 Of course, if this hand is free then you can play with a bar if you want, you know. And a lot of times I'll start low and come up and come down. You can get harmonics and flick the bar, you can hammer the bar, you can play rhythms on it. You know, sometimes I'll start in one direction going another. So I'm using both directions. I'm just kind of putting the bar in between my last two fingers here and I'm... You get it to be pretty warbly. It doesn't sound very middle-easter. What it emulates is a sliding technique on those instruments where there are no frets and so they're constantly sliding into and out of pitches that way. On a fretted instrument you don't have that, it sounds too obvious so it sounds rather methodical so the bar can kind of help you with that. The other way sounds quite different. I started to notice that when the strings were depressed a lot that we got some interesting sounds and then I started sliding it in and I thought what if I asked the note one up we depressed the bar and you get this. So it's the notice stuck but it's kind of moving and it just sort of sounded like something that was alive. You can combine sounds. So that's a couple of different techniques all within a small phrase.