Lyle Brewer

There we Go. Recording's on. Yeah. Trying to figure it out. So, cool, man. Is this funk tune yours? Mm-Hmm. Yeah. Yours? Yep. Yeah, yeah, yeah. I just try to, um, I basically just like try to record them, uh, when my two, when my 2-year-old is like taking a nap. Oh, okay. Yeah. So I, so I, so I kind of, I kind of just like write and record as much as I can in that, you know, like two, I can, like two hour period or whatever. Yeah. Uh, Do you have to go on to campus much in Boston? Yeah, so I'm usually, I'm usually there e every, uh, Tuesday. I'm usually there like every Tuesday and, and Thursday, like during the semester. Okay. Um, but I don't, uh, I don't really teach there over the summer. Um, just 'cause like it's, you know, it's nice to get to spend like a little bit, like more time with my family. With family. Yeah. Yeah. All right. We are good to go. Uh, alright guys. Hey, like, great to see you all. Thanks for so much for being on the stream. Uh, if it's your first time here doing one of these, uh, song streams, uh, pretty much the way it works, um, uh, I come up with a tune every couple weeks. Um, I give you the MP three of it. Uh, they all have, they all have like a, uh, um, you know, a guitar part, both a, uh, uh, like, uh, like a lead part and then, uh, a rhythm part as well. Uh, and I, uh, I just kind of go through the song, um, show you how to play each part and uh, and that's how we do it. Uh, Jim and Jesse wrote, what'd you write, Jesse? I cannot see the code. I don't know, I don't know why it signed me out. I'm not sure either, but I think you should be okay now. I, alright, I think you're signed in. Alright. If you can like one thing, uh, um, something tells me that if you can say I'm signed out and we can all see it, then I think you're signed in. Oh, I think you're good. All right, cool. So, uh, I'm gonna share my screen, which is always a very exciting time of the stream 'cause we see if my computer works and hopefully it does. But, uh, if there's any audio issues, if you can't hear it, just like let me know. I don't foresee that being an issue, but, uh, any kind of visual thumbs up would be, would be great. Uh, all right, so I, alright, we'll do a little sharing of the screen and then we'll jump over into the tin. Here we go. The bridge. All right, cool. All right. Um, well that's, uh, that's what I was feeling like, uh, playing at the time. So, um, it kind of, um, it kind of started out as, as, um, it's kinda like a, like a, a James Brown kind of meters metery, um, kind of thing. And, and somewhere about that group kind of maybe wanna do the octopus, like the, the kind of the cross cross town traffic thing. Um, so anyway, that's, um, there's something about the way that those two sounds kind of like work together that I really like. Um, so yeah, I'll just kind of, uh, I'll go through the rhythm guitar part first. Um, maybe we'll just hear that on its own and then I'll go back to the full screen and I'll, I'll show you guys how to play it. So we'll mute the lead guitar and, uh, mute. Yeah, let's just hear. All right, cool. So stop the share for a second. Alright. Um, cool. So, um, lemme just show you this part first. So, um, it's, it's over like a, picking up this as just like a big chord. So, you know, it's, it's kind of like this BBB minor penance on idea, um, like this chord, if you, if you haven't played this like chord before, it's a good one. Just like a, like a B dominant seven where you have a C sharp in there. So it's like a nine chord. So what you're gonna do is you're gonna take your third finger and you're gonna bar the top three strings, fret number two, and you got your index finger, uh, first spread of the D-ring, second finger on the, um, little, uh, thing that makes this cord easier. If you have your second and third finger, like not on the same part of the threat, you're gonna end up having a harder time. Because what happens is, like this finger ends up like rolling over, right? Because there isn't anything to prevent that from happening. If you try to like line up your second and third finger, what ends up happening is your, sorry, see if I can show a little bit better. Your third finger kinda like, creates a bridge for your first finger to like get in there behind. So if your third finger is kind of over here, it's gonna make it a little bit harder. Slide your third finger, like under. So anyway, um, Yeah. Cool. All right. So, uh, so like this is, like, this is, this is, uh, straight out of the kind of the, the rhythmic rhythm guitar playbook of guys like James Brown and Slim the Family Stone. So I'm gonna play, uh, so we got, um, open A and then B and then I'm gonna play the chord. All right. And the sound we're after is like, as crisp and like short and staccato as possible. Um, someone I kind of picked up on a couple years ago, like, I'm kind of like a, I'm kind of aholic, um, when I'm playing stuff like this though, I always turn off the reverb just 'cause it tightens everything up. And, uh, as far as in the right hand, I think it sounds best to do an up pick. So, so you got like, down, down and then up. I am also, I'm also playing a, a, um, a muted down pick. So it's like down, down. So it's kind of like down, down, down, up. Yeah. Cool. I, uh, like I'm, I am realizing that I think I actually go down up, so I think I should go down, up, down, up. So I'm actually kind of like, I'm dividing the picking by the B Um, it, like, this doesn't sound like it has anything to do with alternate picking, but I think what, what kind of feels comfortable in the right hand. So like, Down, Up, down, up. Cool. All right. So, um, something that seems to come up a lot when I'm talking about guitar and I'm trying to help people, um, is trying to figure out like how to improve the quality of the sound. Um, and I only, I only focus on it with other people because I've focused it. 'cause I've, I've spent a lot of time focusing on it with my own playing. And a lot of times it's like, um, certain things, certain things have a much bigger effect. Both, you know, which can be a positive effect or, you know, the, the, the opposite. Um, if you get, uh, if you get the end of this note, if you get the end of this cord Billy crisp, it can make, it can make the whole thing like really tighten up and really sound good. So like, it's not just the attack, it's, it's like having a quick release. So, um, I'm almost thinking about like, the way I'm fretting this, I'm imagining that, um, when I have my hand down, it's like I'm holding the sustained pedal of a piano. Now when I, when I take my hand off, that's like the sustained pedal coming off, So, right. The overall sound after is like, yeah. Right. Yeah, exactly. Okay. So that's the, that's the kind of, that's the first, first part of the riff. And then we're gonna go, so we got a B and I'm gonna do a hammer on from G Sharp to a with manix finger and my so thread numbers one and two with the gstr. Yep. Uh, a G sharp, F sharp. And then I, and then I'm gonna play, I like the open date. I did that real slow. Alright, just play the second part. 3, 4, 1 time, 2, 3, 4. All right. We put the two together. You got it. All right. Cool. So, um, what else? I think, I think I said this maybe a week ago, or, uh, it, it is possible it was at the last stream. Um, it's like, by making small changes to these ideas, you can take something that's like, you know, a pretty small, you know, like a pretty small musical idea and you can make it seem like it's twice as interesting just by changing it this second time you go through it. Because if I didn't do that, it would be this, not that there's anything wrong with that, but I like when the phrases last like a little longer. It sounds more musical to my ear. All right. So, uh, when it goes to the other section, like a lot of other tunes, it goes from the one up to the four chord. Okay? So if we're in the key of right when it goes to the for chord, that means it goes to E. Okay. Uh, if you listen to like any of the old, like James, James Brown, brown stuff, when James Brown is calling for it to go to the bridge, nine times outta 10, he's calling if he's calling for it to go to the, the full record. All right. So that's, if it's good enough for him, it's good enough for me. So just playing a good old e chord, we've got the open D in there, so it's just like a nice little EI can e like dominance at them. So it's gonna be e, b, open, D, GE, or sorry, B and e. So, uh, if you haven't played this chord before, it's just like e major chord. You just take your third finger off. So I think the rhythm, I think I just went and then, uh, Mm, We should go to the video tape. There we go. Cool. All right, so now, so I'm playing the same chord that we play down here, a dominant nine, but I'm just playing an E. So this is Fred, uh, 7, 6, 7, 7. So you're just gonna bar that with your third bang. Yeah. So if we're like, if we have this like, you know, uh, down, up, down, up, down, up, down, up down, that kind of thing, uh, uh mm-Hmm. Um, if I'm being honest, I can't exact, I can't like remember if I did down, down or up, up or down, up. I don't, it doesn't really matter, I don't think. Um, what can be cool is if you have, is if you take your second and finger and slide up to that E, so, so I might be starting on a C sharp, I might be starting on a CAD, I'm not, I'm not really sure. Right. It's probably, uh, it's probably either a C or a C traffic game. Yeah. So you got it. 3, 4, 1, 4, 1. Ah, sorry. 2, 3, 4, 4, 1. Yeah, yeah, exactly. Cool. So yeah, sweet. Very cool. Um, what else is there in the rhythm part? Is a, uh, well, you know what, like, why don't we just, why don't we go ahead and just jump into the, uh, the, uh, I like the, I like, um, the, the, uh, like guitar part, the, uh, the, uh, the part that has, uh, hold on one second. Alright. Lemme share the screen and look over. Okay. So we'll go from the beginning and I'm gonna teach you, uh, like the lead guitar part. Uh, let's just get a refresher what it sounds like. Okay. All right. So I have my, uh, lemme turn off my answer real quick. So I have the, I have this kind of wild guitar pedal, this full tone, uh, like it's an octopus. So, um, it's like, it's cool because you get that like octave Hendrix thing. Um, and it can give, it can give that like kind of, uh, it, these, uh, part, part soul part like, uh, kind of, uh, blues rock thing that I think sounds really good. So see if I can see if I can dial up a sound that's like, uh, that sounds cool, but isn't like super annoying, which is, which is kind of like one of the hard things about these pedals. Like sometimes they sound really good and stuff like, like there's a real fine line between like, like psychedelic and cool and then like super annoying and inappropriate, which is kind of the, just kind of how I feel about all music. So it's got that really like, kind of wild sound. Uh, the other thing that's interesting about this pedal is that it's very sensitive to like how the volume knob is a volume knob is working. Uh, if you have an octopus or you get like any kind of sort of buzz pedal, um, it might seem like it's not on or it's not working properly. But it's interesting, like to get the octave thing to really happen, you have to take your volume off and actually like turn it down a little bit. So if I'm going, if I'm going with the volume on 10, if I turn the volume down a little bit, you'll end up hearing more of the octave, like, sounds better. I want the bridge pickup, and I'll turn the volume down even more and you'll start to hear it kind of freak out. So, you know, it's, uh, gets, it's an interesting sound, like the more you turn the volume down on the guitar, the more it reacts. Alright. So anyway, um, why don't I show you, um, I gotta play this. So, so I'm playing a lot of this out of, it's a combination of a, of BAB minor pentatonic, and, uh, it's the minor and the nail. It's like the major and the minor pentatonic. So I'm gonna start here. I'm gonna play B, BB play C sharp and then slide up two frets. So, and then I'll play F sharp on top. So here's again, and then I'm gonna take this B sharp and I'm gonna bend it up to a, so, so we've got B, B, B, B, B, C, sharp, slide up, F sharp, G sharp, and then bend up to a, use the phrase again. 1, 2, 3, 8. That's the first part. Play again, 1, 2, 3, 1 Time, 1, 2, 3. Okay. The part that comes after that. So that's, I'm gonna slide from the flat three down to the two. So we've got D to D sharp. And what I'm doing with the left hand is I'm kind of, I'm kind of like coming out of position. I'm not necessarily staying in one area of the fretboard because I want to be able to slide with my third finger, because if I slide with my third finger, then, then I can, then I can be in like, in this major pentatonic position again. So, all right. So 1, 2, 3. So like, the part that there's like a little bit of like a, a rhythmic jump is you play F sharp, G sharp, and then you jump down to frat and a string with your third finger and you slide. Yeah, but I'm using my third finger on this, on that flat three. Yeah, because I'm on my third finger there, slide down on fret, and I'm back in the position I start. Right. Cool. So, so on that part, so I'm sliding up from, I'm sliding from D up to E and I'm kind of pulling off to the flat third with my first finger, And I'm gonna bend that up a half step to where the, like it's got that like, it's like it's got that real kind of like that, that sound where you can't really tell if it's a flat three or major three, which is kind of like the whole point. So slide from D up to e pull off and then do a half step. Yeah, completely up to you. If you wanna bend down, that's cool. If you wanna bend up, that's cool too. Um, I think on this I probably would bend down. Yeah, I don't know. Okay. And depending on how, on how you're feeling at the time, you can go, you can go straight to the major theory, you can really take your time, you can go or you can go. It's completely up to you. Alright. And then I believe what I did the next time is I put everything the same. Uh, I just did that, that, um, that line at the end, out that little three or four note line, I think I just played it down on an octave. Uh, So, uh, playing to root with my third finger, doing another, uh, hammer on from the deed of the E and then pull off. Yeah. So yeah, So Today 4 1, 2. Yeah. I've also found that, um, part of the, part of like the sound is kind of catching all the notes in your, in your hand and, and trying to make 'em sound as like crisp as possible. Like I'm, I like, um, there's, there's probably more muting in the right hand and the left hand than like might expect. Um, so a lot of it's like pick mute, pick mute, pick mute. So it's like, I'm not doing this. It's like, so extreme close closeup on the right hand, mute, mute. So it's like, pick mute, pick mute, pick mute. And I found that what that can do is like, it helps, it helps make the notes that you sustain really stand out in the phrase, because I'm going, like, I'm saying all this stuff and it's kind of, you know, short. And then at the end I go, and here's the end, right? So it's like, it sounds like a kind of like a, a weird random like comparison, but it's like, I'm going, like, if I went over here, then I, at the end of it, I would do this. And then when I do this other phrase, it's gonna kind of sound like this, and then I, the end, I'm gonna go, blah. And it's not really an issue of like, muting is good, or like having no sustained is good. It's like having phrases that have multiple components in them. It, it, it, it's, it makes the phrase sound like it has enough of every ingredient, right? Like, if you heard someone and they played fast all the time, you'd be like, yeah, that's great. I need a break. If you heard someone and they only played slow all the time, you'd be like, yeah, can you, can you play? Like, can you play something where there's some eighth ounces, right? If you listen to a band play, and they played, like, if it was like a minor key and then another minor key and another minor key, after a while your ear gets tired. So it's like when you kind of break everything down like that, like, like there's just a lot more going on than like, well do I like, like there's a lot more than like, oh, I'm, I'm playing like, this particular scale over this particular chord. It's sometimes like, how do the phrases, like how do they go together? You know, it's like, you know, it's like a bunch of fast notes and then a long one, you know? So when I learned crosstown traffic, I didn't like think about all the phrasing. I just learned the notes. But it's like the older I get and the more I think about phrasing and think about how music works, it's like all of those things are, uh, part of the way that music is put together. Uh, okay, so why don't we check out like the next section of it. Um, okay, uh, screen. Here we go. Here we go. Checking out the B session. All right, cool. So screen sharing, stop sharing. Okay, so, so I'm in this same area, um, that I was in for like, uh, that I was like playing a lot. Like I was like over the one chord. So on the one chord I went from the B. So I'm gonna start out the same way, start from the E. So I'm gonna take on my first finger, put on the E front number nine, and the G-string E and then I'm gonna play like F sharp, slide off the F sharp, and then 12 fret with my first finger. Cool. I'm gonna do the same band that I did over the one court. So I've got E, f, sharp, G, b, so that is, uh, 14, been up a half step, played a couple times, and then I'm gonna come down. So it's like bend, bend up, half step, and then put that up two more times. Play it again with a bend down, and then put the B Okay. And then I'm gonna end the phrase by bending from the D up to the E. Yeah. So third finger, uh, fre, I'm gonna bend it up a whole step. Yeah. So cool. Alright. And then I'm gonna play this. So, so I, I try to kind of make it a, um, uh, a rhythmically interesting line because the one before was just so like, straightforward and on the money. So, Okay, if you're wondering why that sounds kind of cool, I mean, I hope you think it's cool. Um, if you're, uh, like the, uh, I've talked about this a couple times. When you have odd groupings, uh, when you have like odd groupings in music, um, the most, you know, the most kind of famous example is like ba, ba, b ba b ba, ba ba, you've got you, you divide everything in music. If it's in a four quarter time signature, you've got four quarter notes, and then you divide those in two, right? So it's like one and two and three and four, and one and two and three and four. If you take, if you group those in three, you end up with 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3. And when you organize that and you own like, like if you do it a small amount and then you couple it with something that, that brings it back, you end up getting this very, this very musical dance danceable thing. 1, 2, 3, 1, 2, 3, 1, 2, 3, 4, 1, 2, 1, 2, 3, 4, 1, 2. Because what ends up happening is the pulse of the beat. It's, uh, it's over here at first and then it's over here. When people hear that beat, like it makes them like wanna like, you know, get up and dance and that, that grouping of three, like it happens all over the place. So even in that 1, 2, 3, 4, wire, 1, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, okay. It's like a, it's like a, a much smaller version of that, but that's kind of why it's, sounds interesting or like, at least I think it's interesting. So you go 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 3, 1, 2, 300, 3, right? One to divide it, but down. Alright, so that's my little, so like that one is just, uh, so I'm going up to the D and back, and then I do that again, and then B and then sharp. So that whole part gonna sign this two, three. All right, cool. Um, why don't we move on to the next part of the 10. Um, go to the, there we go. Cool. So I'm gonna share my screen again. Um, I was meaning to say this earlier, if you guys have any questions or any kind of comments, like, as we're going along, uh, you can either type in the chat or if like you just want to, I, I'm out to, that's fine. I, alright, let's check out the bridge park. So far so good. Sorry, I had to activate my mic there. Okay, cool. All right. Okay. So, uh, so I decided to, uh, to throw in some other chords with this part. Basically it goes A, c, G, Okay. Um, this is kind of, um, I basically took the chords of, And I just played a different order, so, you know, so I kind of took the opposite where I was like, here's a D and here's an A, and then there's a C and there's a G. Um, so I guess you can, so if you're into that kind of thing. Alright, so here we go. Okay. I'm just take that first phrase first. Um, that would be a good place to start, right? First phrase. Okay. So, um, so I think it's really important to kind of, um, try to think about, um, think about what would be stylistically appropriate, right? Um, in this kind of like sixties soul kind of a, a vibe. Um, certain notes like really stand out as being characteristic, um, the flat three, uh, and then also like having the, the five and the major six working together. Uh, like, uh, there's, I think there's something really beautiful about the combination of the major and the minor pentatonic scale. Um, and when you have a phrase like this over like a d major chord, um, it kind of, it kind of checks both of the boxes, right? Like it's not, it's not just like a major scale, Which you could argue yes, that's the sound of a d major chord. Not really in this context though, right? Like, and if you want to have kind of a, a more cool sounding like blues bluesy way of approaching it, you can say, oh, I could play minor pentatonic. The problem with that is like, well that's, it's a major chord. You're playing a minor scale, right? So like, like the, those two sounds are always like, are always hard to, like, it's always kind of hard to figure out how to put 'em together. Um, I've found that certain things like, you know, using the major six and the flat three together can be a really cool sound. So what I ended up doing is kind of throwing in a, a major three as well. So you've got I am playing BAFF sharp and then like back to the root. Yeah. If you're wondering why this sounds like the Stanford and Sun theme song, 'cause it's like pretty gosh, crime club. So, you know, I've got Sanford and Sun, I got the meters, I got like, Hey Joe, I got crosstown traffic, I got all kinds of stuff, you know? Yeah. You know, certain people think I have original ideas, I do not. So, okay, so when the chord goes to a right, I am pretty much doing the same thing. I'm playing the major six, oh, I'm sorry. Um, so as opposed to going major six and then the three, now I'm going three, and then the major six. So here in the key of a right, I'm putting my first finger on the annu, here's my flat three plank, a eight on the 10th thread of the DStream with my third finger. Uh, I'm gonna pull the C down to where I have like a flat 3, 2, 1 kind thing, right? And then I'm playing F sharp and then to a, so even though it's not the same line, even though I'm not going like, because the ingredients are the same, right? Because it's still like the major six and the flat three kind of a sound. It sounds like those lines are supposed, are supposed to be in the same musical context. So I'll do it again. Ready? I'm just gonna set up a quick loop so we can play, play along with it. One second. Here we go. I am sliding with my third finger before. Yeah. Okay. Alright. I thought that line was cool. So I moved the whole thing down a whole step, right? Because I have C and G, so like that means, you know, that like the relationship between those, those cords is the same. So I can just take the line down. So now I've got a GE flat, EC I'm kinda like ize that I, um, like into the position of C now. All right, I'll do another loop. Ready? All right, cool. Now we're gonna try to do a loop of the D to A and the C to G. Ready? All right, here we go. 1, 2, 3, 4. Oh, sorry, excuse me. I got a little, uh, I got a little, uh, like carried away there for a second. Sorry. Um, anyway, you guys have any questions about any of that information? So far, so far, right? Can, can you take, uh, like do that last part real slow? Just kidding. Yeah, yeah. It goes, uh, So it's like, it's interesting. Um, there's this, I, there's this kind of like modern idea, right? That there's like, uh, there's like, uh, a theoretical correct way of playing all the time and there's always like a, a mathematical answer to every like, musical problem. And it's like if you, you know, if you just get the equation right, then you'll be able to kind of play and find your way. But there's like, if you list, if you really check out music, you realize like how, how often the rules are being, like the rules are being broken all the time, right? And I think like a good example, like, I mean, I don't know, you know, if you play, if you play an e court, right? And you know, someone tells you, okay, like this is an ecor and these are the notes that are supposed to go over an ecor, It's Like, okay, cool, those are all the notes of, of the EEC chord and, uh, I'm doing what I'm supposed to do. And then you hear someone play over ecor and you're like, well, there's a lot more information there than just, and the reason for that is like, somewhere along the lines, like we all kind of decided, yeah, this is an e chord, but you can play this note over it, right? And you can play this note over it too, and you could play that note over it too. So when you listen to, you know, when you listen to people like Jimmy Hendrix or Pink Floyd or The Beatles, or you know, like, you know, like, uh, Chuck Berry, like, you know, all, all of these, all of these rules that you read about, like they're being broken all over the place. You know, like you're not supposed to if you have an a chord, like you're not supposed to be go, But that's, that's how, that's how like American music sounds, right? So all this, like, all this stuff of being like, no, like this is exactly how you play, how you play over this chord. And if I just get the scale right, then I'll be able to figure it out. It's like, like there's, there's always a lot more to it than that. Uh, so it's just like a, just like a good id good idea to kind of like keep that in mind, you know, like the sound of a major cord is, has that note in it, right? It's got this note in it too. And so is this, so, um, anyway, well, um, I think there's, so there is a, uh, a jam section in this too after the bridge. Um, cool. So, um, if you were to come up with, um, So I think, uh, a good way to kind of practice the idea, you know, of of playing multiple different scales over chord and trying to combine them is almost to think of, almost to think about it. Like there's a call and then there's, uh, like an answer. So if I were gonna improvise over this tune, I might play something in a major Panasonic and then answer it by playing something in minor Panasonic, you know, and kinda like going back and forth and trying to make those things work. Uh, you know, and also I was just kinda like getting, getting used to the different sounds and how, and trying to really think about like how they feel. So, um, here, I'll, I'll share my screen. I'll Show You what I'm talking about. Alright, So I'll do the jam section, right? And I'm gonna play like, um, like I'm gonna start by playing like a b major pentatonic idea. And immediately after that I'll, I'll do a B minor and then I'll just like, I'll just keep going back and forth. Hold on. There we go. Cool. So I know, um, people who are really good at this, like if you listen to, um, I think, I think probably one of the best examples is Clapton solo on sunshine of your love. Um, you know, 'cause it's like, it's so beautiful and melodic and then it, uh, like, you know, you know, like during that, the, the, the during like the, the, the first part of that jam, you know, it's, it's all in major pentatonic. And then when he, when he, when he adds in the mesonic, it's, it's so amazing, you know? So, you know, uh, all major here comes minor, goes back to major. It, uh, You know, so it's just like he's really good at, at creating that, you know, that, um, call and answer in his playing. And it sounds like he's, you know, like, it sounds like he's doing something that's a lot more complicated than what it is just because it's like he really understands how to get the most out of those sounds. So, uh, cool. When you're, uh, when you guys are, are, are, are working on this, uh, see if you can go back and forth between major and minor pen atonic. All right, cool. Well, it's man, uh, well I'm probably gonna enjoy this. Uh, you know, we, we like, it's been, it's been like 95 degrees every day. Like, you're awesome man. So same here. Yeah. And it's just, yeah, it feels like, yeah, it's, it's weird to be like, oh cool. Like, you know, like it's gonna, you know, it's, it's weird to get excited that it's gonna cool off to 83, whatever, you know, but, but man, I'm excited. So, so cool. Uh, alright guys. Hey, thank you so much for being, being here on the stream and uh, I'll have another one in two weeks. Probably on a two. Okay. Thanks Lyle. Thanks Lyle. Alright, great to see you. Thank you. Yeah, take care. Alright, have a thanks. Yep. Awesome.