Transcription
(progressive rock music) ("Mister" by Anika Nilles) (relaxed rock-fusion music)
(Anika sighs) - Good work. (laughing) That was awesome. I was looking at the guys in the room the whole time, and we're all just like jaws open, so, good work.
- Oh, thank you.
- Anika Nilles, everyone. Welcome to Drumeo for your second time.
- Yes, yeah.
- All the way from Germany. So she flew to Abbotsford, where Drumeo is located, and so you're still a little bit on Germany time.
- Yes, a little bit, so I'm like. (sighs)
- You should be sleeping. (laughs)
- Yeah, I'm sleeping, yes. (laughs)
- But welcome here. We're actually here to celebrate the launch of Anika's new album, Pikalar, which just came out, was it yesterday?
- Yesterday, yeah.
- So, you might be watching this a year later, from the date we're filming, but, today is February 28th and her album just came out, which is your new album, it has 10 songs.
- Yeah.
- And right now it's available on a platform called Erlybird, for the next 28 days. So you can go to Erlybird.com/Anika, and you can get a bunch of cool bundles and other rewards for being an Erlybird.
- Right.
- Cool.
- Yeah.
- And if you're outside of that 28 days, you can go to and get it on iTunes or Amazon, but I really encourage you to check it out, because I really appreciate your approach to drumming and approach to music. You definitely you have your own unique sound. We're gonna talk a lot about how she's developed that today and everything, but it's really refreshing, and it's really great to have you back here.
- Yeah, it's a pleasure to be here.
- Yeah.
- Again. (laughs)
- So a lot of other companies are also involved in helping us do these sorts of things, and the companies have been great to work with. We have Tama, we have Tama drums. We have Meinl cymbals, Evans drum heads, and Vic Firth sticks, and then Beyerdynamic microphones so, great partners always make our lives a little bit easier.
- That's true, totally. (laughing)
- So other than that, we filmed a course with Anika earlier today that's gonna be available inside of the Drumeo members area, so if you're not a Drumeo member, just go to Drumeo.com and sign up. We'd love to have you be a part of that. We have like over a hundred courses now, and thousands of hours of amazing lessons with the best instructors in the world. So please head on over there if you haven't gotten an account yet. But, let's get into some of this, the lesson material. So, but before we get into that, let's talk a little bit about the album. First of all, what is the name, and I don't even know if I'm saying it right, Pikalar.
- Pikalar.
- Pikalar.
- Yes.
- Where did that come from?
- Oh, yeah, that's the thing because, I was looking out for some words which describe the songs, or what happened in the last three years more or less, and all the words I could found were just not cool. (laughs) And so I decided, okay. I'll just put some letters together, and that means, I totally cannot describe what happened to me in the last three years, with all this stuff which is going on outside, and all the attention on YouTube, and Pikalar means something you can't describe. So it doesn't have a real meaning, but for me it's like, what happened in the last three years, so.
- Very cool, awesome. I've had a chance to listen to the album actually, a few times through, and it sounds really, really great. I encourage you guys to go pick it up on Erlybird, or get it on iTunes or Amazon, other than that. So, let's get into some of the lesson stuff here. We're basically gonna be teaching everyone a few grooves and maybe some fills that you'll hear on the album. And a lot of this stuff, from what I'm seeing, and after working with you on lessons, a lot of it's in the same vein, so it's kind of like, it kind of represents a lot of your style, and how you actually play, and a lot of her unique vocabulary, which I think is what everyone really kinda wants to learn, so let's get into it and talk about Synergy.
- Yeah.
- The first thing we're gonna talk about is the groove that you'll hear 22 seconds in, which is in 3/4. You wanna tell us a little bit about that?
- Yeah, the full song is written in 3/4, but there are two parts where we play a straight groove in 4/4, but this is based on a polyrhythmic thing which is going on, so, I think I'm playing it,
- Yeah.
- and explaining it afterwards. So it's that groove. And what's happen here is, you obviously, (laughs) I'm sleeping. (laughs) What you hear is the kick and the snare which is going on like this. And this means more or less a 4/4 feeling. (mimics kick and snare beat) But it's a 3/4. What I'm doing is.
- Right.
- So get your attention on the hi-hat. So here I'm accenting the three, and here I'm playing the four. Yeah? It's.
- Nice, so that gives it that polyrhythmic type of feel.
- Yeah, and the hardest part is, the band is playing the 4/4 feel, and I'm still in the 3/4 while playing that stuff.
- Nice, cool. The next groove we're gonna talk about is at 45 seconds. What's the main differences between this groove and the last one?
- In this groove I'm switching into the real 3/4 from the groove before, yeah. And this is um.
- Just like that! (laughs) That sounds great, so when you write a groove like this, how long do you generally spend on it, or how do you actually come up with it? 'Cause you write all the music yourself, right? Do you start with a groove or do you start with a melody?
- So I'm coming up with the main idea of the song with mostly, a lot of rhythmic ideas (laughs) and then also a little bit harmonies and stuff, and then from that point on, it's growing in the studio while working together with my producer.
- Right, cool.
- Yeah, that's how we work. A lot of the writing stuff, or progress, is based on my drum ideas.
- Cool, so do you have this beat that you had written, and then you wrote other stuff around it?
- Yeah, sometimes, yes.
- Yeah, cool. So do you mind playing this groove just a little bit slower, just similar to the last one?
- Oh, yeah, okay.
- It's so weird sounding, like it doesn't sound like it's 3/4, but it is 3/4 if you count it out.
- It's in 3/4, yeah.
- Yeah, I know the guys, we have guys transcribing a lot of this stuff, helping with it, and they had a fun time transcribing. (laughing)
- Yeah.
- Yeah, so, if you get the album, make sure you check out Synergy, it's a great track, and then you can actually learn to play the grooves that are located in those different sections. By the way, with the album, is there drumless versions?
- Yeah, there are already some drumless versions out to a couple of songs, and to the latest song, Mister, as well, which I've released as a video.
- That's the one she opened with.
- Yes, right, and the plan is I'll do a couple more videos from the CD, and then with each video, the drumless version will come up.
- Nice, cool. Yeah, if you can, check out the YouTube channel, 'cause that's where you post all your new videos when they do come out.
- Right, yeah.
- All right, next, we're gonna go onto the song Whitelines and talk about the bridge groove, which is located at two minutes and 20 seconds. So this one's in 5/8.
- Yeah.
- Yeah, so this song is mainly in 4/4, and in the bridge, the 5/8 is coming up. This is a little bit different because when this 5/8 come up, together with the music, not just the drums, then it feels a little bit weird. It doesn't feel like a usual 5/8 groove. So I have this snippet with me, so I can play it here.
- [Jared] Sure.
- Just this part. ("Whitelines" by Anika Nilles)
- Awesome, so I'm like bouncing trying count a one, two, three, four, five, one, two, three, four, five. Nice.
- Yeah.
- Do you mind slowing it down, like slowing the groove down? Just so we can hear it a little bit slower.
- Okay.
- Very cool.
- Yeah.
- Very cool.
- I like that groove a lot. (laughing)
- It's kinda like, it's similar to 6/8, if you've played 6/8, you just basically chop off one of those eighth notes, and now you have 5/8, right? So next let's talk a little bit about Mallay. Am I saying it right?
- Mallay, yes.
- Mallay, okay. So basically the intro groove that you hear, and someone in the chat just said, "are all your songs in odd time signatures," so this one is actually just in common time, correct?
- A lot of my songs are in common time. What I'm doing is, I'm playing different subdivisions in 4/4.
- Right.
- So, yeah.
- Yeah, so sometimes you hear, you might be hearing fives.
- Yeah, a lot of, I think because people are more into odd meters, like 5/8, 7/8, stuff like this, and they, when I'm playing my quintuplet and septuplet stuff, then they hear the 5/8 or the 7/8, but for me it's a 4/4 while playing in different subdivisions within the 4/4 bar.
- Yeah, so we did our course today, what we did was called subdivision studies, and she actually broke down how you develop fives and sevens, and then how you work those subdivisions into your playing. It was really, really cool, so I'd like to practice some of that kinda stuff. So the intro groove for Mallay. This looks like kinda of a shuffle, correct?
- Yeah, it looks like a shuffle, and what I'm doing here is sometimes I'm adding just some ghostings or a kick, and then I am switching into five. So we left the ghostings out of here to, to get the possibility open to fill in some ghostings.
- Right.
- So, but what you hear is this.
- That sounds very, what do they call it? They call it drunk drumming, or stuttery, right?
- Yeah, yeah, that's what I'm doing. When I play that stuff live, I'm always adding something or switch a little bit, and I like to do, or I love doing, adding some ghostings in three or in five, or whatever, and this is the foundation of it, this triplet groove.
- Nice, so. Some of the ghosting you did was in fives.
- Yeah, yeah, right.
- Right? Can you, just for demonstration purposes, can you show everyone, and maybe just do a repeating pattern with the ghostings in fives, so we can hear how that sounds with the groove?
- Yeah, okay.
- Very cool, awesome. So that's the song Mallay, which is also on the new album. Correct?
- Yeah, right.
- Awesome, so let's go onto the next one. We're gonna talk, oh, with the same song actually, which is the chorus groove, which you hear at around 23 seconds into the track. And so this one looks, again, we have lots of fives here, so this is how it looks when it's actually notated out. Before we get into this, how would you, like if you saw that on sheet music, everyone's seeing it now, how would you count that?
- When it comes to fives? I counting it like ta-ka-di-mi-ti.
- Ta-ka-di-mi-ti.
- Ta-ka-di-mi-ti, ta-ka-di-mi-ti, ta-ka-di-mi-ti, ta-ka-di-mi-ti, yeah.
- Cool, so then for the count one there, the notes will be played on the ta-ka, tak and the dim, correct?
- Ta-ka-di.
- Yeah.
- Ta-ka-di.
- Ta-ka-di, okay.
- Ta-ka-di-mi-ti, ta-ka-di-mi-ti.
- Very cool, awesome. Maybe we can play it and then slow it down a little more.
- Yeah, I have the bass with me. I have Frank Itt with me. (laughs)
- Nice. He couldn't, he didn't fit in your luggage?
- No, unfortunately not. (laughing) But I have his bass with me, and he's playing the same stuff and filling in with all the ghostings, and accenting also the ta-ka-di motion.
- Right, nice.
- Okay. (slapping electric bass music)
- Well, he did a pretty good job.
- Yeah, (laughing) yes.
- Nice. Anika's last lesson with Drumeo was all about exploring quintuplets, and so if you're listening to that, and you're just like that sounds sick, which you probably are, you can come check out that lesson, and dive into quintuplets. It's a bit of a, we call it a rabbit hole. I don't know if you have that expression in Germany.
- A rabbit hole?
- Rabbit hole, meaning when you hear something, and you go down it, it just like never ends.
- Oh, okay. (laughs)
- Right? So when you start exploring quintuplets, and then you're all of sudden in septuplets. It seems like you've been down the rabbit hole.
- Mm-hm, I told you. (laughs)
- Awesome, okay, so the next song we're gonna talk about is Orange Leaves. This is I think a lot of people's favorite. It's definitely one of my favorites on the album. Is it, which one is your favorite?
- My favorite is Mister.
- Okay.
- Pikalar itself.
- Yeah.
- Orange Leaves is also one of my favorites.
- Nice.
- Yeah.
- So this one's gonna get a little bit crazy with some of the modulations and polyrhythmic stuff. So let's first look at a fill that's located at one minute and 54 seconds, and we can throw that up there. There we go. A big, a big blur of notes.
- Yeah, right.
- What are you playing here?
- This is more or less a combination of a group of four in the beginning, and then followed by a group of six, three times in a row, ending with two, um, 32nd notes added, and then we have the three 16th notes. And what I'm doing here is, I have a sticking for the six which is, right, left, right, left, left, kick.
- Okay.
- And the first four notes are, right, left, left, kick.
- Nice. Do you mind playing that with a beat before it, so we can hear how it sounds coming in and out?
- Yeah.
- That sounds very cool. (laughs) So that's just a piece of vocabulary that you came up with on the fly, or is it a fill that you planned out before?
- No, it just happened. So I'll have some, these stickings or these groupings in my hands, and I'm just playing what, whatever come out.
- Cool. The next part we're gonna talk about is the modulation that happens at two minutes and 32 seconds. And this is in 5/4, correct? So you wanna tell us a little bit about what happened here?
- On here is also a polyrhythmic thing going on. Here we have five against four. So I'm coming from a 4/4, switching into a 5/4 groove, which is based on the tempo of a, five-against-four polyrhythm. (laughs)
- All right.
- It's hard to explain, but, I speeding it up a little bit, to put all the five notes within a 4/4 bar. But what you listen, or what you can hear is a 4/5, uh, 5/4 (laughs) groove.
- Okay, cool.
- Yeah, and the thing is, here you have the five. Just a new tempo here on the snare.
- That becomes the modulation where, and it sounds like it's speeding up, but it's not.
- It sounds like it's speeding up, yes.
- I know, it's metric modulation and polyrhythms, it's something I haven't delved into a ton, but I understand that. Let's just maybe play the groove then, and we can show everyone how, how it works within that groove.
- Yeah, the groove itself is.
- Very cool.
- Yeah. (laughing)
- Yeah, I find that, like so how would you recommend someone would go to practice that? Would you think just playing along with the music would be the easiest, or what would you recommend?
- No, no, no. You just should start with practicing to a click. And try to, there is a app which is called Tempo Advance, and there you can put a polyrhythm on, and you can hear how it sounds while both rhythms are going on. So, and then you can concentrate on the four, then you can concentrate on the five, and checking that you're playing both in the right time and everything. That helps a lot to develop a feel like that.
- Nice, okay. So that's kind of the end of the stuff that we talked about from the album, so Anika's gonna play a few more tracks from the album and then we're gonna take some questions at the end of the lesson. So if you have any questions and you're watching, you have to be watching inside of Drumeo, just go ahead, there's a box right below this video, you go ahead and submit your questions in there, and we'll get to as many of them as possible. For the next song you are going to be playing, Orange Leaves.
- Orange Leaves. With that modulation in it.
- Perfect, so listen for it when it comes up, and make sure if you're watching this live, make sure you post in the chat. ("Orange Leaves" by Anika Nilles)
- (laughing) Just like that. My goodness, I looked at, I looked at Taylor in the control room when you did that one fill, it's like. (Anika laughs) Very, good work. You need some water?
- Yeah, thank you.
- There you go. So we got a lot of questions here. For those watching outside of Drumeo, you'll need a Drumeo account to actually ask a question. So we're gonna get to as many as we can. For the Drumeo students watching, we're doing a interview with Anika tomorrow, it's just for Drumeo members and so, we'll get to everyone's questions then. But here we'll get through as many as we can.
- Mm-hmm.
- Sound good? This one's, first one's from Utopian, says. I'll answer, ask one of the questions. He says, "Now that you've become the queen of quintuplets, "have you got in mind any other kind of "subdivision to explore and master, "and any new technique challenges to achieve?" (laughs)
- Yeah, I mean, I'm still working on all the subdivision stuff, and different subdivisions like six, seven, everything else, and the thing is, when you get into a thing like five or seven, and focusing a lot on that, then you have to restart practicing on six and four and the straight ones again, because they're struggling a little bit. That takes years to really get comfortable on that, and I'm in the middle somewhere, I would say, so I'm not finished with that. There are lots of other stuff I'm practicing on, and I'll share it with you as soon I am a little bit safe on it, so then you can do your own stuff with it, sure.
- Awesome, cool.
- Yeah.
- This one's from Silas, he says, "How important was studying at the Popakademie "for your growth as a drummer and songwriter, "and how does it help you to make "a successful career out of it? "Greetings from Germany."
- Oh, (laughs) hey.
- Maybe you can answer in German. (laughs)
- Oh, that would be cool. (laughs) Okay, I think I have learned a lot on the business side of the music business, so promotion stuff or managing myself. Of course, I've learned also drum set stuff, but, I would say, the Popakademie is more focused on the business side. That helps a lot to manage yourself when you're finished with studying and go out into the real world. And, yeah, then you have to handle everything, and that helped a lot on my own, so, yeah.
- Right, cool. This one's from Blake Dunn. He says, "How did you get your idea for your newest setup "with a snare to the right as well?"
- Oh, that came up because, I often had the snare on that side, and realized, okay, I just used that sometimes, just to hit a two and a four, and I thought it must be possible to include that a little bit more, and I was experimenting with that, and just put it in here, and I saw it also on spot a couple of times. Yeah, I checked out what I can do with that on this side. I think I use it a little bit different, including it into fills, and I use it as a tom with a snare sound.
- Right, yeah, 'cause it's tuned a lot lower, and you have a dampening ring on there as well, yeah. This question's from Ermin Monzon, he says, "Hey, Anika, great to see you back at Drumeo. "Just curious to know what inspired the music on your album. "Was it ideas that you've had before, "or were they fresh ideas? "Would love to hear your process on how "you created the parts for your songs."
- This is a process which runs through the last two years, I think. There were some layouts which are, which were really old, five-years-old stuff. We took it for the album and did a completely other thing out of it. (laughs) I put a lot of ideas from today in it, from the last couple of, one-and-a-half year, or last year. So, because my recording on the drums happened, I think, well, one year ago. I did a couple of recordings again, and so we fixed the song a little bit to that, and so everything were growing step by step. But I think you can hear, when you listen to the album or to the songs, you can hear a little bit of my influences in it, like Michael Jackson, like Toto. A few pop things are into it, like Justin Timberlake stuff. But all, I would say, and a little bit of my style.
- Yeah.
- So, yeah.
- You even sing on the album.
- I (laughs) you mentioned that again. I sang on one song, just a couple of words, yes. (laughing)
- It kinda ties into the next question. Zwick Six says, "Is your new album available "as a physical release or just digital?"
- Right now, it's available on Erlybird as a physical CD, and if you type in Erlybird.com/Anika, you will find a couple of provided things. So also high-res, wav files, digital downloads, including the booklet, and, yeah, just go check it out.
- They can have a Skype chat with you too, I saw, right?
- Yes. (laughs)
- Yeah, so I want everyone, all the Drumeo students out there, go show her some love and go to, check out the Erlybird page and sign up for some of those cool rewards, because, the thing is, it's really hard to make music these days, and everyone expects music to be free, but the fact is it costs a lot of money and time to make music. And so I think it'd be really cool if we all kind of supported our fellow drummer, and went and checked it out, so, got my endorsement, and I think, I think if you get a bunch of Skype chats, maybe she'll sing you a song in one of the--
- Yeah, I will sing for you. (laughing) Then the chat is over within the next two minutes, I think. (laughing)
- Nice, okay, here we go. This is one from Drum Up. He says, "Is there any way I can get ahold of your songs "drumless, without the click for me to cover them? "Also, will your hard copies of the album be signed?"
- So the drumless versions are just available with a click track on it, because I am saving the songs without a click track just for myself. Yeah, hope you will understand. And the signed copy, yeah. Not yet, unfortunately, because I don't have a real CD of my own album right now.
- [Jared] Right, maybe you have to go to the Erlybird page and get one.
- Yes. Probably, I should buy one. (laughing) But we'll see, yeah. I'm sure I will put out some CDs afterwards sometimes as well.
- Nice. This question's from Sim, he says, "Hey, Anika, your drumming is so inspiring. "Do you plan on writing a book about "your approach on quintuplets and stuff?"
- Yeah, what I'm doing right now is putting together a lot of exercises, and not just quintuplets, also other stuff I've worked on over the last two years, and I'm building up a lesson section on my website, where you can buy 20-minutes lessons which are provided. And this is including also the quintuplet stuff, with PDFs and everything. So I'm working on that right now, so I think it will be available through the next couple of months.
- Okay, and so your website is AnikaNilles.com, okay. Yeah, so check out the website, and if you want some more lessons, go get 'em there. This is from Lucas Seon, says, "Hello from Argentina."
- Oh, wow, hey.
- "I have two questions. "Is there any bass drum control exercise you can recommend, "and how can I work on my timing "to make those groupings fit better in my playing?"
- Yeah, there is probably a thing you can do on your kick pedal to control a little bit better, or, yeah, get a better feel for the pedal itself. When you play the doubles for example, I like to do, to play always from the top to the bottom. I'm not using that sliding thing from here to here. Do you have the camera, yeah. I'm not doing this (blows whistles) thing. I'm coming from this position going down.
- [Jared] Okay.
- [Anika] From here to down. And so I always can control when the second stroke is coming up. The problem with the sliding technique is that you have not under control when the second kick is coming up. And then sometimes you are not that tight, or, yeah, it's a little bit sloppy played sometimes. Yeah, I recommend to try this version.
- Do you mind just playing a little bit, so we can just show the foot camera?
- I just play a few simple grooves including that and doing it slow.
- Sure.
- Like.
- This next question is from Bruno Morino. He says, "Hey, Anika, congrats on the release."
- Thank you.
- "I heard the album yesterday, and it sounds really good. "It's also good to hear some songs like Synergy "and (slurring words) Alter Ego, (laughs) "with fresh textures and chops on it. "I want to understand a bit more of "how was the mix process and how were you involved on it. "Also, it would be great to have this released as vinyl." (laughs)
- Yeah, the mixing process was more or less on my producer which did a real good job. So he asked me how I'd like to have my drums. He asked me how to let the tom sound, the snare sound and everything, and then he did his job, and then we had a look on everything, then we fixed a little bit, stuff, and he mixed it again, and he did a couple of mixes, a lot of mixes. (laughs) And we adjust tiny little things. And, yeah, that was a lot of work. (laughs) And also while recording everything, to tune everything well that, he's not too busy with fixing my stuff, (laughs) you know? So we take a lot of time. I think we did two weeks of drum recordings, just for the drums. And we listened afterwards, and if the snare doesn't fit that well into the song, so we did it again, and changed the snare, and changed cymbals, and yeah.
- Hmm, cool. On that note, there's a lot of questions about the side snare over there, so do you mind just maybe telling people how exactly you get that specific sound? Maybe what, I don't, maybe, do you know the type of snare? 'Cause I know Tama was great, they sent us like, I think five snare drums to try. But maybe just talk a little bit about that drum over there.
- So the thing with this one is, I'm playing this snare now the first time. I didn't check that before. I just had a look on the website, and because I'm still checking gear of Tama, and I thought, okay, on Drumeo I check this, (laughs) and take the risk. But I know that steel stuff, steel snare drums, I really like that. And this is, it's now the name of this thing is, Big Black Steel, I think.
- Okay.
- Aaron, sorry if I do something wrong.
- Looks like an eight-by-14, right?
- Yeah, right. (laughs) Yes, and all I'm doing is, I'm tuning the head here, the top head, really low, so everything is really, it's not that low that the screws are shaking, it's still a little bit tension on it, but really, really low tuned, and the bottom side is really high tuned, so and that helps to adjust the snare wire, to get a good snare wire sound on the deep snare.
- Cool. And when it comes to tuning the other drums, are you tuning, 'cause I know you have an arrangement that's not, it's very nontraditional. Like you go from 12-inch tom to 10-inch tom, to 14-inch snare, to 16-inch tom. So when you go to actually tune those drums, are you just going for a specific sound, or a specific note or tone? What are you going for?
- Yeah, what I'm doing first is I tune these three toms so that it fits together. But then I tune the floor tom a little bit lower, that it fits more to the kick.
- [Jared] Okay.
- And these two snares, yeah, I check that the sound, or the tone of the snare fit together.
- Right, cool.
- Yeah.
- Okay, last question and then we're gonna, you're gonna play one more song. I believe this song is Mallay, which is also in the sheet music for those of you who wanna follow along, and try and pick out where exactly she's playing some of that stuff. The last question is about double pedal. Now, do you ever play using the double pedal?
- I have one and I sometimes practice on it, but, when I practice, I do it, let's say two days, three days, and then I realize always how hard it is to bring that on stage, because it took me, or it would take me, two or three years to bring it on stage like I want to have it, because it's a totally different playing style. You use the hi-hat different. You use both pedals totally different. It feels different, and it's simply not my style.
- Right, fair enough.
- Yeah.
- Hey, Anika, thank you so much for coming out and doing this.
- Yeah, thank you.
- It's been great, and I know it's a lot of work, like flying from Germany, it's a nine or 10-hour flight, and like you should be in bed now, but. (laughs) I appreciate it, I think you killed it. You did really, really good. For everyone watching, a lot goes into making this type of stuff happen. A lot goes into her creating the music, and so just wanna thank Tama, and thank Evans, Meinl, Vic Firth, Beyerdynamic microphones, and stuff. All them make it much easier on us and making sure all the gear is here and she's comfortable when she comes in to do something like this, and we'd like to thank you too, for coming out and sharing. I know you made a long trek, so I appreciate that. And for everyone watching, if you can, go and check out Erlybird.com/Anika. Her album is available there, and you can get some early rewards and stuff, if you get it within the next 28 days from the time of this video. If you're watching it after that's closed down, go check it out on iTunes or Amazon, as it will be available there for purchase, so. Hey, thank you so much.
- Very welcome.
- I'm gonna go in there, I'm gonna go in there to listen to the last song, so just wait one second before starting it. I'd like to see it from the control room as well, okay?
- All right. ("Mallay" by Anika Nilles)