00\u201924: (Eleni) So I\u2019m doing a research about Harry Partch and his instruments and I don\u2019t know if you know the instruments? Ok, the originals are in Seattle and the Musikfabrik made replicates of all the instrumentarium and since 2013 they opened the instrumentarium to new composers so they gave commissions which is actually [\u2026] for the instruments [\u2026]\u00a0 nobody else was allowed during his lifetime and as far as I know they never gave [in what] cause any commissions to\u2026 I don\u2019t know if you know something different\u2026 \/ I don\u2019t know anything different \/ okay. So, you were the first round of composers actually and I would like you to tell me like everything from the process from the selection, from your knowledge about Partch and the instruments and how you used them to work.<\/p>\n\n\n\n
1\u201925: And I think that probably my piece and my process and my way, my approach is different from many others. \/ Which makes it \/ and you should sit wherever you want me to look. Because I\u2019m gonna [\u2026] with you \/ yeah that\u2019s why I \/ so maybe you sit there \/ toward the camera so you could look at the camera. Have you heard his piece? \/ no \/ No \/ Ah this is excellent actually and I\u2019m very interested because it\u2019s very different from the other.<\/p>\n\n\n\n
2\u201902: So to repeat, I think my, I think my piece and my approach will turn out to be quite different from many of the other new commissions for the Harry Partchs Instruments. But it\u2019s quite simple, really. I was asked if I wanted to write for the instruments and I don\u2019t remember if I said yes or if I just said yes to go to this workshop or session where they would show us and demonstrate all the instruments\u2026 I don\u2019t remember. Probably I just said yes. But I had immediately two criteria for myself and they got very much confirmed once I got to know the instruments, all the instruments a little bit better and the first one was that I had the feeling that so much of Harry Partch\u2019s music was already those instruments, that my first criteria was I would have to search until I found an idea or an approach, that would ensure that I wasn\u2019t actually just making a variation on an Harry Partch piece. Because I think you can do a lot of things on those instruments and he\u2019ll eventually just sound or not just sound but it wills most likely sound like Harry Partch. Because so much is in the tuning system, so much is in the sound of these instruments. And the way you play to it. So the first criteria is it shouldn\u2019t sound like an Harry Partch piece, which more or less excluded using too much pitch material and just\u2026 even some of the string instruments, cause you can\u2019t do so much with it. And the other thing was, I also thought, but at the same time, this instrument was so unique that it won\u2019t make sense to make a piece that could be performed on any instruments. So at the same time it should be uniquely playable for these instruments.<\/p>\n\n\n\n
4\u201923: So I was a little bit contradictive but it\u2019s, I thought, it, I really thought if I, if I can\u2019t find an approach like this, I won\u2019t do it. I\u2019m not just going to write any piece and then put it on these special instruments and I also not going to play to my own special piece for these instruments and then it\u2019s just going to sound like anyway, like Harry Partch. So in the end I selected three instruments and especially I would say there is like a solo instrument in the sense that it\u2019s like in the middle, it\u2019s the most important instrument in, in the piece, that is the marimba eroica. Which is essentially three staves on a marimba, but huge, one vibrating as low as something like 50 or 60 Hz. So it\u2019s an instrument with three, are they four or are they three ? \/ four \/ four \/ they are four but \/ with four \/ the lowest is the weakest actually \/ yeah because you don\u2019t really get the, the fundamental. But especially the second lowest you just have this, I mean it\u2019s just vibrating forever and it\u2019s so low and it feels more physically low than, than any normal acoustic instruments. That I know of. So it has a very, it\u2019s very powerful. And of course when amplified, it\u2019s crazy and it\u2019s sounds more like something electronic, some kind electronic [base\/bass]. And, so it\u2019s not much about the pitches because they\u2019re only these four pitches, one you can\u2019t really tell which pitch this is and anyway they\u2019re all so low that you don\u2019t really hear, hear them as pitches. And then, but, my main thing was to say, but I\u2019m actually not even composing for these pitches, I\u2019m using these big vibrating staves to activate something else that will make the sound. So in that way I\u2019m, I\u2019m using the fact that they have so much power, they\u2019re so big and they\u2019re vibrating so long and in, and in really in different tempi, which is so unique for this instrument, but I\u2019m actually using it to activate another instrument. Or other instruments, or different kinds of preparations.<\/p>\n\n\n\n
6\u201954: And then I expended that set up with, with the Chromelodeon 2 with a snare drum on top and really just looking for different tempi of beatings. Or mainly looking for different tempi of beatings in the microtonaly tuned bass register that will make the snare drum vibrate in different rhythms. So I can combine, arrange these different intervals so that it makes an accelerando. Wow wow wow wow wow wow wow wow wow. So it was my dubstep instrument. And the last instrument is kind of also really a strange instrument. The blow, the blow boy? As it\u2019s called. And again, prepared re, removing the, removing the, the tubes and using it just for air sounds and breathing. And later also preparing that with a bag that can expand and, and contract.<\/p>\n\n\n\n
08\u201907: And I think the main instrument in what it\u2019s most interesting to talk about is, is this, is the marimba eroica. And in a way it\u2019s, it\u2019s expanded so that you have one player playing the keys, and then you have, I think it\u2019s four players, or five, doing live changes and preparations. So that they can change for moment to moment to a different sound. Or essentially a different instrument. Or a different way of using those vibrations. And the progressions are first of all different materials put above the sound holes to the acoustic boxes. Where obviously there\u2019ll be a strong wind going up and down, so that\u2019s where a lot of the vibrations will be amplified, just through the air going back and forth and so if you put paper or backing paper or plastic folios or also styro, Styrofoam, all this have a very different sounds according to how it, it vibrates. So it\u2019s a little bit like registers or different settings on an analog synthesizer or something so I\u2019m turning now up to my, to my square ton from the other one and that would be my Styrofoam and so I get\u2019s those baaaaaaaa and then I change back. But they, so, and they\u2018re assisting through that live. And then it expends to be also things physically vibrating against the, the wood of the stave.<\/p>\n\n\n\n
10\u201901: They\u2019re pencils and sticks and then it kind of climaxes in\u2026 that it activates suspended plastic cups and little balls, they\u2019re not ping pong balls but they\u2019re a little bit similar. And also golf balls freely going inside, but still trapped, inside some kind of glass jar. And so basically at that point the staves become a kind of remote control for little piece of objects theater where this objects start dancing and obviously, that makes a lot of sound and it\u2019s, it\u2019s very closely [miked]. And that is the piece, it\u2019s actually just kind of building up to this moments where we have this dance of the cups. And then it\u2019s kind of building down again, it\u2019s very, very simple, there\u2019s no polyphony, there\u2019s really just one sound at the time and the sound is kind of expending and evolving further and further. And, yeah in a way I think the, the, the thing that makes it, that gives it the distance from, from Harry Partch\u2019s own approach to this instrument is obviously that I don\u2019t really, I\u2019m not concerned with, or even completely avoiding the pitch material. And so a lot of his music is of course the tunings and, the special tunings, in the way of using these. And, but, and what makes it, the piece, uniquely for these instruments is of course that the, the, the main instrument, the, the, the marimba eroica, he just\u2026 nothing like this exists. If I should ever get vibrations like these, I would have to create them artificially, maybe with loudspeakers or something and of course, then you, then it\u2019s a completely different feel, it\u2019s not an acoustic handmade thing, then it\u2019s suddenly something electric essentially, more artificial, so you have a perfectly natural way of creating this low and slow and long lasting vibration. And then activating another instrument defining the sound, so that I can also change the sound and not just, not using the tuning but actually also not using the sound and for the chromelodeon I definitely need the tunings because you don\u2019t get the selection of beatings with the, with any other tuning. I need all these special intervals in this specific register, if not I wouldn\u2019t have the selection of tunings. And of course [they are also] avoid the sound of the chromelodeon by adding the snare drum, so that\u2019s actually the snare drum we hear.<\/p>\n\n\n\n
13\u201914: And then there\u2019s this absurd instrument, the bellow of the blow boy, which becomes, yeah which, which was [just a] weird instrument that\u2026 Yeah I had, I had the feeling that it\u2019s, it fitted well with the marimba eroica because it was kind of a big monster instrument and this big bellow kind of gave longs to this big instrument and so you, you have this big monster also sometimes breathing or snoring or whatever. It gives, it kind of gave life. It gave kind of a ba, even more body to the body of, of the marimba eroica. Basta.<\/p>\n\n\n\n
14\u201909: (Eleni) Had you heard in the past music of, before this commission, of Harry Partch and did you deal with that or did you had any experience or was it like your first experience at that point?<\/p>\n\n\n\n
14\u201924: while studying, I heard pieces on tape \/ okay \/ and I was fascinated by the eccentric nature of the work of Harry Partch. I don\u2019t remember my impression on, on the music itself. Just the, the story surrounding it. And the attitude and the, and the [global] life and all this. There was, during my studies. And then a few years before, or maybe just one year before I, I attended a [dress] rehearsal of this, what\u2019s it called? Hum hum of fury? \/ Delusion of fury \/ ha? \/ Delusions of the fury \/ Illusions of the de \/ delusion \/ delusions of fury in the staging by Heiner Goebbels and I heard it in Norway because they tour it [almost] everywhere and I just heard the dress rehearsal and\u2026 Yeah I liked it. I wasn\u2019t so convinced by the staging. What was interesting was that it was a huge hit and everybody I talked to after that was big fans of the staging so it could be that something did not work out well at the dress rehearsal and was fixed for the actual performance. So who knows. But deeply fascinated by the instruments and I\u2019m not sure that, I heard all the pieces later that I kind of like better, but at least it, it confirmed everything I remembered which is that is, it essentially has all these strange tunings but a lot of the time for me it sounded like\u2026 yeah, this kind of strange familiar music, just strangely out of tune, like sometimes even to the point where it sounds like somebody playing the guitar at the camp fire who didn\u2019t know how to tune the guitar.<\/p>\n\n\n\n
16\u201953: And, so this, this is of course absolutely not the intention of the composer, I\u2019m sure, but I\u2019m not saying it to, to make it smaller, I really appreciate it. I likes, I like these cultural objects with a strong twist. And this was the experience I had. But also that was the moment where I realized, it seems like whatever they do on these instruments, a half of this music is already in the tuning and in the, in the crafting of these instruments, it\u2019s already, which is also nothing bad, it\u2019s actually just, it\u2019s actually really close to how I, I work myself. Often the identity of a piece of mine would be at least fifty percent in the set up, or in the concept, or in the, or in the instrument choice, or in the material. And then of course I do stuff with it but it\u2019s not that it would be a completely different piece if I did something else with it or did it slightly differently, because it\u2019s already, the identity is already so strongly defined by the set up. And, so I have the feeling it\u2019s the same with, with the Harry Partch instruments, which makes it very difficult for somebody else to come in and compose for, because it has such a strong aura, very strong luggage and\u2026 yeah. And so, when they asked me, that\u2019s why I immediately knew, that would be my first criteria, I would have to find a way to completely avoid that Harry Partch sound, because, because that\u2019s already his. And it has such a strong magnetic field around it, [all\/a] gravity field, that you\u2019ll have to move very far away in order to not just make a variation of that. Or make something which, maybe something completely different, but would be experienced at least as a variation of this.<\/p>\n\n\n\n
19\u201904: So I had to heard some, but I\u2019ve heard much more since. And I know I also heard some of the other pieces and I think some of them have really clever ways of avoiding these things, some just don\u2019t care, just make something and for me it sounds very much like Harry Partch but still kind of very interesting to use a composer\u2019s approaches and I think a lot of clever\u2026 ways to approach it. I haven\u2019t heard all of course. I\u2019ve heard some. I\u2019ve never been familiar with, and I\u2019m still not familiar with, and I didn\u2019t use as much as I mean it, to study the theoretic foundation of the tunings and the all system of his, because I thought that it\u2019s ok, I\u2019m not going to use it, it\u2019s super interesting but I\u2019m not going to use it and I don\u2019t need it. I\u2019ll use the time for\u2026 getting to know these instruments on a personal and physical level. So I went when they did the course with other people, I went down there and started touching the instrument and see what I can do with it.<\/p>\n\n\n\n
20\u201919: (Eleni) and what about the combination with the normal instruments, because they had offer that\u00a0 if I \/yeah \/ remember, like \/ yeah yeah \/ [\u2026] you didn\u2019t want to\u2026<\/p>\n\n\n\n
20\u201934: I don\u2019t think I even considered it because I think that would, that would take a little bit out of the challenge. I think it could be interesting, but I would, it would in a way also emphasize the exotic nature of the instruments. Just like I guess putting a chinese cither in front of an western orchestra. Which I did once, I made a concert of [\u2026] but, so, in a way it\u2019s, in a way\u2026 that wasn\u2019t so attractive to me. But I completely forgot. I completely forgot that this was an option, which is true, some, some people did this. Yeah, it could also be interesting, because of course, but then it\u2019s maybe not so interesting for the Harry Partch instruments, but it could be interesting for the, for the classical instruments because obviously you\u2019ll listen to, maybe not so much the strings, but let say you put a grand piano next to some of these Harry Partch\u2019s tuned instruments, obviously we will, the piano will suddenly sound out of tune as well. And so maybe it could be interesting as a concept not so much about the Harry Partch instruments but more like changing perspective on the familiar instruments. But at the time I didn\u2019t consider it.<\/p>\n\n\n\n
22\u201909: (Eleni) Okay. So I have a performative question because you, I think it\u2019s kind of your musical [\u2026] you have as we described a lot of things so, going on stage, and Harry Partch used also the instruments as kind of the staging so, does this idea come one hundred percent from you or does it had to do with also the Partch tradition about what the staging would be, or you were not interesting on how he performed? You\u2019ll seen Delusion after? \/ No before \/ Ah ok, \/before yeah \/ before the [\u2026]<\/p>\n\n\n\n
22\u201953: I mean I think it comes from me. And I don\u2019t think it\u2019s\u2026 it\u2019s not influenced, but I mean, I like instruments that are big and that needs big movements, right, because if you have this tiny little instrument and the movements are like this, I\u2019ve, it\u2019s less interesting performative than if you have such a big instrument and sometimes you need to play down here and sometimes you need to play down here. Then obviously you have a lot of ins\u2026, movements, and if you\u2019re interested in movements or performativity, that has a big potential. Maybe. And, and maybe I could imagine that, that has also played a role in the design of his instruments, at least they\u2019re not tiny practical instruments, they\u2019re big dramatic instruments. And also when playing, then you\u2019re moving around a lot. I\u2019m not sure if they could have been designed in a different way, but I think it\u2019s a big thing also at a Harry Partch concert. Watching the players play the piece. Not because they\u2019re doing anything extra, but just playing the piece, but just by playing it, they\u2019re moving a lot and, and, and there\u2019s a kind of drama already in that. And so it\u2019s, so I would rather say maybe there\u2019s kind of a crossing in the approach and, and well since these instruments have been so, since he\u2019s been so ambitious in these construction and not really limited about the practicality, it seems, I guess they ended up super big, so these instruments, and the biggest of them all, the marimba eroica was [hands] perfect for my purpose, because he was just a player himself, they\u2019re so heavy these, these mallets so it\u2019s like a, it\u2019s like a big body builder exercise just to play them. And so already playing has something, well, heroic about it. So, there is no inspiration but definitely a common fascination I think.<\/p>\n\n\n\n
25\u201915: (Eleni) and one last question that probably doesn\u2019t apply one hundred percent, because you said that you wanted to avoid this tuning system, but, and I probably want to see your score, but how did you notated things, because there is a main discussion about the tabulator systems that Partches used throughout his all life and he changes a lot of things to relative tempered [drums] and then back to tabulators and then \/ okay \/ and how the instrumentalists are dealing with that, and sometimes they\u2019re saying it\u2019s super practical when it\u2019s fast and with a lot of movements, something that it\u2019s really\u2026 that shows the location, other says that for some pieces especially they wanted to see the results so they would like to have the combination of them, and how did you proceed with that?<\/p>\n\n\n\n
26\u201903:Well since, since it\u2019s really not a thing in this piece, the tuning, I could use some kind of very simple action notation. And I just have the four staves, I, as far as I remember I have four lines and each line represents the\u2026 each stave so that\u2019s very easy and then, you have the different preparations and I\u2019m wondering how I did that, but\u2026 and, are there signs specifically for that? At least that has more to do, there almost like an articulation so that would be something that is added to that specific note. So it\u2019s kind of outside the system. I don\u2019t remember exactly how I did it. But at least, if, if anything, that is more showing what to do and not so much what, what the [sounding]. And, and also when you have the beatings in the chromelodeon, it doesn\u2019t say anything about beatings, so in a way, there is no revelation of the result. So, but, I, so, I\u2019m a big fan of actual notation but of course it also kind of take a certain responsibility away from the musician who\u2026 yeah who just has to believe that if I do this action correctly, the right sounding result is coming, so it moves also a little bit the focus away from the sounding result. Which is not always the intention either. And so I actually do believe, that in many cases the best option is to have [actual\/action] notation in a, in a normal sized system and then to have a smaller system on top showing the sounding result. So I used that in some cases. At least for, for study score. And then when you perform it, maybe you know the piece already, maybe then you don\u2019t need the resulting stuff, you just need few page terms and then you just have the, the actions [that have] left. I think if I was to play these pieces, I would definitely prefer the actions stuff. And then since this is mostly fixe tuning, so it\u2019s either tuned or it\u2019s really a stave with this specific tuning, you\u2019ll pretty quickly learn what it sounds like and then I think you have to react on it. Correspondingly\u2026 Then\u2026I, I mean, if it was notated in sound only, it would take a lot of unnecessary time to study I think.<\/p>\n\n\n\n
29\u201900: (Eleni) But in the chromelodeon you were aware which intonation you had, to which keys over to calculate the beatings \/ well I didn\u2019t calculate \/ okay \/ I just listened \/ but you still use the key like \/ right, right, right \/ piano \/ what\u2026 actually I think I did, yeah, and so I did not, I did not write the ratios or something like he does or the colors\u2026 I don\u2019t remember exactly how I did it, but I was not aware which tons they were. Because it didn\u2019t matter so I have no idea. What, what mattered was that if I took what look like a fifth, it was some other interval and that\u2026 those two notes would give this tempo. And so I recorded all the tempi, sampled them and organized them so I would know, okay, if I did make this combination of intervals, I\u2019ll have an accelerando. So in a way it\u2019s complete avoiding of, of what is even really sounding because my purpose is something else. And the only place where pitch was important was the place where I have this little trill on top of the chromelodeon which is tuned to the sound of one of the glasses with a golf ball inside. So suddenly there is this connection because a lot of my music kind of starts with these connections and then it expands and contracts and then you, you\u2019re back to the connecting point. And then that extracts in a different way, and then I, I just like when you kind of have the feeling that these two starting points are expanding in different directions, then I like the moment when you actually arrive and another kind of [link] somewhere else. And the function of that comes from the pitch of finally at the climax, one of the climax, the pitch of the glass with the golf ball vibrating inside of it, and then getting picked up by the, by the chromelodeon. Yeah. And that\u2019s, there is one more pitch I don\u2019t remember what that is, maybe it\u2019s one of the other glasses\u2026 Yeah. But I still don\u2019t know what, which pitch is because it was just a glass that we had at the, at the rehearsal space and finally if we found another glass we will just go to the chromelodeon and find the closest ton. So. It\u2019s very practical way of composing where it\u2019s more about function and resemblance and correspondence and sound and much less with exactly what it sounding or exact pitch or any\u2026 Especially no, not about pitch relation in terms of harmony.<\/p>\n\n\n\n
32\u201903: (Eleni) that\u2019s all \/ cool \/ thank you very much \/ yeah thank you\u2026<\/p>\n\n\n\n
<\/p>\n\n\n\n
2nd Interview<\/strong><\/p>\n\n\n\n 00\u201900: is it published? \/ it is published, the score, I don\u2019t even know. I don\u2019t think so because it doesn\u2019t really make sense. Because only they can play, right? \/ [\u2026]no, no, not the score, like, like the music \/ no \/ recording \/ there is no recording, I know \/ okay, because \/ we\u2019ll there is a recording, it\u2019s not public. It\u2019s not \/ I don\u2019t know if you have anything in YouTube [\u2026] I check again last time I checked, but you don\u2019t have anything \/ they didn\u2019t have it right? \/ They, I didn\u2019t find anything public but I didn\u2019t know if you tried to \/ I have something, let\u2019s [\u2026] what\u2019s it called? \/ Corpus \/ (music) So this is how simple the score is. I\u2019ll send it to you \/ yeah please \/ I can\u2019t believe I didn\u2019t already but as we, I mean I\u2019ll go a little further but\u2026 it\u2019s ridiculous, it\u2019s very, it\u2019s very minimalistic piece too, like it\u2019s just evolving of sound. Okay here it does say\u2026 Ah I remember now, it\u2019s because here instead of saying we have a certain tempo he says it\u2019s just 3\/8 but in the tempo of the beating. \/ okay \/ wow wow wow wow wowowowo\u2026 wait four cycles with this. So \/ okay \/ that\u2019s kind of special. But even when it\u2019s, when it\u2019s the most complex to listen to, it\u2019ll just look like this and this is a preparation vibrating against\u2026 So, so I\u2019ll send it to you but it\u2019s extremely simple. Then (music) [try to make it low?] just the red button. \/ the red, yeah the re, yeah \/ good. (music) It\u2019s very simple, it\u2019s this, the alufolie (music) it\u2019s with a, that\u2019s with the, that\u2019s Styrofoam (music) that\u2019s the pencil with a piece of tape on it, which is actually vibrating up and down, but I think only every second times, so that\u2019s like lower note. (music) And a stick and then some beatings (music)<\/p>\n\n\n\n 00\u201924: (Eleni) So I\u2019m doing a research about Harry Partch and his instruments and I don\u2019t know if you know the instruments? Ok, the originals are in Seattle and the Musikfabrik made replicates of all the instrumentarium and since 2013 they opened the instrumentarium to new composers so they gave…<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-542","page","type-page","status-publish","hentry"],"yoast_head":"\n
2\u201940: someone coming into the room until 3\u201900<\/p>\n\n\n\n
3\u201900: So this is actually the beating between a stave here and a stave here and just a preparation here. Listen the first one and then the other. (music) Now you have the difference because this is everywhere. Okay, let\u2019s see, this is a bag (music) with this big bellow. We found a better bag later (music). It\u2019s a beating on the chromelodeon. (music) More. (music) The pitch thing. There is some pictures of this hanging. Those hanging, the pencil, this one, that one\u2026 There\u2019s video too I think. (music) And that\u2019s basically the piece and let\u2019s see if I have a recording\u2026 Corpus\u2026 It doesn\u2019t seem like it. No, but I think they are some recordings and they have some. \/ I\u2019m sure they have. And what was your [ideal amplification], like every instrument or only? \/ Close and loud and, yeah every instrument \/ how many \/ but also every preparation \/ ah okay, and one microphone for each? \/ New haircut \/ yeah \/ did you had it last time? No? \/ no. I have the dreads. [\u2026] \/ Very sweet, it look very sweet. Nice boy. Sorry. \/ No it\u2019s one microphone for every instrument and every preparation? \/ More or less yeah \/ Yeah \/ yeah the thing is you don\u2019t, you barely need the, actually a microphone for the, for the marimba, you just need it for the preparation. That\u2019s not so difficult, you just have to get really close I think we also added some, some compression stuff just to, kind of, have it more electronic, now you have these different sounds and it\u2019s all kind of melting together. \/ And how many did you use in total, do you remember? \/ Microphones? No. But I would say Ideally\u2026 probably\u2026 even ten just for the marimba, because you have preparation in both ends and you have the preparations in the middle, so if you want to cover all those, I guess you need ten. Maybe just nine. And then for the chromelodeon, we used one special mic for an air sound in the beginning, because it could make an air sound if you just pushed it lightly. And then, at least, least one for the, for the, for the snare drum. And then we had one microphone glued on the back and one directly where the air comes out. So fifteen maybe. \/ okay \/ One percent \/ can I have like also the videos or the photos because I think I would \/ absolutely \/ like the all material that you have and in case I want to publish something online I will ask you to \/ just ask me, yeah but there\u2019s\/ ok \/ nothing here that you can\u2019t publish \/ okay \/ and I think even I put, I posted the videos on Facebook too \/ okay that\u2019s nice \/ let me see, let me see [\u2026](music) [\u2026] composed it or did more or less, to get an idea, I did like a, a sequencing of the samples, it\u2019s probably not going to be enough. It seems already a little bit slow\u2026 It\u2019s seems already very slow\u2026 I wonder what this is\u2026 Anyway we will never know, we\u2019ll never know. Take down the [rit] and we\u2019re good to go. \/ be careful \/ appreciate it. Yeah \/ perfect, thank you very much \/ so today was<\/p>\n","protected":false},"excerpt":{"rendered":"