 I'm recording this now just okay we're excited to have Jonas on the business exec creative and the author of sell the truth as I guess speaker Jonas would you be willing to introduce yourself and your team and briefly tell us about yourselves and your before your presentation and just give us a little bit of a history as to how did you come into this space of blockchain and hyper ledger and then afterwards we can have a Q&A session so without further ado I would like to present you to you Jonas. Thank you very much and with me I have Hugo my colleague and Max and we will do an introduction soon but I first I want to say thank you so much guys for inviting us and I realized that it might be a bit early for some of you so thank you it's a pleasure to be here and to be able to share a little bit about our brain children snow driver and play it forward but before we start off however we get it we thought we might want to get in the mood with our core passion which of course is music and my colleague here Matz is going to play a tune for us on this unique instrument called Nikkelharpa in Swedish which is a fascinating instrument and and it's many hundred years old not his instrument though he built that one himself so Matz what what do you plan to play for us? Well I'm a traditional folk music musician in Sweden and I play folk music of course but I also play pop and rock and I combine that but now I will play an old Swedish tune maybe a couple of hundred years old so you can get a clue of what I'm doing so this is it that's it thank you very much that's outstanding thank you that's a great introduction very unique Jonas and Matz thank you so much thank you and I thought we also give you a sort of an introduction of where we come from and how we ventured into the whole blockchain music space from a personal point of view and I will start off and to me music always felt I thought like something more real actually than everyday life even and it was as if music was able to connect with the essence of my very being as a kid I was drawn into these fascinating imaginary worlds of bands like Adam and the Ants and Twisted Sister, Motha Crew, Wasp on the one hand and the soothing and comforting landscapes of easy listening music by for example Roger Whitaker or the older records that I found in my parents collections from Elvis Presley, Polanka, Bobby B etc. I knew I wanted to live in this world of music one line among many that are stuck with me is from Twisted Sister actually and there is song King of the Fools which goes better a fool than just a clone which resonated so strongly with me I wanted to live in this world on my own terms I played in bands I wrote songs I developed my singing and I got a reggae deal but I also got experience that the music industry is all about something else that I had somewhat overlooked money and that the competitive culture in the industry can be cut throat serious so after some time I realized it was time for me to move on and venture into advertising communication strategic brand development and management consulting in a career as an entrepreneur and I enjoyed that journey very much and then a few years ago when I got in contact with the blockchain space I felt that familiar spark of potentiality there was an ideal of freedom creativity and the redistribution of power fantastic so I took part in conducting a few ICOs and other blockchain based projects and now I feel like I've come to sort of full circle connecting with my younger self and the wonderful landscapes of music combining my experiences into an attempt to bring something both wonderful and useful to the world of music Hugo hi everyone and so I'm also a musician but I became a musician when I was maybe I began playing music when I was maybe six years old and by playing piano and music has always been a part of my life and whether it's by playing it or listening to it I've always enjoyed it and what I find interesting in music was the fact that it's something similar to a second language something that you can practice and learn and you have some phrases some movements and so and indirectly this led me to begin working and studying programming which is also another kind of language and I found some similarities between programming and music which made it quite easy for me to begin working with within programming fast forward a few years and after working with web technologies in 2017 I began working with blockchain technologies so it was the time where the hype was high and that it's not high anymore but the hype was quite high in 2017 and I began working with cryptocurrencies blockchain technologies back then and I try to use my experience as a web developer to apply it to blockchain concepts and so building large-scale applications within the web sphere was not the same as within large-scale applications within the blockchain ecosystem so that's where I began encountering various protocols and one of them was hyperlogia back in the days it was the only the only protocol where you could have large-scale applications in 2017 and so that's when I began working with hyperlogia as well as also technical changes and I met Jonas and Matt a few months ago it's quite recent actually and they began to talk to me about their their projects and I became really interested because it appealed to my to my childhood with the beginning of the piano lessons that I had and so that's why I became involved in it. All right well I am a musician I write music and I produce records and that's been my work my whole life actually and my passion is to combine and experiment with different kinds of music so in the 90s I connect my folk music experiences with pop and rock I love both parts and I love every kind of music but at the time at that time I found a singer and we started a band and it called Nordman and we wrote music and released an album and became the most successful band in Sweden actually in the 90s so I've been through a big journey of combining different kind of music and that's still what I love with music to explore different kind of things I actually been touring in in this in the United States with a guy Joe Bonamas if you if it's familiar with you guys blues guitarist so I also work combine my folk music with blues and work pretty well I must say so and I'm running a label a small record company as well called Falk Pop that says pretty much about what it's about and I'm very curious about finding new ways of release music because the landscape of the business today is quite different than it was before when I started to work with this so I can see this blockchain and all this about that could be something really good for music that's what I believe and it's a lot more to explore and find out about it so that's why we started up this idea to to find out what to do with it thanks guys so we'll share a bit about what what the whole thing is no drive I played forward that should work I think let me know if it doesn't work so I will first talk a bit about snow driver and then the method we call plate forward snow driver that started with a conversation between Muts and myself and where we concluded that there is a need for something new in the music space really as a as a professional music as Muts portrayed he saw a big problem with the way the centralized platforms are making it increasingly difficult to get a fair share of the pie as a musician and with my background as a strategic brand developer I saw a need for renewed creativity and reconnecting with my inner child as I mentioned before and we noticed the potentiality in blockchain based solutions and NFTs in particular and grounded in a love for music we agreed that we would love to bring creativity and change into the music space and we summed up our ambitions into these three pillars that we wanted it to be creative decentralized and easy to use so that everyone not just not just the major corporations are able to use it and we put the name snow driver on a project so snow driver was a snow driver well it's snow that Eva actually in swedish which means snow drift which is hugely fun to play in and which fits our intent plus that we believe that the name works pretty well in English as well and Muts has an in-depth experience of the music industry with a lifelong career as a musician and producer I could add my own journey to the mix and not least strategic brand development and when we connected with Hugo we got a really cool triad here and with his expertise in blockchain development we we now think that we have something strong to build on and with and with a love for music as a uniting vision so the essence of snow driver is co-creativity and decentralization while the traditional music industry is mostly linear in its fashion with middlemen such as streaming platforms and large corporations standing between music creators and their audiences we want snow driver to enable a reshuffling of the cards so to speak we don't know yet the exact format of snow driver maybe we'll become a decentralized agency of some sort building on the creativity what we do know though is that we want to enable new relationships between music creators investors and audiences and encourage co-creativity we have identified three central conventions that we want snow driver to be a disruption for here is convention number one it's our underlying belief that artistry has become a commodity to much extent and a product and over time the market becomes over became oversaturated and there is too little differentiation the result is a music scene dominated by a few large corporations where too many artists look the same sound the same and distribute their music on a monopolized distribution platforms so then and the next convention is a core cultural belief that has been building up for quite a while and that is the connection between music and and fame there isn't necessarily anything wrong with a quest for fame obviously but what was once a music career became 15 minutes of fame famously expressed and even less so today to 15 seconds of fame sometimes and creativity is now more decentralized than ever which is kind of weird and we believe that music carries more than just fame and entertainment is a universal language of human emotions and we want to explore ways to to re-encourage that and thirdly is about linearity and mediation before the dawn on music recording technology there was only live music after all and each performance was a little unique and different with media and the music record we got standardization and with time music became media and this created a gap in the distance between musicians and audiences as well as a gap between writers composers musicians and artists with the identification of these three conventions we would like to contribute to six pieces of disruption at least so we think we will we would like to to contribute to new stories for music that there are new stories to be told where music can make a difference and we can expand the universe of of artists really and we want to explore what music can become once it is free to reinvent new values and stories we want to reshuffle the cards from music distribution and that is obviously very much happening with the NFTs and DOWs and other types of co-production and ownership which connects to the next point that we want to encourage co-creation in a non-linear fashion why can't more people take part in co-creating music and we think that shared ownership of created outcome is in itself more fair and it creates incentives for co-creation in itself and why not explore what music could be beyond the standard three minutes of mediated audio if video killed a radio star then maybe NFTs can go beyond the music videos and that transparency is a way to spark trust and fairness and this is where we started off with played forward as a as a first idea so to speak in order to to make this this vision real and as a first product with no driver of creating solution called played forward and played forward is basically a method to connect stakeholders around music production as well as enable shared ownership of NFTs our goal is to build a minting process of fragmented and NFTs which will offer musicians songwriters artists investors and audiences a decentralized form of shared ownership solution with shared commission so just to take back the core principle again where we think this the play forward is a way to put this basic problem principle of decentralization into practice played forward is meant to be a method to bring these different stakeholders together some of you may remember a novel called pay it forward and it also became a Hollywood big Hollywood hit movie was about a boy who starts a chain reaction of good deeds the idea behind paying it forward is that whenever you benefit of a good deed you let others participate by doing a random good deed to others instead of repaying the benefactor we were inspired by this it was a great movie as well I thought and played forward works in a similar way anyone can create the first NFT and pass it on to someone else who adds to the creative solution making the NFT co-owned and by each step of creative add-ons the ownership is shared between all stakeholders and offered for sale in any NFT gallery and we think that the result can then become a dynamic and fragmented NFT process for cross creative music production and what can that be used for you might want to know and so we're thinking there are quite a few interesting applications and it could open up many different pathways and hopefully in more ways than we can imagine here but these are some of the applications that we would like to encourage and we could see happening obviously the first one co-production of music so new and different collaboration between creators and audiences and investors potentially as well co-ownership of music so we can make a fair open transparent commission of the system we also believe that in the name of creativity that we could mix genres in different and new ways not only for music actually but maybe for all sorts of creative output maybe we can see new combinations of creativity and just like we have seen in other cases actually there are interesting ways for creating different kinds of VIP access admission where there is a utility built into the NFT as well and as the play it forward network grows it can enable network effects when it comes to communication and I think we can see a huge a lot of synergy being built around the creative output once the different stakeholders have come come together and see that it that it can become fair and transparent it's also interesting to consider that music and art production can become more fluid sort of in a constantly evolving state rather than fixed and ready once and for all which was obviously what we pointed out in the convention there with the mediation of music created standards for music it doesn't have to be that way and we also believe that play it forward can encourage unorthodox collaborations and pop up constellations of participants so it can become more short-term fun and interesting in some kind of way and last here that play it forward can be a way to pay it forward by including underserved audiences into the mix and this is where I pass on to Hugo who will tell us a little about the tech stuff yeah and so I don't know how technical the the audiences so I'm going to try to not go into too much details in any case I would confuse you and so basically the question was how do we build a platform that is that is easily accessible in a way but also when I mean accessible I mean accessible to any kind of users so whether they are tech savvy or maybe not so tech savvy again and if you want to have a broad audience you need to have lots of UX user experience design and you need to have an easy to use platform which is which will most likely hide most of the technical parts that are on the blockchain side but you will also want to yeah so I'm going to try to answer the question robots in the storage but so to answer to this challenge of having both an easy to use platform as well as a decentralized platform we are going to have to put in place an an architecture that is the one that you see there with which is a bit more complex than just a full decentralized application we need to have an architecture that is central in some way centralized to address the UX issues that we will include so for instance to address users that don't want to manage wireless users that don't want to see that there is some NFTs behind the scene so we need to have a platform that is easy to use for any kind of user but we also need to be able to prove the transparency and the decentralization of the platform so that's where we need to have some blockchain aspects as well and so the architecture that we've come up with is a semi centralized semi decentralized architecture where there is a part which is the other the backend the API relating to the message to the transactions work and so on that will mirror the blockchain the blockchain data and when I when I say mirror I say you will interact with the application as if it was a centralized application everything will be replicated on the blockchain and we are trying to have something that is quite agnostic in terms of technology so we have begun working with Tezos technology for instance because we need to have some way of transparency as well as scalability and low fees but we will also be able to take this architecture and put it on another blockchain whether it's hyperlogic or basic for instance and this is where hyperlogic could be interesting it's in the way that if we have something like hyperlogic or basic we can have a smartphone triplet easy to use easy to access that will allow us to mirror quite rapidly the transactions that we will then maybe anchor on the public blockchain such as this here as to how we will we will start the media on the on the blockchain that is where IPFS comes in so IPFS is a decentralized storage solution that you can call from any protocol in the blockchain and so we will also obviously mirror the music and video files but they will also be able to be stored on IPFS which makes them accessible to any user which makes them accessible to any user even though the platform is not online for instance you are able to to access the media through IPFS so having a semi centralized semi decentralized architecture allows us to leverage the use cases that we can find in blockchain technologies such as the transparency transparency the transfer of value the modellization of the NFTs and so on and this is really key for the project because we will need to have something that is usable by inexperienced users as well transparent and fully accessible to for more experienced users that have the experience of blockchain technologies and back to you Jonathan I think we can take some questions great thank you Hugo and yeah let's take just a thank you and yeah that's that's where we are so it's it's a it's a cultural thing on in the one hand and the tangible product on the other and we're trying to find better ways to reinvent the ways we appreciate music I'll stop there you have a couple of questions here Jonas I just want to take one from the the chat here if you guys are ready for some questions absolutely are you all in conversation this is from staff C black are you all in conversation with any other blockchain music platforms yes we are and we we have compared different solutions currently we have been in in the most deepest connected with the tesos and exploited their permission less blockchain and obviously for in comparison to some other permission less platforms their their transactions are are pretty decent and maybe Hugo you can say something about the tech tech comparisons that we are conducted yeah so basically there is the other blockchain layer which is the protocol and so then there are also there is also some other tools that have been built on those protocols so maybe maybe that's what you meant by blockchain music platforms but it's interesting to to be able to build your own your own solution on top of protocol and that's why we are trying to be agnostic because which is interesting what's interesting in the project for us it's mostly the fragmented NFT approach so the way that you have where you can and modelize the intellectual property where you have co-creation this is something that is key and that we are trying to provide to as many actors as possible oh we have we have a i'm sorry go Jonas we have a clarification on that question there from sassy uh she uh uh or he uh i meant to have you've been in contact with platforms on eith like catalog sound xyz zoro mint songs for the company i work for our peggy labs she excuse me thank you we have uh not been in in contact with specifically those platforms know what we would love to uh if possible uh we have a few relationships both on ethereum and tesos and uh and we are we're seeing ourselves as something that can sort of be in between those platforms and uh we'd love to explore relationships for sure i've put the uh information up for Jonas mats and uh hugo on the chat here so you guys have uh i think their website as well as their linkedin profiles i think i have a question here from sachin for hugo and that is is ipfs same as database tier in your architecture and thanks for the question no it's not exactly the same thing um so the the database tier is mostly uh it can be a sequel or most kind of database such as mycicle or what's really secure or what db and so on it's basically to store the metadata of the um of the of the platform as well as the user information because we're going to need if you want to have some uh broad UX we need to have a database to store the user data such as uh username password and so on so um this is where the database comes in it it is also to mirror some of the metadata from the blockchain uh aspects such as uh whom into the which nft and what is the relationship between the nfts and so on the the ipfs storage is more like a file storage uh platform so we will have some mirror of that as well but the ipfs is the decentralized aspect of the media storage so basically that's where we'll store the video files the song files and so on another question from uh sharin so in simple terms you tend to create an nft-based marketplace for artists to sell music video which will eliminate the media production houses in short yes but uh the longer answer is no no really i mean those i mean i'm not trying to eliminate anyone really but uh we want to encourage and enable uh co-creativity that is not defined by the media or the production houses as they are constructed currently in the music industry so we see it more like a parallel sort of landscape where we're not trying to compete with the music industry we're trying to create something parallel to it where um where something new is possible to happen in the first place well we're on that i have a question uh with there's a couple more questions in the chat but i have a question while we're on that topic of uh eliminating the uh the middlemen as we'll call it a lot of the success in music and film television is is created by many of the middlemen the marketers the distribution houses and the money that goes into that the investors etc etc as we decentralize music film tv and we start to share that uh do you see any sort of uh change in how people view how much they want to invest in these projects if they're not going to get the returns the roi that uh that they're so accustomed to so you know the uh the uh the some of the big names are selling their entire portfolios to some of the big guys and they're just going to go out and make tons of money for the next hundred years and the the artist got one big lump sum so that's not going to happen in decentralized music it's not going to happen in nfts it's going to happen only in the we'll call it the legacy format of music so what are your guys thoughts on that sort of thing and how some of the missing parts may have some impact on the success of music good question and uh so um i i don't think that is necessarily anything wrong with with that those kinds of solutions that's fine uh but i i see that sort of as an end cry to something sort of sell it off in a bunch of make a lot of money then you're done with it it's not about creating something new or more more alive new create new creativity and more different solutions so um if anything if if that approach works so that's fine but again i see that we see it as a sort of a parallel approach where uh we we can create something more interesting to the audience is and uh what kind of business models that might might emerge out of that will be interesting to see and we think that fragmented nfts is a very good input for for uh reinventing the business models around it um in terms of of how the industry might react actually i'm gonna pass that on to months because maybe you have the most deepest experience of the the music traditional music industry and i i know that you see a lot of of things moving there as well you're muted now as you say i don't think we should compete with with the the other parts of the business with this idea uh but i believe uh new kind of uh collaborations will will appear with this new method with fragmented nfts as you say so well i can just see possibilities and perhaps we could add to that uh we do have a problem with the centralized platforms as it is because it's somewhat difficult for a lot of of musicians to be um to make a living excellent point uh and all you guys i see that and i imagine i i i do see the uh it's a different uh it's a different venue altogether i think is what uh and you're not going to compete with the legacy we have another question here from bastion i think is the name regarding musician payments do you plan on building some smart contracts for it to be simplified and automated if so would you offer this solution for web 2 streaming platforms for example to make sort of a transition between web 2 and web 3 brilliant question and uh uh you're exactly right that what that is a venue we are exploring and we are having conversations with um with a platform like that and i think it is an excellent way to transition into web 3 building on on a traditional more traditional sort of a patreon like platforms for example and um regarding smart contracts yes uh so the the minting process itself is a smart contract so the you have a decentralized uh minting process for the fragmented NFTs and uh those can if we do it in a clever way we will be able to use like uh hugo said that we will be able to have an api that will uh we can connect to any different kind of gallery or platform be it uh web through web 2 or web 3 oh we have a another question how will marketing of such music on on your platform happen as in traditional music industry is done by those middlemen which are not in the version of your music industry uh yes and uh this is where we believe that uh we we can create networks effects and synergy effects in new and hopefully unexpected ways when when audiences and creators and all types of shareholders uh come together both both to co-produce but also co-own i think we create uh mini ecosystems in themselves which is an excellent platform for marketing so it's not the idea is not uh sort of the traditional uh linear marketing strategy pushing something out but rather having those relationships um become become more intimate and um uh we believe that is smart marketing actually and now i've just to piggyback on that question um how have you been received by the industry um i would say leaders in terms of the business in terms of the the audience and the musicians and the artists how well has your pro your your program your platform's been received by those various audiences yeah good question and that that uh remains to be seen actually because we're right in the in the process of of uh connecting with these properly through these audiences and learn from them and see how we can create value to them and also exploring how the decentralized agency of snow drive it can be become a home uh for for these kinds of people would like to see a destruction of the not necessarily of the in music industry but disruption on music itself and uh i think um um or and we hope uh and we believe that this can be utilized by a lot of people and while we aim to for snow driver to become some kind of decentralized DAO based entity uh we're we're not we're not seeing played forward necessarily as anything more than an open source method and we hope more people will join in and contribute and uh bring this solution further we have another question from charange so you mentioned hyper ledger and tezos so are you considering permissioned and permissionless platforms or a combination of both like tezos for nft marketplace and hyper ledger to add transparency and security in some way that's good yeah good question and so for the um we are actually considering uh so that's when it's a nice centralized solution comes in so uh we are considering an an architecture where we would have the uh mirror of the data on the hyper ledger vision and so basically uh something like that is permissioned and and then be able to incur some of those data on on the ethereum through storage so that's one of the solutions that we are considering the other one is more on the on the uh permission less platforms so that's where uh tezos would come in and uh so the um uh this is indeed uh a good platform from the nfts where you have multiple marketplaces standards that are already available uh that would allow us to to be able to to sell uh and to have more uh value proposition solutions for the uh for the artists and maybe we we have i'm sorry go ahead and maybe we can just add that uh it's really up to the creators and the stakeholders to show us the way how they want to combine and bridge uh uh the uh different solutions and if they see uh there might be sometimes needs for permission based solutions and sometimes permission less is better or a combination it's really up to the solution we have uh another question from basin do you plan on selling nfts to be used as a licensing catalog for example music supervisors uh that is also a very good question and we uh it's always always so far we have realized that it's it's tricky to to deal with licensing and we need to tread carefully there uh and uh so i i i'd see ourselves uh using um other other kinds of solutions rather than than license and catalogs but it could definitely happen i don't have a better question than that i'm sorry or a better answer than that sorry from night the uh schmidt uh how do you technically fractionalize an nft example how do you tokenize the shares in the song to go question yeah so basically the the fractionalization of the nft is mostly a way to identify who or thought what in the song so to take an example if i'm building a simple melody with my guitar and i create an nft about that but uh then there is some uh a pop singer that wants to have a song on top of that and so the the pop singer takes my nft and creates a new nft that refers to the first one so there is some fractionalization not in the nft that as such but there is a fractionalization on the uh revenue stream that will be directly sent to the uh to the nft chain basically that you will have on this side uh if there is another artist that wants to take the same guitar riff but put it within an electro song for instance uh then it will create the the artist will create an nft a new nft with the first nft as well and if there is some people that buy this song like 50 50 or depending on the contracts that will build but let's say it's 50 50 and 50 percent will go to the original artist with the riff uh with the guitar riff and 50 percent will go to the 20 music artists that will create the rest of the song um yeah exactly so that that is a co-ownership and uh divining the shelves of revenue but what what we have in the uh in the nft is basically a nft chain uh so it's not on the nft but the fractionalization goes to the and basically for the uh absolutely no i was on the other question but i would say uh and maybe join us answer this one from vipal is how will you control the cost of such nfts i mean if if too many parties are involved in in a voluntary manner to produce this music will there be a policy of controlling price good answer so fractionalization is basically not the direct value but sort of co-ownership and then dividing shares of revenue yeah so so that's what yeah that's exactly that's any other questions oh i'm sorry randy go ahead i'm sorry oh oh no it's okay i was just going to ask um then um how would that be done in terms of dividing the um co-ownership would that be done through the um smart contracts um like exactly how i mean not to go into a really deep in depth explanation but just kind of a general idea on how that would be done done on a technical level here we go what do you sorry i didn't i didn't get the question um like would how would you um do the fractionalization um would you create a separate token um to sort out the ownership and be able to um divide up the shares of revenue and your example if you say like if you had someone sample a rift um exactly how how would that so so that would be uh that would be on the nft smart contract um basically the um the initial nft editor would say if you want you to use my creation uh as your as your nft you can use it to up to x percent of revenue sharing and this will go down as well so basically um all right i'm i'm creating a guitar riff as it's a simple guitar riff i don't want to do and i and since i want to people to use my riff i will say that since it's just a guitar riff you can use this as up to five to ten percent revenue sharing so using this riff you can choose which percentage you want between five and ten percent that's the low and the upper edge and then the the next creator will take my nft and say okay there is five to ten percent my new nft is maybe just a baseline on top of this guitar riff i think it goes well with it i created the baseline uh i think my creation is worth maybe 10 to 15 percent of the next nfts that will use the guitar riff plus the um the plus the uh the baseline and so on and so on and if i want to say okay my nft uses uh if you want to reuse the the the nft it's a hundred percent of of revenue stream so the hundred percent is divided at least by two then because if i i have some creations i at least divided by two but that's uh so with the nft chain i put on the nft smart contract percentage of revenue stream that and then when the nft is paid because it's used in in any way when the nft is paid then it will divide according to the the nft chain okay thank you regarding uh now we have another question i'm based in regarding the in uh the music nft in itself as files a share a size is limited for nfts how do you plan on selling the best audio quality possible as the file size might be too much to be become an nft yeah so that's um the ipfs storage is united indeed and um so that's where the file size comes in and there is multiple ways to tackle that and to be honest we didn't choose one yet but one of the ways that we will probably begin with is by the through the mirroring of media so in this case i think we will store on the platform not directly on the ipfs storage but on the platform we'll store the the maximum version that is upon and we will try to to to secure storage uh so basically half back as and so and and then we will store a lower version on the ipfs storage so that we can have uh something that is a proof of the ip basically but if you want to have higher quality then we can go to the platform get the higher quality so that's the way that is semi-synchronized and i know it's not ideal and another way to do that would be to split the file across multiple ipfs storages but in this case it would cost a bit more and it would probably be harder to manage so that's something that we have to consider and maybe by the time we come to this um the technology will have improved and we'll be able to store those files anyway well we're at our one hour here and i think that was a pretty outstanding presentation jonas matz at hugo and uh i want to thank you guys for taking the time to put this on and uh will you uh will you come back in a couple few months and uh and uh or six months and show us what your progress is can we can we count on that and everybody here can get an invite to that event up to that sounds outstanding for having us you're very welcome and thank you for taking the time to uh to a great presentation we've got the recording here it'll be up on the uh on the wiki so anybody that is participating today i put a link into our wiki and ask that you uh have a look at that maybe connect with us and we're there's also a link to the discord there we'd love to see you guys there as well uh and jump in the music one we'll put a a copy of the video up on discord so you'll see uh everything there and matz that was some cool uh instrument that you have there i wanted to just clarify you made that yourself yeah i i build instruments uh yeah that's unreal unreal unreal i have a personal friend of mine in candor that makes guitars i'm going to send him that uh i'll send him that video he's uh he's uh he's he's gonna be totally impressed but thank you thank you all again randy did you have something you want to say to everybody thank you all for coming i just wanted to reiterate thank you so much for attending thank you so much to jonis and matz and hugo wonderful presentation thank you very much thank you thank you all right we'll see you and talk to you again see you yes have a good day thank you bye bye bye everybody