alliances, and as a self sacrificing leader for the AFP all with his life. But not really for the greater good… which is the welfare of the country, in which he swore to protect from all enemies foreign or domestic. If this was the case then his death was for the benefit and the protection of the few and not for all of us citizens of this nation.

As I’ve said these are just my thoughts and it’s 50/50 on both counts. If Angie is truly innocent of the allegations he didn’t need to exit the back door, all he has to do is prove it and fight head on considering the warrior that he is. Yes that would mean a temporary sacrifice of his honor until such time he gets himself vindicated upon proving his innocence. After all every public official knows that his life is subject to scrutiny in massive levels from the public and from their peers. I am inclined not to believe that the backdoor approach was driven by manic depression caused by his honor being jeopardized as many would like to put it. (which is a sentimental response to his suicide, and is understandable in context to the pinoy culture, even the senate adjourned the hearings in a similar response) Sure there was depression and stress into play but not enough to kill him. We are not talking about a confused teenager here, or a feeling empty rockstar, or a guy in midlife crisis who got bankrupt or something. Angie is a Military leader for one… a General “patay kung patay” a General is a battle strategist we must consider that. Two His own death was likely contemplated owing to the fact that he visited his mother’s grave every single day and sort of reminded his family to take care of each other from the senate incident up to the time of his death. Again I am trying to be objective in my opinions and observations. By this we can see that the manner of his death was ceremonial in nature. For someone like him if he’s going to die by his own hands it has to mean more than just an account of depression from an impending dishonor. It had to have a definite goal for his voluntary death to have a greater meaning… which lead me to case A and/or B opinions/assumptions. Suicide out of far driven depression is just cowardly especially for a military leader I refuse to believe that the General was like that. Again I would like to think that it was case A… the “ Samurai” way cause in that way I will remember him more with his greatness and his honor completely in tact. After all we are all corruptible anyway even Five Star Generals or Presidents but it takes a Great deal of courage to admit one’s mistake and wrongdoings. Courage is worthy of honor. So if it is the “Samurai” way as the way out for you Mr. Reyes then you Are a Great General to me and in my book you deserve your full military honors. Regardless whatever happens in the senate hearings you honor is completely in tact by me.

Rest in peace Sir General Angelo Reyes Sir.

picture picture

More Photos i guess

Geek stuff again

Okay here we go again I had to re configure my pedal setup right before we went on tour in support of Sugarhiccup's fourth album entitled "After Five Years" that kicked off from April to June. Well since we will be (were) playing the new stuff I got enough reason for me to do some geeky tinkering with my pedal setup to suit the needs for my live guitar sounds.

My current signal chain goes like this.....

The guitar signal goes into aTS808 (1) clone which I modded to facilitate an external loop going into another pedal a Boss DS1 (2) using the 808's stomp switch to toggle between pedals... of course the 808 is for my main crunch while the DS1 is for the more saturated drive tone.

From the 808's(DS1) output the signal goes into an Artec Twinhead (3)Pedal which I use for Feedback and Solo Boost from there goes into a DOD Vibrothang (4) set to play like a leslie for especial tender moments then goes to a Tuner (5) before going into a cheap volume pedal (6) that I use for swelling and silent tuning then it goes into an Artec delay (7) and a Boston engineering Chorus pedal (8) completing the chain before going to the amp, the board is powered by a 1spot power supply (9) re-cased into a printer adaptor (I hated the 1spot plug shape).

I run the sound still very much the same... the 808 as the main tone always with a little fiddling of the guitar's volume knob for the right clean or crunch tone... toggles to the DS1 for a more heavier drive then stomp on the twintube fr more juice.... I sort of have a triple stage drive circuit with this setup.... so here is a closer look at em.

Making sense of it all

Taken from "The Manila Times" Lifestyle section \June 1,2010

Sugar Hiccup’s ‘After Five Years’
BY ALLISON SY-DUNN Contributor

To be Sugar Hiccup is to carry a name with history. The band is famous for its ethereal hits in the 1990s including “Five Years,” “Bleed,” “Womb” and “Moden De” to name a few and that won the Katha Music

Awards, the Awit Awards and the NU Rock Awards. But to be the Sugar Hiccup is also to carry much baggage.

Whoever takes the place of original vocalist Melody del Mundo (now residing in the US with her family) will surely be compared to her. She must sing stratospheric songs such as “Five Years” that punish vocal chords and risk permanent damage—songs that even del Mundo sometimes demurred from singing live during her tenure with the band; even she found it a challenge living up to her studio-perfected self.

The new lead singer and her new band members must also face a conundrum: how to further Sugar Hiccup’s signature style of atmospheric music and gibberish lyrics (ala Cocteau Twins) without simply repeating and rehashing it. After “Five Years,” where does Sugar Hiccup take its audience next?

The original Sugar Hiccup was a tough act to follow.

Thank God for the new Sugar Hiccup. They live up to the name and take it so much further.

With original bassist Russel Dacasin still at the helm and with original drummer Melvin Panganiban’s blessing, Sugar Hiccup launches its new album aptly named After Five Years with Bone Pagligaran on electric guitar and Jamee Orcino on drums and soprano Jeanette Reyna Jorge on vocals and electric violin.

The new lineup clearly shows its chops, displaying virtuosity that the original lineup did not possess. All contemporaries in their early 30’s, these seasoned musicians possess artistic maturity and work ethics that that allow them to perform as a cohesive unit. Watch them live and listen to their new album. This is clearly evident. The band is tight. They don’t just play; they jam, they entertain and they have fun.

Pagligaran puts his bluesy and raunchy guitar to good use, infusing each song with vitality and soul. With him, Sugar Hiccup performs its old and new songs with an aplomb that would be impossible with original guitarist Zandro Pollack’s limitations. Orcino doesn’t just thunder and pound; he truly jams with his fellow musicians, allowing a give and take that lets all shine in turn. Dacasin matures even further as a bassist, providing the irresistible heartbeat to every song.

Ultimately, it is by their vocalist that the band will be judged. Since del Mundo, Sugar Hiccup has gone through three vocalists. With Reyna, they have found one for keeps. Reyna, a classical and madrigal soprano by training, soars in every song with her own signature style. Her violin providing even further depth to the band’s synergistic sound. Together with the rest of Sugar Hiccup, Reyna transforms even Sugar Hiccup’s old songs into something truly their own. But it is with their brand new compositions that Sugar Hiccup proves itself worthy without contest.


With After Five Years, Hiccup dares to do what would be unimaginable when they debuted in 1994; they sing lyrics that brazenly make sense. None of that invented language found in “Moden De” or that “live back masking” featured in “Awa.” With After Five Years, Sugar Hiccup doesn’t snobbishly shirk from its responsibility of building an emotional rapport with it audiences. Every bit as uncompromising as previous albums, After Five Years is refreshingly the most accessible.


click the link to listen to some samples
http://www.sugarhiccup.info

“Awake,” the first track, provides a bridge for old fans to cross over to the new album. Among all the songs, it most resembles old hits such as “Bleed.” But even here, the band takes the signature sound so much further. Dacasin and Orcino provide an infectious rhyme. Pagligaran rocks it, complementing the haunting atmospherics with in-your-face guitar licks. Reyna, as both the song’s lyricist and vocalist, doesn’t just mouth the words; she makes you feel it.

If “Awake” transitions listeners to Sugar Hiccup’s new vibe, then “Waltzing Stilettos” and “Ode to Unknown Self” skirt the far edge by pushing the envelop in opposite directions. Stark and haunting, they show Sugar Hiccup at its most tender, vulnerable and naked.

“Point Blank” best epitomizes Sugar Hiccup’s new direction. It contrasts arresting lyrics with a hooky musical sensibilities: Just listen to the lyrics: “Never held a gun before but you’re the closest, the closest/Never held a time bomb but you are the closest, the closest/ Blood on my hands you are the closest thing/Ringing in my ear you are the closest still/Hefty, steel cocked and loaded/Pin out and ready to go.”

After Five Years is available at Sugar Hiccup’s live gigs, for performance schedules and further details, visit www.sugarhiccup.info. Facebook.com/sugarhiccup For bookings, call 0927-8396474 or 0917-3699989

Sugar Hiccup new album and tour

“After Five Years” out now!

At last finally it’s out there now! You guys can get your copy by dropping by at our gigs. For a limited time we are actually throwing in a bonus…. The 3^rd album as a freebie so get one now. We are now back touring in support of the album after we took a break for the elections and the April leg really was fun but also exhausting. It’s been years since I gigged that much after the tour I began to realize I’m not 24 anymore gigging nightly and in some dates two venues in one night. But hey I’m not complaining who’s going to complain about partying every night right? Except for the next day hangover… then again midway to the tour you loose the hangovers… or maybe you get used to it.

It’s been two months since the album was finished and I’m listening to it lately. Well I can’t comment on it because I produced it so go get your copy and have a swing on it. So since I’m really super busy for the next few months I couldn’t do much blogging. I'm producing an Album for Dyna Music for this up and coming solo artist…. (Surprise na lang kung sino siya) during the day and in the evenings playing live for the Sugar Hiccup tour… so much music everyday huh? So no time for blogging.

next time

This time NHI is so OVEREACTING! by critisizing Arnel's interpretation of Lupang Hinirang. It clearly shows that the guys there have no understanding of art whatsoever. I mean if they are going to be technical about how to sing the the national anthem to the letter of the law, then no one can sing Lupang Hinirang in that setting or context.

Here are my thoughts....

A. we will need to have an orchestra to back up any singer to provide the marching backbeat which is mandated by the said law to be consistent to the groove and tempo according to Felife's Arrangement per NHI's interpretation.

B. To be consistent to the exact melody (again per their interpretation of the Law) anyone who misses a note (hitting a sharp or flat) should be prosecuted. That means every tom dick and harry who sang Lupang Hinirang should be prosecuted since most of them didn't really nail the song note for note and at the exact tempo. So that includes school teachers, students, and government officials evertytime they do it during flag ceremony (come on most of the people singing in ceremonies are either off key or off tempo). Well then if we are going to be literal with the LAW as in rule is a rule then heaps of people will be prosecuted... I rather not sing and suppress my patriotism in fear of the said law... oh my GOD! this is such legalistic nonsense.

C. There is a provision in the Law that in the absence of an orchestra it can also be performed with a Piano accompaniment or just plain Acappella.... that means in both these cases the marching groove feel and tempo will be excused and out of the picture.... how can you interpret a marching groove feel if you don't have percussion going on? duh! and without time kept rhythm most singers fluctuate in tempo and not every singer has perfect pitch in order to sing a song perfectly in key, note for note, in Acappella. I mean this is what I'm talking about that no one can sing Lupang Hinirang in such context.

Having expressed my opinion based on their supposed interpretation of the Legal provisions in performing Lupang Hinirang, I (still) do (very much) agree to the core purpose of NHI to reprimand such violations but I think their lack of understanding regarding performance arts clearly made them fail to interpret the Law and its practical application however messing the song up or re-arranging the song to the point of drifting away from Maestro Julian Felife's Artistic intentions is another story.

Case study nalang tayo sa NHI mismo…Kantahin nyo nga sa flag ceremony nyo yung Lupang Hinirang ng Accapella pag di nyo napa tunog yung marching feel at nag flat kayo kahit isang nota kasuhan nyo sarili nyo.

and another thing....

The National Anthem was written in 1898 by Julian Felipe and Jose Palma (as if we don't know).... since then up until 1962 it went through many changes... It wasnt even called Lupang Hinirang until 1956. (now I'm starting sound nerdy) anyway the point is... The mandate that it should be exactly performed the way Felipe intended it is somewhat invalid since the Lupang Hinirang as we know now is not Lupang Hinirang as he (Felipe) knew it... even the lyrics by Palma were changed.... I bet NHI knew this so come on you guys

So in conclusion... I am not questioning the Law but rather interpreting it in the light of it (the subject) being an art form... in which art itself continually evolves in relevance to contemporary times in any given society.... and that beauty in art is subject to the taste of an existing society or audience in our case the Filipino people.... (kung hindi naman pangit at sadyang binaboy wala naman problema dun ano ba?) does that say I agree to a hip hop version of the National Anthem? certainly not for that is not the point. I believe the core purpose of the Law is to protect the National Anthem from being punked or parodied and accordingly reprimand offenders.... but certainly not to criticise and humiliate serious patriotic performances. The National Anthem is an Art form written by people with deep heartfelt patriotism.... Its is then very judgemental for anyone to unfairly criticise another Artist (especially a Filipino in a world stage) who with deep hearth felt patriotism exhibits it to the whole world with such Pride and Artistic Beauty.

The History of the National Anthem itself proves the point that Art evolves and that artists and leaders through time have had their hands on that evolution.... artistically and legally....

So guys from NHI Please ponder this.... Your agency is indeed the keeper of our Historic Legacy but I don't think it allows you to suppress our HISTORY as it is BEING MADE!

Lost For Words Demo

Guitars that ruled my world (as a teenager)

Just like to share some of the songs that got me doing air-guitar, of course eventually I learned to play them later on and graduated from my mom’s broomstick to a real six string at 16. I listed ten of them I could have listed a hundred but I’m too lazy to write. Five of them were more like Anti-Hero style while the other five are more like the Flamboyant Hero type, I like both schools of guitar and is serving my playing well years later. My early attempts to learn those songs have subconsciously and permanently implanted styles in my vocabulary which until now is still evident in my playing and general approach. Despite the difference in style between the two schools of playing there is a common ground…the inclination to strongly support the song

Here they are….

Where the streets have no name (U2) – The edge’s rhythmic use of the echo effect just got my attention. I remember “The Flock of Seagulls” used to do it as well but it was “ The Edge” who made that style famous and synonymous to his name. Although I rarely do the dotted 8 note trick nowadays, still a delay pedal is something that is more important to me than an overdrive…. That’s why it’s number one on the list.

Away (The Bolshoi) – The Strength and simplicity of shimmery choral arpeggios is what I picked up from Trevor Tanner . This is the basis for my ornamental rhythm guitar playing.

Don’t dream it’s over (Crowded House) – Tasteful choice of notes that tenderly but strongly serving the song, giving more drama to an already dramatic songwriting – simple big melodies are priceless

The Motion of Love (Gene Loves Jezebel) – Yes The Aston twins wore tons of make-up which was directly proportional to the juicy but piercing melodic riffs they put in their songs.

The one I love (REM) – The first song I’ve ever learned to play and the ability to play lesser guitar and more of the song

Sweet child of mine (Guns n Roses) – What can I say? It’s a guitar riff of a generation. I remember at one point one has to know this song before one can earn a spot at an audition for lead guitar. A totally challenging leap from an anti hero style that I started from.

Blaze of Glory (Jon Bon Jovi) – This song (and album) introduced me to the genius of Jeff Beck.

I can’t live (Nelson) – It’s all about the girls. Seriously I blame them for some of my “Tragic Boy Girl Relationship” songs I must admit I enjoyed them hehehe.

http://www.youtube.com/watch?v=jVlQ79Rifto

I Remember you (SkidRow) – Oh Yeah I really had to cut my teeth learning and playing this song. Power, Melody, Speed, and Creativity all in one song and it’s supposed to be a ballad. I’ve Realized how strong power ballads are.

Bohemian Rhapsody (Queen) – This is not from my era but Queen is a very hypnotic band and Brian May’s guitar Playing is as flamboyant as Freddie Mercury. The song that I Air-guitar(ed) the most and also made me realize that you can play home-made guitars.

Eventually I discovered Jimi Hendrix, Eric Clapton, Keith Richards and all the rest as I studied the origins of Rock Guitar which is RnB and I’m really surprised to meet a lot of new guitarist today who have no clue to this but that’s a different subject.

I hope you enjoyed them.

Till next time.