I'm Back... and This Harmony Concept is Changing My Playing

[00:00:22]Ladies and gentlemen, boys and girls, bass  players of the world, dare I say coffee drinkers, it's been a while. We're back. Um, it is July  22nd, 2026. I am so not used to doing this anymore because it's been, I don't know, four  or five months that I couldn't even remember how to set up my camera and my Logic uh, you  know, recording situation to get all of this to camera. But just about there. Actually  going to go a little bit hotter on the mic.

[00:00:55]Give us some volume. H. Okay. How's that? How's  that? Even better. All right, we're working it out as we go. So much to catch up on obviously  with this many months off the program. Um yeah, I think in this episode, let's go with I'm looking  just looking down at my pedal board cuz the lights are flashing. Um let's go with music. Let's start  off with music. Um, let's see what is still in the looper just so that I'm not guessing at what  it is I've been working on musically. Oh. Ah.

[00:01:36]Okay.

[00:01:44]Okay. I'm trying to remember exactly what that  is, but uh very familiar. It's the um whole bunch of harmony stuff I've been working on. It's a  couple of days old now. Haven't had the luxury of time with the instrument in the past few days.  I guess one of the bigger pieces of news is that we are moving house. Um still here in Southern  California, but we're moving house. That's happening in a few weeks. Moving to a different  space. Um maybe this will be one of the one of the last ones in this room with this look, with this  lighting, with this window, with all that kind of stuff. Uh but yeah, bottom line is I haven't had  the luxury of being able to practice as much as I would like. Uh because as I'm sure most of you  have experience with moving um especially with a small family is not the uh most time friendly  thing you can imagine, especially as we finally put out the new book. It came out um I guess as of  this morning officially. Um the new book, How to Transcribe, is out there. I've been working on the  video master class, the more than 180 audio track.

[00:02:49]It's been an insane process. It's been really  long. Um, any of you who've been in the loop on the pre-order have been receiving a few emails  here and there about delays in production, all that kind of stuff, but it's finally out there.  Um, I'll link everything below in the description of the video. You can go check it out and I'll  make some dedicated videos on the main channel about transcription, about my thoughts on that  process. Really, how I feel that it's more about ear training than anything. Yes, technically the  notation of the information you're listening to is is transcription. That's what it is. Transcribing,  writing it down. I think that's really important, too, as I'm sure you've heard me talk about in the  past, cuz our brains just can't retain everything we listen to or everything we learn. And my  scrolls, my manuscript books full of stuff that is super inspirational. Even after 30 years, I  can go back to something that I transcribed in the '90s might just be four notes and be like, "Oh,  yeah, I kind of remember that." and oh yeah, now I remember why I transcribed it, why I was inspired  to and also 30 years later I can be reinspired in a in a completely new direction by the same  thing. So really valuable to write it down. But essentially the entire transcription process is  about training that ear and allowing you, you know, hopefully the book inspires you to learn and  uh essentially gives you the tools to like truly play what you hear, to be able to react in real  time to people on the band stand, to musicians around you. Um, and speaking about being on the  band stand and having musicians around me since I've been gone, since the podcast has sort of  been off air, bunch of trips happened in terms of music. Maybe um, you were uh, out there as part of  the audience on some of these. Um, back in March, uh, I was out was out with Steve Smith, Vital  Information, um, the past few months on and off. Back in March, we went to Japan, played a  couple of nights in Tokyo, came home, then went to um we went out to Taiwan and China for a week or  10 days or whatever it was. Um played a bunch of shows. Fantastic. Um played as a quartet um with  with with with a horn player for the first time as vital information with me in the band, which  was really fun with John and came home and then went out with Clarence Pen and Osnoi to Europe  briefly for a week. uh played in Netherlands, uh Austria, Czech Republic. Super fun. Um and then  most recently we just went to the UK, played in London and Manchester and I'm kind of off the road  now. Have been since last month and just a little uh weekender, Labor Day weekend coming up in  New York at Birdland with Steve Smith and some Mike Stern dates with Dennis Chambers at the end  of the year in December on the West Coast. So, um although it was intense in the moment and  the gigs were super fun and super far away, uh it's been kind of light on touring this year  compared to other years. Um and the focus is starting to shift more towards recording and um  tying into recording, the new album is coming out next Monday, July 27th. It's called Quiet Places.  It's trio with Peter Erskin and Near Felder.

[00:05:52]Uh we recorded it at Sam first back in April here  in LA. It's a live album. We recorded two sets in one night. Pick the best moments of uh pick  pick the best take of each song. And I think it's mainly from the first set with a couple of  tunes from the second set. Was a super fun gig.

[00:06:09]Really challenging in that in the moment to be  in the moment to stay in the moment to not get overwhelmed by the music and to have sort of  all the ducks in a row. the band leader hat on the compositionally to know the music to use what  limited rehearsal time couple hours the day before we had at Peter's uh house and then really to like  stay in the moment on the gig and try not to get you try not to have anxiety about oh man we've  only got two sets to get this right and then also be free enough to feel like I can make mistakes  and it's okay because I really want to go for the honest performance so you can be the judge of that  for yourself, how you hear it, how you experience it, how you receive the music. Um, like I said,  it's coming out in a little less than a week from now on all streaming platforms. And, uh, yeah, I  hope it's kind of it's meant to be the part of the first in a part three-part series of live shows at  Sam First, which we were going to do all in 2026, but it's looking more like the next two. Number  two and number three will be early 2027. And I kind of have some other plans this year for more  recording. Perhaps a new duo album with Daniel Le Kamada. Um, and who knows what else. I'm working  on some solo stuff. Something I kind of on a let's go into like practical touring mode a little bit.  We haven't talked about that in a long time. I haven't made a pedal board video in a long time.  Comment below if you want a full breakdown rig rundown of the latest board that's sitting here.  I'll play you a couple of things using it in a second, but it was I don't Oh, I don't have the  bigger board. It's over there. Don't worry. I'll do it in a in a If you guys want it, leave some  comments below. If I get more than 30 comments that you want a rig rundown, I'll do it. But,  um, I was essentially carrying around a pretty sizable pedal board in a really massive Pelican  case and it fell within my particular, you know, airline status. So I was able to carry a certain  weight, certain size, and I have that status uh because of that. So I can carry a slightly larger  setup around the world with me, but at the end of the day, once you get off the plane, you have to  drag that thing around wherever you are, Europe, China, Japan, wherever it is. And that's fine if  somebody's picking you up right from the airport in a decent sized vehicle, and perhaps you have  help every day to take it in and out of a venue.

[00:08:32]But when you get somewhere and have to start  moving around on your own and you're carrying not only the pedal board but your instrument and your  luggage and a carry-on etc etc it gets a little bit much. So in anticipation of that I knew when I  went to London when we went to the UK to play with Steve to play with Vital Information I was going  to be arriving like super early in the morning uh like 5 or 6 hours before the other guys. So  rather than wait around for the band to pick up at the airport I was like I'm going to get in the  city. really easy to go in on the train and I want to do that on my own, make the most of that day,  try and stay awake, do my whole jet lag routine and as a result or to facilitate that rather,  I want to be able to move around. I mean, it's not easy, but I want to be able to move around as  as light as I possibly can while still carrying a bunch of the stuff I want to use on the gig. So,  I went back to the small Pelican 1510 uh sort of carry-on size uh Pelican and went back with  the smaller board with the riser and put in the uh the mantle, the much talked about in terms of  its price. I still don't know why um Walus Audio mantle uh that Ian Martin Allison was a big part  of designing. Um so, I don't have any aside from the volume pedal, I don't have any pedals that  sit off the board. In fact, as I'm doing this, I am going to take a photograph here of it so I  can show you a little bit of what it looks like.

[00:10:01]It's kind of a mess down here on the  floor. Uh, and I'll show you under the hood so you can pause and see what's going on. And  yeah, the mantle's back there. If you remember some really some months ago now, I was carrying  the bigger board around and I had not only the volume pedal off to the side, but an expression  pedal um and the caveman audio, which I love, the BP1 compact. I was using it um as my preamp  up front. It was uh clean DI ahead of the signal chain. And it also had a mono effects loop in it.  So I was running my mono pedals, mainly my FMO, my Mantic, and my vintage bass octave in that  effects loop. So when they weren't engaged, it was straight through and it was sort of  preserving my signal a little bit better. So I've sacrificed that element of it because  the mantle doesn't have an effects loop, but it is more compact. It's an amazing sounding  preamp to my ear. Um, and it's been great. Like I used it on that UK run and it was fantastic.  Really, you know, Ronny Scots, very compact, low ceiling, really uh very specific sounding  room. And then we went to band on we played two nights there. Then we went to band on the wall  in Manchester, which is a little bit bigger, a little bit boomier. And just having a tiny  bit of EQ, uh, those options to dial in some EQ was actually really useful. I legit used it.  Uh, and my settings were different from London to Manchester. And that's the only touring I've  done with it so far. But it's been on the board.

[00:11:26]It's obviously kind of just set it and forget it  right now here at home in the studio because of the nature of I'm not, you know, I'm not moving  around. the sound doesn't change in here. Uh, but I will say yesterday when I was working  on something for the new book, for the how to transcribe book, I I was like, "Oh, I don't want  to do this in stereo because I have a stereo DI on the board and my main outputs are plugged into  my system in stereo. I just want a clean mono uh signal going. I need to record something like  quick and dirty bum bum bum, just a few bars here and there." And I just popped the riser up, shoved  an XLR in the side of the mantle and went direct into my system. It sounded fantastic. Super  clean, super warm. It was everything I needed.

[00:12:09]And because everything else was, you know, behind  that, like after the mantle in the signal chain, I actually just put the stomp on and left  it in tuner mode and could see, you know, when I'm recording, I like to make sure I'm like  super in tune. I'm tuning between every take. So that was on the whole time. It was a really nice  little recording setup that was completely clean and mono, very traditional in that sense. So,  I will say in the short time I've really been using it for my sort of everyday thing, the  Mantle has proven just to be great. I mean, I don't know how else to describe it really. It's  like it does exactly what you want something like that to do. Um, again, I'm I I didn't really get  involved in the so much post. Um, you know, when I put the video after I put that video up, I didn't  really get involved in the whole discussion of how outrageously priced it is. Um, and the more I  use it, uh, the more I I I already knew it wasn't outrageously priced, but the more confidence  I have in it for myself. That's up to you to decide for yourself. But it's been really useful.  It's nice and compact. It's not crazy heavy. Um, and it really suits this setup which I thought  I would be restricted by and it's had because it's so much smaller. I'm missing a couple of  things. I don't have the um the wetter box on there for instance and I was running the mood  and the autobit junior in either side of the wetter box stereo parallel pass all those kind of  things. I I don't have that. Um I really thought I was going to miss that and I wouldn't be able to  make sounds quite as big or quite as interesting.

[00:13:44]But with restriction comes the challenge of  really milking the setup for everything it has. So maybe I wasn't giving each of these. Well,  maybe I wasn't giving a smaller setup like this as much credit as as maybe it deserves in terms of  what it what what it's capable of. So that's been interesting. It's been a nice challenge and I'm  pleasantly surprised at all the sounds I can get out of it. Um, maybe some things will swap in here  in and out here and there depending on my needs, but as it stands, it's a very solid sort  of touring board for what I do. Whether that's straight up the middle mono bass or whether  that's crazy stereo soundsscape kind of stuff. Um, you heard a little bit the from the looper. Let's  see what was in there. Oh, yeah, those chords. Uh, so musically speaking, what I've been working on so much more is this neo-manian  triadic transformation theory.

[00:14:53]So, you may or may not have heard me talk about  this before. it it's kind of super nerdy but to me uh incredibly interesting and it's the concept  of just using triads major or minor in all of their inversions and being able to transition um  through so many different key centers and just being able to move harmony. It's a way of you  know I think about it as a way to move harmony to create new sounds, things I wouldn't  have thought of. It's so much more than as as great as as much as I  love that sound of one minor going to a four minor.

[00:16:01]And actually that is super fun. Of course  I was going to make an example of something that's like basic. Um but then it ends up  being super fun and musical. But anyway, back to the triadic thing. It's using triads with  no tensions. Although there's a there is a case to be uh made for actually adding tensions once  you get comfortable with the basic foundation of it. And I I'm going to get in tune here. Feel  the intonation is slipping. Need to change these strings. So many things need doing. Uh the strings  are not screaming the loudest right now. But so basically but simply put, you can move one note  in the in the triad. So we have a C minor triad.

[00:16:42]You can move one note. can move the the G the  fifth up a half step to a flat and suddenly we are in we're in a flat in its first inversion.  So C minor you can go to A flat. Now you could move the root note down this C to B and we can  go from A minor uh A flat major to A flat minor.

[00:17:12]Um, and I'm not going to get into the whole  thing because there's moving one note, moving two notes, moving all three notes and  and you know what sounds those things make specifically and you build exercises around  them, etc., etc. I'll make videos on the main channel, more harmony driven, more indepth  explanations on the main channel about it.

[00:17:31]What I've been doing is taking these  are all triads with no tensions and just trying to move harmony around and be  fluent with it. You know, part of the thing um that I talk about in the new book  and how to transcribe is immersion.

[00:17:49]There are two words that I put in  bold letters in the in the in the introduction. I say these are your two  best friends, immersion and repetition.

[00:17:58]Um, so I've been trying to immerse  my my ear, myself in the sound of what this is, of what it  means to move triads around. Um, by by playing these as more like exercises,  you can see I'm playing the same pattern.

[00:18:21]It's just moving down in a  half step basically every time.

[00:18:27]You can make some bold moves like that as well  where two notes move instead of one. Anyway, by immersing myself in that sort  of exercise uh mode, shall we say, where I just take the concept and roll with it.  It's an exercise. Okay, we leave it at that. We're not trying to write a symphony here. But as I  do that, as I move these, as as I, you know, I'm going minor, C minor to A flat minor to E  flat major to G minor to G major. For instance, that little sequence, that little turnaround, we  could just go around instead of changing keys.

[00:19:11]This is doing a bunch of things for my  playing, for my technique. Absolutely.

[00:19:15]for my fluidity with moving different notes  in the triad to move to a different chord.

[00:19:20]Absolutely. And it's also with the immersion  thing and the repetition thing is helping me to make connections to music I already know.  There are certain things when I hear this just those three chords I'm like, "Oh,  I've heard that before. I've heard that maybe in Mara in classical music. Um  I've heard that in maybe in composer like Sting for instance. There's something in  in his music like that that I've heard. Um, it allows me to make those connections and  having listened so much to a wide variety of music. It's the like the the the the combining  of those two things. all my history of listening to songs and to symphonic music that I love,  then bringing sort of a theoretical concept, a new theoretical harmonic concept into my  practice routine, and then putting those things together. And it sort of opens up so many  new lanes for me to improvise with, for me to play with. And one of the things I've been using this  concept for is instead of only playing chords and only playing the triads, of course there's a great  place to start to form an understanding of it.

[00:20:33]I've been I've been working on  arpeggiating those things. So using this etc., etc. Now, I'm I'm sort of blingging  my way through it right now. Um, I really want to try and make the point of  perhaps using a set number of notes on each uh each chord so it gives me some  discipline. So, 1 2 3 4 5 6 7 8. So, maybe it's eight notes. And I'm just  going to go to the next available and be really disciplined. Ah really disciplined to play just the eight notes to  play the next available one rather than repeating.

[00:22:09]And suddenly you get to realize where all the  sort of connective tissue is where instead of thinking about it or feeling it in chords, you  start to if I play those eight notes in C minor, it's only a half step up to get to A flat.  It's only a half step down to get to E flat.

[00:22:35]and then maybe I'd go back to get to G minor,  etc., etc. So, it's really about like putting the connective tissue under the microscope for  me, both in a cordal sense and in a linear sense.

[00:22:54]Really, really like that.

[00:22:59]Um, and there's right there just with those few  chords. It's like a lifetime's worth of work. Um, and then you can get to other stuff. You can put  tensions on them. You know, why not why not put the nine on each chord, the natural nine. Uh,  how do I do that here? Now I have to kind of uh in terms of the fingering and and working  it out like so just by adding the nine to these voicings, suddenly you get this whole other world  that opens up. and we haven't added a seventh.

[00:23:33]And then we get to this E flat,  which is a little more complicated.

[00:23:42]Yeah. Uh, no, that's not a nine, though, is it?  Because we want to get an A natural in there. So, we're going to So, I've just expanded from this to this uh not easy way bigger sound. And that's not that not to  say that you have to use the bigger sound or the bigger sound is more effective. I think the  contrast between the two um is fantastically uh is really effective. So maybe So maybe you don't use four notes  every time and you make combinations.

[00:24:48]Uh uh yeah, just so many different places you can go  based off this quite simple concept of using only major and minor triads. No augmented,  no diminished, no tensions, unless you're adding that natural nine, for instance. That's  one option. And it's not to say you can't add uh you can't turn one of the major triads  into a dominant chord or one of the minor triads into a minor 7 chord for instance or  any quality for that matter just in terms of an exercise in terms of getting that ability  to move all over the instrument. Uh it's really quite quite fascinating and it's you know we  could the just the difference between starting in minor C minor and going to A flat minor or  starting in C major and going to A flat minor and how many notes you move. Do you move one note  in the triad, two notes, or three? Those are your options. And some are quite extreme, some are  quite jarring. So, for me, finding the I mean, music doesn't always have to be smooth, but  in terms of voice leading and harmony and, you know, telling an interesting story,  the smoother those transitions are, the better for me. I think the more cohesive  it becomes. And it doesn't mean you end up sticking in one key or one tonality more. Um,  you can really, as you can hear, move all over the place. C major to A flat minor is a big leap  in terms of, you know, what the key signature is, what the feel of it, what the sound of it is. And  we really didn't have to do much to get there.

[00:26:40]And then there's no reason we can't be moving.

[00:26:46]use the generated harmonic rhythm to then expand  to other um inversions of those triads. So whereas we were playing C minor to A flat minor to E flat  to G to G minor sorry to G major, we could play we could play a different inversion  like two different inversions on each.

[00:27:22]Yeah. Actually, I really like that. I haven't  done that particular combination on these chords.

[00:27:41]Well, beautiful. I mean, just like right in the  moment like that, realizing like I'm sharing this with you and realizing actually how much of  an impact that's going to have on my playing, on my practice routine, on where I'm able to go  next. And ultimately, like my ultimate goal is um and this is a good segue if you're in the Los  Angeles area and you're hearing this episode of the podcast or seeing it on YouTube right when  it comes out. I have it's uh a 10-year reunion, I guess, of um the original Dr. um band, Peter  Erskin's band, um that was nominated for a Grammy.

[00:28:16]That's what that is back there. Uh the album  came out in 2015. Um the last shows we played were around March of 2016 in Japan. Um with John  Beasley, with Bob Sheper, with myself, and Peter Erskin, Peter Erskin's band. We're going to be  at Sam first at the end of the month. As always, all tour dates are linked below in the description  of the video. They're all on my website at yanagistdala.com. if you're in the LA area, that  is going to be a fun one. And it's something, you know, when I think about those musicians and  how especially Peter, it's someone very special in my in not well actually I was going to say in  my career. It is in my career because we've worked together a bunch. We've worked together on his  music as I was just saying with that album Dr. Arm. We've worked together on my music. The  new album is with Peter. I did an album also for Under My Own Name with Peter about 12 years  ago. We've toured with other people together. We we've worked, you know, not an intense amount,  but definitely uh not an insignificant amount over the last 20 years together and I hold him  in very high regard. I know I know there's some mutual respect going on there. We we really  appreciate each other's playing. So when I think about someone who's so important to me in my  career, but not only in my career, my listening, my early listening, this goes right back to the  new book, what I talk about in the opening of the book of how to transcribe, talking about how  important that listening portion of your life is.

[00:29:46]Whether you start at 50 or 60 years old or whether  you start at 15 or 16 years old, like I did, really starting to listen to music that I loved  very intensely and getting into trying to figure out what it is. Peter is a massive part of that  sound. You know, when I think about actually I was like vacuuming the bedroom and like changing the  bed. She's doing some something last night and I was thinking about um uh I'd had to listen like  do some more reference listening to the to the new album with Peter on it and I'm listening to  the ride symbol. I'm like, man, that is the sound of Peter Erskin. It's like unmistakable. And it  reminded me instantly of like um Black Market as well as it as well as like base Desires with Mark  Johnson and and Abocrombie and that that that band like just all of these things that I know Peter  uh from and for musically that was all contained there in that riot symbol. So, all of this to say,  long story long, um when I step on the band stand with someone like Peter, it's really important for  me to of course to respect the process, the music, the musician, um the person and and everyone in  the ensemble in the audience, of course, and but also to like respect myself in terms of how I  want to feel in that moment. Um and how free I want to feel in terms of where I'm able to go. And  you know, predominantly as bass players, we play a supporting role. Um, but at times on that gig,  it's going to be quite interactive. There's going to be space to play and I want to feel completely  free to improvise and to take the music basically wherever I hear it. And the more work I do on  sort of that triadic stuff on harmony in general, the the freer I get to be in situations  like that, you know, I was about to say in high pressure situations. I don't necessarily get  nervous. Uh, and I don't like spend a lot of time worrying or or having anxiety about the upcoming  gig. Um, but if I really am honest about it, it is a situation that's sort of higher pressure  to perform, I guess, on some level because of all the things I just mentioned. The importance of  it, the gravity that it comes with that comes with playing with one of your all-time heroes and  one of the legends of the music you love at the end of the day. That that's what it is. And I want  to respect that. I want to respect myself. I want to do a good job. I want to play well. I want to  have fun. Um, and all of these things, you know, the being able to play what you hear, um, is  kind of the entire crux of how to transcribe.

[00:32:27]It's it all sort of comes together in that moment.  Um, and as you can see, it's not one thing that makes that happen. It's a multitude of things.  It's the Where are they? Well, actually, uh, I've always got a ton of them pretty close by.  There's 1 2 3 4 5 6 7 eight. There's eight scrolls right there. You might have seen these before on  the channel. They're just manuscript books that are full of my transcriptions. I actually share  uh we did scan we scanned a few of those in in the new book. I share a few of those sort of very  private moments that have never seen the light of day before. Um I talk about some very practical  elements of ear training and transcription.

[00:33:08]Actually the what do I call it the art of the lead  sheet when you are under in a situation where you have to learn some music quickly and you yeah  you you really have to make a reference sheet uh that makes sense to you. It might not be  the most perfectly rhythmically accurate and harmonically correct uh notation that you'll  ever see and it might make no sense to anyone else. But I think it's really important to create  a shorthand for yourself so you can quickly create hopefully single pages, maybe two at the most of  of songs. I do everything from like the Beatles to Justin Bieber to Steve Winwood. I make examples  of really different music. Um, and I give I I've scanned in some handwritten some pencil, some  actual pages of these books where I ma was making charts for gigs that I was doing with people you  may know. Um, and music that you can definitely go and hear and listen to on Spotify and be like,  "Oh, wow. That that that's that." Like you can look at the chart and be like, "Okay, so that's  Yanick's shorthand." And then you can ask yourself the question, "What's my short hand? How do I get  there?" Like that's uh and that's what I encourage you to do is to find that quick and quick and  dirty way to get the information down on the page so that you will be able to use it as a cheat  sheet or be able to react to it or be able to get through a gig. It's a super it's not just it's  not all just you know Miles Davis and Brad Maldo and Keith Jarrett solos and jazz and complex  harmony and triadic transformation. No, it's transcription is basically every aspect of music  because it's listening. Um, and I hopefully I get uh hopefully I get that point across uh in both  the book in all the audio tracks in the in the masterclass series I'm making for it. Um, I wasn't  sure about how to do the master class. I thought, oh, I'll probably do like a an extended video this  time, you know, like a 2hour master class that sort of covers the whole book. And I started with  chapter one yesterday morning actually filming and I the just chapter one was 50 minutes long. I was  like, "Wow, there's a lot to say about this stuff, and it's important to get granular with it, to get  into the weeds in terms of what all these things mean for me and what they can do for you." So,  that masterclass video series will be evolving over the next couple of weeks. I'm planning to  basically shoot one chapter per day. I think we 11 chapters in the book, so probably 11. It's  going to be long. It's going to be eight, nine, maybe 10 hours long in terms of material. But  hopefully that is that's good for you and you can work on it in your own time. go back and review  things and hopefully it adds a massive amount of value to to the book and to the exercises and to  the process and really accommodates everyone's tastes, everyone's ability level and everyone's  sort of lane of desire when it comes to listening and learning music. Um it is great to be back. Um  if if you are a long time listener to the podcast and we're going like what what what happened you  know um here I am and uh we're you know like I said we're moving but things are looking better  in terms of time and in terms of my sort of mental capacity to uh exist here again in this space  whatever the whatever you want to call it. Uh, I hate calling it social media cuz it's really just  YouTube and it's not that social to be honest.

[00:36:31]Um, but yeah, I've got a lot of things to share  and we'll start making videos on the main channel again that really break down some of the things  we do as bass players, a lot of things we do as musicians, and hopefully give you some ideas for  your practice room uh practice uh time and and kind of help you spend your time more efficiently  to have more fun and and make better music and uh be happier in the process. All right, thank  you for your, you know, spending some of your insanely precious time with me and I will see you  not in five months and uh see you on the next one.