 All right, so I notice that on a lot of sustained chords and notes that you'll hit you will work Which you refer to as the virtual whammy bar and there is There's something going on there. So I think you're not just bending the neck. It's it's no I'm not No, I with a dovetail joint. There's no way I'm gonna bend the neck. This is not a bolt-on I mean this is and you do some neck I never do neck. I'll do you know like I'll do this I'll do well that's doing something a shaken bake, but that's different than what you're doing What's happening is you know this whole area is alive because it's a soundboard I mean, you know, it's like acts like a speaker and the the sound hole really acts like a bass port So you never want to put a microphone in front of the the the sound hole because all you're gonna do is get like all low-end is coming out there But what happens? The this part that's off the specially you know because there's an X-Brace that runs you know across here And there's you know, there's a there's a harmonic brace over here, but basically, you know, this is all free to vibrate pretty much and What I do with this it's it's the forearm and it's barely touching It doesn't work so well on a classical because you don't have so much Mm-hmm. The the the soundboard is structured differently, but Wow, so I really hear that And yet it looks at times that like you're not even touching it, but I guess your forearm is always in contact Yeah, I mean it's but it's it's almost like it's the air pressure of the forearm rather. Yeah, it's not really And sometimes what I'll do is like I'll play a chord And it's almost like a sweep kind of And then I'm just about touching it It's a but you you got to remember with an acoustic guitar that the back It's also part of the sonic picture so you don't want to you know if you hold the guitar really tight You lose so much of what the get what it has to offer and and so you're keeping the back clear Keeping the top clear and you watch bluegrass players. I mean they play like this in fact John Lanham You know I have to the J 160 E all the way up there Um and and they you're really trying to like let the guitar do its thing It's a little bit like you know if you if you dampen it. It's like putting a Putting a mattress over your your amp speaker or something You're just you're sticking something in front to inhibit the Vibration when you want to really maximize it and so and because I especially because I do all this stuff using open strings and really trying to Enhance all of that stuff. I want to keep as much as I can and you compared the top to a speaker And I get that but it's also kind of like a drum head is well absolutely I mean an acoustic guitar is a drum with strings and you can see percussionist manipulated drum head in a similar fashion to what you're talking about here It doesn't quite work the same way as a skin because you can you can stretch the skin right can't do that You know like the tablet players do but you can't do that with the with a guitar top at least you shouldn't Really I'm minimalist when it comes to gear. I just have my there's an under saddle pick up. There's a mic Cable goes out with those two channels goes into a preamp. I blend them together. Don't use EQ unless I really have to You know and then just a little bit of reverb and that's it because as much as I can you know, I'm trying to make the guitar You know if I want to change pickup Or change the angle of the thumb You You know bass players do that a lot. I mean you really see bass players really working the tone of the instrument Guitar players not quite so much unless you're Jeff Beck I mean you know I'm in some respects my right hand is kind of in that area I'm not playing from the technique. I'm playing from the The feeling from the emotion from the group from the the values that are actually the stuff that you really relate to because I want technique to go away. I don't want people to listen to something It's that all listen to that technique is I want people to listen to that music You know just finding ways of of making it kind of interesting and guitaristically compelling and occasionally Setting myself ridiculous challenges. You know like on all the things you are right I do this You know It's really stuff like that where it's just yeah, you know, I could it's like a personal challenge kind of thing