Welcome to episode 94 of the Bandhive podcast.

It is time for the episode of the Bandhive podcast. My name is James Cross and I'm here with Matt Hoos of Alive in Barcelona. How are you doing today, Matt? doing pretty awesome.

James has everything over on the east side. I am having a great start to the week. It is monday and I know I said this a few weeks ago on a recent episode but I don't mind Mondays. I like Mondays because it means I get to be productive and I have the next five days to go ahead and just knock out all the work I have for the week and hopefully get some new projects underway as well. And yeah, I don't get cases of the Mondays, this is not office space, I enjoy monday's.

Yeah, I don't know, I don't get cases of the Mondays either. I generally take Mondays off. So monday is my sunday. Actually. Yeah, that reminds me the last 9 to 5 I ever had was actually uh 10 30 to 6 30 Wednesday through sunday and it was so nice to have monday and Tuesday off because I could go everywhere like the grocery store on my day off and it wouldn't be crowded. My wife and I love it. Yeah, it makes so much sense to not do that and now I work monday through friday just because most of the people I hang out with have weekends off so might as well take weekends off and match their schedule.

That was the one bummer when I was doing that. Then again, all my friends had similar schedules, too. Long story short, I was working in a park in SAn Diego called balboa Park, Beautiful Park, if you're over there, I definitely recommend going there. Most of my friends with other people who work there and of course you want to be there on the weekend. So this is all the artists, the busters, the people who work in the park and our creative making in some cases, a very nice living supporting, you know, san Diego expenses by working three days in the park, caricature artists, magicians, balloon artist.

There was one lady who was a balloon artist that was really cool when I moved out of SAn Diego, she actually made half size balloon characters. That was so cool to see, I still have like somewhere the deflated tangled mess of balloon James. So anyway, totally didn't plan to go down that rabbit hole, but that happened. What a way to start a monday morning all to say that I don't get a case of the Mondays and if I could actually get this show going, that would be great, yep, sorry, I had to put that office space reference in there.

I don't have a stapler or else I'd go my stapler. Yeah, exactly. All that said, I guess we're going to talk about something similar that might come up in office space because they're building burned down at the end, which is an inventory of your gear. This is something that you would want in that worst case scenario. But we're actually not just gonna be talking about the inventory. We're specifically going to be talking about how to label your gear that you take. Two shows are on tour because it's incredibly important to have a solid idea of who is responsible for each item and where it goes and what it is.

And so we mentioned a few episodes ago on number 92 never to leave your bass player behind the power of checklists, that it's important to have what's called a gear manifest and in the Bandhive facebook group, which if you're not remember yet, feel free to join us. You can find it by searching for Bandhive on facebook or going to Bandhive dot rocks slash group in your web browser and that'll take you to the group directly. Somebody asked about labeling items. So I thought, hey, this is something that we didn't go into on that episode and we should talk about this man, I know you guys have used a labelling system for Alive in Barcelona.

Do you want to talk a little bit about that before we jump into the system that I use. Sure, really, I should preface this by saying we've done this for so long, that we really encourage everybody in the band to have their head in the game. And when we like load our trailers and stuff, it's it's not something that we do individually. We all load the trailer together. That's kind of like the setting you need to realize for our system is that because all of us are out here, we're able to use a little bit more lax of a system rather than like some bands, they have one person load and if that's the case, like it's really important for you to have like a specific system.

I know in that previous episode, a couple weeks ago we talked about having something laminated on the inside of the door, just so that you can physically check things off like when you're leaving. We also briefly mentioned everybody kind of having their own list inside of like their guitar cases or maybe inside of a drum bag or whatever, however you store your equipment. But the important thing is to make sure that everybody knows exactly what their responsibility is. When you finish playing a set, you can have a lot of chaos instantly ensue because you need somebody at your merch table and you need people quickly changing over.

So if you don't have a merge person and a lot of the time. I actually highly recommend the singer for your band, as soon as you finish your set, the singer should immediately go to your merch table, a lot of people want to talk to them and that's a really good way to get a nice line or you know, people like pictures and stuff like that, I'll tell you right now, in my experience, the bands that have their lead singer go to the table, the merch table right, as soon as they finish playing, make way more money than the bands that don't, That should also be like, one of the last things do you say, When you're ending your set, say thank you so much, city name, we are name, you can find us here and we will be at the merch table in 30 seconds.

See you there, Yep, absolutely encourage that. Get him back there. And the thing is when you have like 15 minute changeover is really what you have is like five minutes to get your gear off stage, you need more time to set up than you do to break down. Breaking down is easy, don't worry about putting all of your stuff back and you're like, don't ever be that band that breaks down on stage, if you're that band that breaks down on stage, every touring artist will literally break their guitars over your head, like don't ever do that immediately get offstage, grab your stuff, put you know, put your road cases back together on side stage in the staging area outside, basically, as soon as you finish playing, you want to get out of the way, when that starts to happen, things can kind of get chaotic.

So it's really important that you do have some type of system. So for us we have a laptop that plays some of our backing tracks on them. So that laptop is literally one of the most important things. This also we use axe effects, which have pitch blocks and things like that, that you can program into your music. So for us, we can actually have our backs effects, change the tuning on our guitars without having to either tune on the fly or have excess guitars. We've tried to make our systems as simple as possible because when you're out on the road, that's really what you need simplicity is key.

The more stuff you start to add, the more you really start to knead roadies and people that are actively managing this inventory because things can get crazy. You don't realize that it's like, oh for a singer, you can have a mic depending on the level of performer. You are, you have your own cable that's maybe longer or just more reinforced or specifically built for swinging. Then after that you have vocal processors, you have pedals, you have like all sorts of stuff. Even a guitarist has a strap.

And the important thing is if you're competing at a high level the game, you're probably using wireless. If you don't have your strap there, then you don't have your wireless setup. And it's just one of these things can cascade into this giant parade of failure and believe you me, you've never felt more worthless until you've left like your computer behind at a show, which has happened to us before. Yeah, exactly. We learned the hard way. And that's why I'm sitting here on this podcast right now telling you people to label your stuff.

You all need to have your head in the game for us. We have one giant unit that we store our external, basically just what I would call our appendages, things like our laptop that instantly needs to go in because then that gets locked away three times. And then also like if I have a microphone that I have brought on tour, then that will also go in there a lot of the time. It's also where we keep personal belongings too. So like I have asthma, I need an inhaler.

It's not a good look to have your inhaler in your pocket while you're performing. So your wallets and stuff like that, all that stuff ends up going in there. So it's nice if you have one solid drawer for onstage items and then for basically exchanging those items, it's like, okay, here's my personal stuff, here's my work stuff and you know what a label. Maker James has talked about it before. It's a fantastic thing. If you put a nice little label on the front of the door that says, don't forget your laptop.

Then every 10 seconds when you're looking at that thing, luckily for us in our brain, we also have like tuners there. So like in between songs, the guys go over and they're tuning and you can literally, you know, it's like constantly right in your face. Like don't forget your laptop, Don't forget your most expensive piece of equipment. Don't forget everything that allows you to play a show, losing your laptop, losing a guitar, losing a drum. All of these things, like if you don't have some basic system in place, then you're going to leave something behind.

And what you should never run into is having somebody kind of look at the other person and say, well you didn't grab the symbol case. Okay, how do you solve that problem? You give specific responsibilities to everybody. So for me, as soon as I finish the set, I go to the merch table and the guys physically pack up their items. But I am very much so an active part every single night of loading the trailer up and so that way when all of us are there at the end of the evening, all of us loading up and generally we have one person jesse will go and he'll settle up at the end of the night with the promoter.

But then the rest of the people in the band all come together. We have our laminated list of items that are supposed to go in and plus we've been doing it long enough now that we mentally no the items, but it's great to have that visual confirmation of the items that were looking for. And so basically what we do is when all of us come together, we make sure it's like, okay, we've got five guitars. We have two bases. We have both of our full stacks. We have our base cab, we have 12345 drums.

We have our pedal case, we have our simple case, we have stick bag, we have our merch, we have this, that and the next thing. And at the end of the night we're able to kind of like come together and for anybody that's ever worked in like fast food or, or really anywhere that's ever had a team meeting retail. You basically kind of have one of those at the end of every day when it comes to, when you're touring, you get to the end of the day, part of it's an inventory check to make sure everybody's on the same page.

Part of it is a going over money and expenses. How much merch you made. Hopefully you should have a road map and itinerary that's been planned. So you're already budgeted for the number of miles that you have between point A and point B And your next leg of the trip. But this is the moment when you're allowed to see like, okay, cool, well we made $300 on merch and we need $75 to get to our next stop And we got a $200 guarantee. So okay, today we made you know, $400 or whatever 4 25.

All of these little tiny inventories and lists that you have are basically kind of what your business is. So the systems, we talk about systems all the time being incredibly important. A gear system is no different. I like to say it's a good rule of thumb, whatever instrument you're playing, you should make sure that you have that packed up at the end of your set, if you have a bass guitar and that has wireless and you have a pedal board and you have a bass cab, those are the full responsibilities that need to be the highest priority.

When the basis is finished playing, the guitarist, take care of the guitar stuff, the drummers, take care of the drum stuff and in reality, what needs to happen is everybody needs to get over and get their guitars like set over on a side stage guitar rack and then get the drums off the stage, get everything off the stage and start packing it up. If you have a little gear list, make sure you know, gear list inside of your guitar case, your list inside of your drum cases.

So that way, amidst all the chaos, you can actually still be maintaining quality inventory while not pissing off the band who has to play next and wait for you to break down your stuff on stage. And then as each individual member knows what their responsibilities are, as far as getting things packed up and getting them off stage and put away as you start to add more items, say things like a GoPro up, throw myself under the bus, I've left a GoPro before at a venue. If you're gonna have things like that that are going to be included, then things get a little bit more complex and that's when you kind of need a more complex system.

I think James, you have a pretty fantastic complex system as since you're a little bit more of a gearhead than I am, I try to keep things as simple as possible and people are like, oh the lead senior never does anything, never carries anything, that's a total load of crap, I'm the Tetris Master and so like I pretty much load the vehicle as much as possible. Occasionally, my other bandmates, we will, you know, if they get this stuff outside and there's like not good staging area, they'll get it all loaded up because we all actively work and it's like, I'm at the merch table trying to make money.

Sometimes they'll just instantly get it loaded up, which is super awesome. Sometimes it gets loaded up afterwards, which is also totally awesome. There's something called dual control when you're doing stuff, it's basically just saying like, you need two people to check on things and really what you should have is like the more control that you kind of implement with other people, the more decentralized that point of failure is the better chance you have of like not leaving a guitar behind in Brooklyn, like I've done before or not leaving a laptop behind and I can't remember what menu it was, but we on the way to Allentown P. A. To go see good old tom taylor, we didn't have our laptop there and, you know, we did a music video and we left the base.

Everybody is subject to these things at some points. You just don't have your head in the game. There's a billion in one different ways that it happens. And so you need a complex system that you follow to the T James. Tell everybody about your pretty awesome system. Yeah, absolutely. So let me first preface this by saying this is a D I. Y system that I don't really take credit for it because I'm sure other people have done it. But this is something that I thought up on one of the tours, I did back in my tour management and road days, But it is also not the system that artists at the highest level, you know clubs arenas, that kind of stuff we're gonna be using because a lot of times they have crew who are doing the loading, if they have, for example, an artist that's touring with an 18 wheeler, the 18 Wheeler, the production manager is going to be in charge of doing all this.

So this system will work for an artist where each member is responsible for their own belongings. If you get into higher levels with a production manager, talk to your production manager about how that's going to work and you're going to have codes like F. O. H. Means it goes to front of house. Usl upstage, left, DSR downstage, right, ssl side stage, left, that kind of stuff and you will literally have like your cases spray painted with the locations for where it goes on stage. So when you show up to a venue, the local crew knows exactly where that goes and they can just wheel it into the venue and put it where you need it and then you can find two in the place at that level, you're going to have checklists, all that kind of stuff.

But again, you, as a member are not going to be personally responsible for a lot of the equipment because you have a production manager who's taking care of it. My system is exclusively for the D. I. Y. Artist who wants to make sure that they can track their show or tour inventory and determine what each member is responsible for and I got to say for this episode, I'm going to take a page out of EMC Lars book and call it the dewey decimal system. It's actually pretty easy system.

So don't get overwhelmed by this matt. Thank you for talking it up. But it's actually a super easy system which is that for every single piece of gear there is a three digit number associated with it. That three digit number goes in your gear manifest along with all the other information that we talked about on episode 92. So like serial number, description, the brand, the model name, all that kind of stuff in this three digit system. Super easy. The first digit is what area it's from or who is responsible for it, basically which member it, quote unquote belongs to whether they own it or not, it's whoever is responsible for that item not disappearing.

So a simple example of this would be that number one is the vocalist and rhythm guitarist, assuming that the vocalist is also playing rhythm guitar. Number two is lead guitar, three's drums for his base and five is merch. If you have a dedicated merch person, that's great. If not five might be assigned to any one of the other people or you can have 67 whatever. If you're scott band, maybe you need a four digit system going up to like 10, 11 whatever, but that's just for scott bands, you can ignore that.

If you don't have more than nine members, the next two digits are quite simply. I've been ripping so much on bass players and sky bands lately. Dude, that's because they're the best. Oh, I agree. Especially scott bassists. Dude, roger lima, that dude is insane. I love it. See you just mentioned scott and I just, my mind just started playing streetlight manifesto. Oh yeah, man, So you look what happened? Oh, you're terrible. I swear it's the last time I make it fun like that. That's the first line of look what happened.

I swear it's the last side tracking too much scott bass players. So the next two numbers after the first digit, that indicates who is responsible for it. The next two are just the item number itself because you're probably not going to have 99 items for every single person. Usually, in my experience, this has ended somewhere between eight and 15 items, depending on what it's for. So you just start super easy. Say, okay, 01 is the guitar, 02 is the backup guitar. 03 is the pedal board, 04 is the amp. And so assuming this is the lead guitarist will be 201 to 02203204.

And I don't tend to get into like the nitty gritty details, but let's say I have a gearbox that has all my extra strings. My tools, that kind of stuff. That'll be like 209 or whatever number for that person that way. You know, you don't have to label every little single tool in there. But like you said, Matt, you have a checklist of what tools go in there and then a big label on it that says band name. I personally would put my phone number on there. I usually do in case somebody finds it, they know who to call and they can say, hey, is this X, Y Z band name, we found your gear that's labeled two oh nine.

And then I can be like, yo lead guitarist, why is two oh nine at the venue 30 miles back? Why didn't you pack that? You were responsible for that? I sort of said bassist, like I'm always picking on basis. Well, point being, it adds accountability and ideally you don't forget anything because as you're going through your pack checklist, like you mentioned that you have a laminated checklist in the back of the van, you're going down there and checking like, okay, two oh nine done to 10, done 301, done 303, done three oh three for those who are listening and don't see the video matt, just did like the 303, just three or three logo, hand sign, I'm from colorado.

So I've got to represent their new song is tight. They dropped a song with Bert Mccracken is on it. I think it's a good song and we'll put it in the show notes. I don't remember the title but it's good. Yeah. For those of you who don't know, those guys also write a ton of songs for a bunch of other people and you've probably heard more three or three songs than you realize. Oh yeah, I bet fun fact. The first show that I ever worked was a three oh three show and the fire alarm went off and it was chaos.

Then we had a backstage party. Apparently I didn't know this at the time, but one of the members of I fight Dragons had decided that he was going to throw a gangsta themed party backstage. So anyway, that was fun. And I recently rediscovered a photo of me from that night. This was back in 2010 and they had a tour blog for the Too Fast for Love tour was three or three Cobra starship Travis McCoy and I fight dragons. And on that blog, I was in the background of like their photo of the day right behind the guy who planned the gangster themed party and then of course the tour blog went down and I hadn't saved the photo, but like two years ago he posted it on christmas day being like, I'm so thankful for everything in the last decade, like merry christmas and I was like, dude, I've been looking for this photo.

So I recently re found it, you know, like a couple of years ago. So now I have a photo of me working the first show that I ever worked. Show notes. Yes, I will put that in the show notes. Yeah, I was like sick instagram content right there. I looked like a 17 year old nerd, which is exactly what I was. That's what our listeners want to see. James, I'll have to like circle myself so people recognize me, what I remember specifically from that night is when the fire alarm went off, we walked out into the alleyway outside the backstage of House of Blues boston and there's a like a gate at the end of the alley way to keep all the people from running into the backstage and they're like, okay, well you know if there is a fire, we can't have you standing here either, so you're going to have to go out onto the street like okay, whatever.

And they opened the gate and there's just this wall of screaming girls because you know it's three or three and cobra starship in 2010, like that was what all the girls loved. I'm sure there was some guys there too, but this wall, like everybody in the front row was a woman and at that moment I was like, I'm so glad I'm not famous. That was literally the first thought that went through my head is like I am so glad I'm not famous Anyway, this is a fun episode I can tell right side tracking so much less than jake Cobra starship 303.

All the good stuff. What I was going to say is if you have these numbers on your cases, you're never gonna mistake to items like you might have to guitar cabs that look almost identical when they're boxed up in a road case. So you could say, oh yeah we have both guitar cabs and it turns out oh actually you had one guitar cabin, one bass cab, but you didn't have the other guitar cab. When you have this number, you can physically look at and say, okay, this is item 202, this is the guitar cab, this is item three oh four, that's the bass cab and you will never mix up two items because they are clearly labelled.

Now, one thing I want to say is when you're labeling all this stuff, you could go hardcore and spray paint, you know, get a stencil and do that. But then the issue is it's going to be difficult to change the numbers if you ever need to. So what I do is I just take a piece of gaffer's tape which is if you're not familiar, it's like a cloth tape that's good for holding things down, but it's not exactly load bearing, I wouldn't use it like duct tape, it is the tape in the music industry just so you know, you should probably have a role of that in your everywhere. Yeah.

And here's the other thing, don't cheap out with it, cheap gaffer's tape is terrible. And it's not gaffer's tape, it's more like a duck tape hybrid. You never want to get caught using duct tape because that will leave residue. It'll mess up your stuff. And that's what cheap Gaffer's tape does as well. I use a brand called Pro Gaff and I think that's what pretty much everyone else uses. And that's great for, you know, taping down cables, taping up signs in most cases it doesn't take paint off walls and some it does.

You want to be careful with that. But point being Gaffer's tape, you can get it in all different colors. Black is the standard because it's made for the stage. So what I do is I just get black Gaff tape because I'm not going to carry multiple colours unless I need to. And then a silver sharpie and that's how I label it super easy. If you ever need to change it. If you work for multiple artists, you can peel off the tape and put on a new peace and change the name for that tour.

I've seen bands who have road cases from other bands and like you didn't spray over that. Why would you not spray over that? It has the wrong band name on there. It can be something as simple as like, oh, that tech works for this band full time and he's just doing like a side gig for this other band for two weeks because his main band isn't touring. So he's not going to re spray it for a two week run. But I would bet you that summer on there.

He still has his contact information and with Gaff tape and Sharpie, they've labeled it saying it's actually for this band. That's what you gotta do because you can't expect stagehands to know like, oh, you normally work for this band, but today you're working for this band. So this goes with this band stuff like that's no, you gotta watch out for that kind of stuff. Yeah. The reason this is really important guys is that when you're playing at a professional level, you have a stage manager that's generally associated with the venue and that guy, his job is literally to get you off the stage as quickly as possible.

He does not care about your stuff being organized, he does not care about your stuff getting lost. He cares about getting your stuff off stage. And so like oftentimes the stage manager is like the meanest person at the venue because they are kind of in charge of like being jerks to people to get them to move quicker. And so like having these things labeled a game changer sometimes because it's like Think about how long it takes you to load up your trailer on the way to a show and you double check, triple check to make sure you have everything.

Well then take that like 40 minutes that it takes you to do that. And you got to cram it into five minutes and you have to do it while people are yelling at you and you have to do it while you're tired and just played a show and you have to do it. Well one of your members needs to go to the merch table. This is the end of your work day. This is the equivalent of looking at the clock and saying, 05 more minutes. Like this sucks and you're doing it while you're the most exhausted that you've been the entire time.

So having a little awesome system like this, it's being proactive. You can be proactive or you can be reactive the choice is yours and being proactive is always always better if you leave the guitar behind. Well congratulations, you just didn't make money on your last two shows. Now, unless you're gonna drive all the way back there and get it and you probably are. Which then you're just throwing away a whole bunch of gas money potentially missing out on more shows. The very nature of touring is that you have this linear path that you go.

It's not like you play in san Francisco on monday and then we're gonna be back here on thursday night. It's like no you play san Francisco and then you drive down south through the sacramento and then you drive to L. A. And then you drive a new Mexico and then four days later you're 1000 miles away from that destination. These systems are just they're priceless honestly. Yeah absolutely. And I want to add one last thing when it comes to labelling, there is one huge advantage to having stenciled spray paint logos or information on your case is it's a lot more difficult for people to get rid of that if they want to sell it to a pawnshop after they stole it.

If you have Gaff tape labels on your gear that's great do that. But put a second one somewhere inside, hidden where people aren't going to find it unless they're really trying. So for example if this is a rack, no one looks into the rack and then up put it under the top of your rack so when the top piece of gears in there No 1's going to see it probably even if somebody takes that top piece of gear out they're still not gonna see it because they're not gonna be sticking their head in that rack.

But if you find that rack in a pawn shop you can be like yo pull that top piece of gear out and then look up inside there, what do you see that is my information, You can call that number right now in my phone in my hand will ring, that's mine, we're taking it back boom And you can do the same thing for your guitars or anything like that. A lot of guitars. If it's like Les paul style guitar, you pop off the little plastic cover on the back that covers the area that's cut out for the tone adjustment knobs and the volume knobs.

Put a little sticker inside there, put a label and that way, if you ever see it in a pawn shop or somewhere else, you can say, hey, take off the back panel. Look, there's my phone number, that's mine. There's so many little places, you can hide stuff like that and this is something that should also be marked in your gear manifest. So people know what to look for and they might find it proactively Now matt, you had mentioned a great app called home inventory. What we discovered is that developer, even though home inventories only for Mac, The developer put out an app called under my roof, which works for Mac or IOS, whether it's an ipad or an iphone, whatever it looks like a great app and it's made to inventory your home.

But you can also put all your gear in there. So you can either use an app like under my roof or you could go old school like I usually do and use google sheets to track everything either way, no matter what you do, you want to be sure that you are keeping track of your gear, you have a solid labeling system in place. I really am a big advocate of my three digit system because it makes it so easy for people to be held accountable. It just reduces confusion so much.

But at the very least if you're not going to do that, which I recommend you do. But if you don't put your band name and contact information on every single piece of gear, both on the outside and on the inside and again on the inside in a non conspicuous place where people are just going to see it and take it off like you want it somewhere where they're not gonna look. So that way you can pull one over on them. Another place to do it is if you have a telly style guitar, like the one behind me, they don't have that open round in the back for the pickups, you can actually take off the pick guard and just put a label on the back of the pick guard and then put the pick guard back on.

No one's ever gonna look there unless they're doing serious work on the guitar. But you can say, hey, take off the pick guard and there's my information. There's no way I just put that on there in the store. That's mine. Like that's been there for who knows how long. So that all said label your stuff have a good labelling system and stick to it in the end. Having a label system is what protects you, not just from people stealing your gear having to track down stuff and pawn shops, but it also protects you from yourself.

The best thing that you can do is have a system that protects your gear from everything. And that's why I'm just having a simple number system with multiple people checking it and pure accountability to everybody for what they're supposed to bring to the table. If you have that cocktail, you're gonna be okay. Mhm. That does it for this episode of the Bandhive podcast. Thanks so much for tuning in and listening. If you haven't subscribed yet in your favorite podcasting app, please do so because this means you will automatically be notified of every new episode that way to release, which by the way they come out every Tuesday at six a.m.

Eastern time. I hope you enjoyed this episode, which I kind of called it. The dewey decimal system is a joke. A fan of EMC LARS and he's got an album with I I believe it's mega rain, that is called the dewey decimal system. But I might actually have to see if I can get permission from him to use this name and put out more information about my system and see if I can actually call it the dewey decimal system. But for now that's an informal name, it's just, you know, another band reference to an artist I like.

So I hope you enjoy this episode. I hope you got some knowledge from this, and I really hope that you're going to start labeling your gear and you know, like we said back in episode 92 using checklists, so you don't forget your bassist, aside from that, if you want to join our community, please feel free to do so, just head on over to Bandhive dot rocks slash group or search facebook for Bandhive and you will find the community where you can talk with other artists about what they do to keep track of their gear on the road, as well as discuss any other business related topics.

Hope to see there soon again, that's banned Hive dot rocks slash group or just searching for Bandhive on facebook, of course, make sure it is the group, not the page. Give the page alike. While you're there as well though, of course, we'll be back next Tuesday with another brand new episode of the Bandhive podcast. Until then, have an awesome week, Stay safe, and of course, as always, keep rocking. Mhm