Seeing a whole dance floor dancing to Chameleon is a thing of beauty. The speed change is so gradual that people barely seem to realise how fast they're dancing at the end.
@@VeganSemihCyprus33i know this is a bot but the sentence but "chameleon isnt actually tempos its a government hoax, the groove just makes time feel faster" is amazing
You can tell Adam is a bassist and not a guitarist or singer bc he never mentioned crappy drummers during the elastic time conversation lol. And as a drummer, I really appreciate that. We've actually never messed up any tempos before, it's all feel, and if you don't like the tempo, you just don't understand elastic time. It's an excellent point. Thank you Adam.
@@spaghettisauce445 While I'm not a musician myself, my brother is a bassist. His opinion on the matter is that whether or not the drummer keeps an exact tempo doesn't really matter; what *does* matter is that the band keeps time with each other. He would rather have a good drummer to work with than have the whole band listening to a metronome track.
Hey Adam! What you called Mixolydian Pentatonic with the variable 3rd is a very famous Indian Melodic scale or Raga called Raga Jog. You may wanna check it out for more inspiration. Cheers from India :)
@@DangerSquiggles ahh of course, I guess I'm too old now, everyone only knows the games by their modern remakes and remasters instead of the originals 🤣🤣
Dear Prudence by The Beatles is my absolute favourite example of elastic time. The tempo changes dramatically, but it never sounds like there's a turning point between one tempo and another, it just gradually evolves into that new tempo and feels entirely natural, and adds so much to the song, especially the end, it is just gorgeous. Maybe it's because Paul was playing drums on it and so he can't keep time as well as Ringo can, because Ringo is a far better drummer. But Paul is still pretty great, and the drums kinda push the song over the top into being an all time classic.
My favorite example of elastic time is "Run for your life" from clipping. The instrumental is played from stereo systems of passing cars and the doppler effect changes the not only the pitch but also the bpm of the song. Also the rapper uses this freedom to speed up or slow down the song depending on the mood they're trying to induce.
The thing about this theory of binaural beats and delta brainwaves is it assuems they are equivalent when we have no real reason to assume that. Like, oscillations of brain waves are electrical, auditory stimulation is movement of air, they are totally different phenomena. This kind of abstraction is a human, or at least sentience/sapience-based phenomena, so its unlikely that the electrical patterns in your brain are noticing that air is moving at the same speed that electricity is oscillating in it, unless you yourself are noticing it. The whole theory is kind of rooted IMO in some very old theories of subliminal hypnosis, as well as some other sort of new-agey, post-hippie wishy washy garbage which have never achieved notable efficacy.
I remember hearing Tartini tones while being a very young little kid screaming with other kids in a kid's falsetto/whistle register scream and as our pitches changed the Tartini tones changed. It felt like they were ripping my ears apart. This required at least two kids; usually I was one of them (not that's what we were trying to do).
However, bilateral stimulation is a thing. I’m a therapist that provides EMDR (eye movement desensitization reprogramming) in my practice. It’s a protocol for processing trauma. Originally it was executed with having the client follow a visual stimulus that moved left and right rapidly, forcing the eyes to do the same, which reduces activity in the amygdala (fight or flight center), so they can process shitty stuff without getting triggered. It’s amazing. Yet in recent years people have also delivered this treatment with alternating vibrations in the hands ( holding little buzzers) or having little notes that go left right in headphones: so as long as the client gets a left right alternating stimulus, the amygdala chills. It’s very effective. And thoroughly researched.
All I know is that binaural beats and nothing else can make me sit down and focus on what I have to do. Nothing stresses me out more than managing the finances and book keeping in my company. I postpone and delay doing stuff because it causes me anxiety and stress. Binaural beats is basically the one thing that makes me able to power through it. Gonna do some research on the eye stuff, seems interesting
The theory behind bilateral stimulation is pseudoscientific and probably the most controversial, least evidence based part of EMDR. Accepting bilateral stimulation as uncontroversially true because EMDR is as effective as other forms of exposure therapy is like endorsing the existence of Chi because acupuncture is effective.
@@Brian-rt5bb"Neurobiological response to EMDR therapy in clients with different psychological traumas" is a pretty cool look using EEG to try to validate the mechanisms. Unfortunately it's really hard to get big bucks to do these studies head to head with other forms of therapy, but it does really seem like there's a "there" there. And Chi is very real, it just depends on who you ask 😉. I'm kinda joking here, but I'm also serious, in the sense that one could describe it as the "internal bodily energy" or flow of changes within the "subtle body" then it seems, from my understanding of the world, that it's real. But there's all kinds of frameworks for understanding all kinds of things.
@@VeganSemihCyprus33 you are being [coerced|manipulated|controlled] by the {WordNet.relatedNoun("government")} {random.choice(unicode.charsInBlock("emoji"))}
Easy explanation is Ab is a b4, so you wouldn't name a dominant chord with the formula 1 3 5 b7 i.e. E7 E Ab B D. You get to take advantage of this with scales with b4 and b7 though like Super Locrian. Enharmonic major triad 1 b4 5 (technical name is the cursed susb4 😂)
Great example of the tempo thing. Queens of the Stone Age is my favorite band and I remember listening to "A Long Slow Goodbye" off of their album Lullabies to Paralyze and getting completely tripped out because there is a point in the middle of the song where they reveal that they've ever so slightly sped up the tempo by suddenly slowing back down. Must be like 10-15bpm, just enough to add some serious mood to the track. I hear it as a tongue-in-cheek breakup song, like they care soooo much (not) that theyve lost track of the tempo.
Thanks for bringing up Herbie Hancock. Head Hunters is one of the most important and influential albums of all time. All his albums, especially from that era, are essential.
I’m halfway through but I’m typing the comment already, it’s so cozy and nice to spend the evening listening to you being all clever and friendly thanks for the video, Adam
I've done a lot of recording over the past few years with "virtual" classical ensembles, and an interesting thing with them is that they often use what has come to be termed a "live" click, meaning the individual clicks of a click track are massaged into place to mimic a naturalistic orchestral performance. It requires a bit more attention from the individual musicians so that they play with the timing of the track and not a steady tempo, but the results are excellent when everything's done.
An interesting experiment might be to have an experienced conductor create a click track manually, while "hearing" an orchestra only in his or her imagination, then have musicians record their parts to the resulting click. (If I played to such a click, I think one or two conductors from my past might suggest that's the only time I ever paid close attention, the cynical buggers lol.) That experiment could also be done using a great drummer or bass player to record the clicks. A "human click track". I offer this free to the world, though if you have great success with the idea, don't forget to mention me in your memoirs. 😅
9:57 Speaking as a physically disabled musician, I can confirm that playing live is a significant drain on my energy and touring is impossible. I'm very glad home recording and self-releasing are options these days!
6:30 my _rude_ introduction to elastic time was trying to play Run To The Hills on rock band's expert drums. The first like, three beats of the blazingly-fast disco beat is slower than the rest of it, lulling you into a false sense of the true tempo. Once you know it's there you can adjust -- and in fact it's so obvious in retrospect -- but MAN it got me every time until I realized.
I honestly miss songs that speed up and slow down. It builds excitement, and helps to draw you in. It used to be so commonplace, and is now all but gone, and in the right hands it serves a very real purpose.
recently discovered this with black sabbath. The main riff in iron man speeds up as it goes then slows down in the beginning. so an awesome momentum based feeling
For binaural beats I have tried a lot of playlists. A lot of them don’t work. A lot of them I like just because of the accompanying music. Some of them help in different ways than what the description would imply it should. But there are a few from Jason Lewis’s RU-vid channel called something like “wake up without caffeine”, in particular the ones that don’t have any music, if I’m listening to those I am unable to fall sleep. I will stop yawning, and my head will not go beyond a certain point of cloudiness from being tired. It will not wake me up in the morning, nor make me feel energetic. But when I need to stay up all night finishing something and, as a programmer, that’s just a thing that happens, it will keep me up and going all the way to the finish line. I only wish I had this while I was in school.
I love using rigidly elastic times in DAW productions, I make a lot of EDM and exp. hip hop beats that make use of the fact that DAWs are so rigidly timed, so I can constantly and consistently speed up or slow down the piece’s tempo over the course of phrases to change the energy of sections. It’s also a lot of fun to do this type of automation with swing too. I wrote a pretty amateur essay recently about how we can use digital technologies to influence groove in interesting ways if anyone wants to read it
So this also applies to the next one about electronic music potentially being groovier than live. I agree with Adam that “probably not” is the answer if you’re only looking at quantisation, but if you’re looking at the preciseness of DAWs’ interesting rhythmic capabilities compared to (relatively) simplistic human rhythmic capabilities, I reckon you absolutely can get (not more, but) very different types of groove, not possible when played live
I met you and you wonderful parents at a club near Ohio State University (more than a dozen years ago...maybe more). There's something special about each one of you. Now I send your videos to my grandkids who are band members at Ohio University. Nice work!
Having a binaural beat type thing in my ears my brain would after five seconds run through all the harmonies and beats that could work with that drone tone and therefor not be able to relax at all
relax? binaural entrainment is about stimulating certain frequencies of brain activity. ...but maybe we have different ideas of what "relax" and "stimulate" mean.
@@MNbenMN ironically yes, they are working with a different idea of “stimulate” than you, i.e. they’re using the correct idea in this context. The waves are intended to stimulate certain brain wave patterns that in turn cause sensations of relaxation. It’s not stimulation in the general colloquial sense of excitement, it’s stimulation as in “causing a process to occur”
@@ivoryrick7734 Maybe you also don't consider filling your brain with thoughts about possible combinations and variations to be relaxing? I kinda do. But anyways, binaural entrainment isn't really about *what* thoughts are running through your head. It's about influencing the general mode of brain activity. Relaxed never means zero brain activity... that would be brain dead. I have a lot of thoughts racing through my head while asleep, while relaxing, and while focusing, (binaural beats or not,) so I still don't follow why hearing a tone and thinking about it necessarily prevents relaxation.
Please tell me that you plan to release a tour video once the current tour is over! I've been following your progress over the last few months and all the live clips in your various posts sound absolutely amazing. I'm really hoping to get something long-form and more comprehensive when it's all over, and I'm sure all SUNGAZER fans would appreciate it too ❤
Love it when you’re doing something relatively understandable with chords and bass in music theory and then by just continuing to do it in ways that make sense you hit something you need a 3 paragraph explanation for. Chords are fun ALSO YOOO CHAMELEON I LOVE HERBIE HANCOCK
I have used the material available from the Monroe Institute extensively for the past two years, and will report some pretty major positive changes for me, and my partner (who introduced me to them). I see definite overall improvements in my mental health, my compassion for others has increased, my overwhelm at the state of the planet has somewhat abated, and I feel generally more grounded and calm - most of the time. And when I'm not... it's not so bad. I've tried various Binaural Beat videos from other other sources, and like you - found them annoying. That lush, vanilla, Korg Poly 6 string patch is a total drive away, and the ones without music are like listening to the dentist drill. I'm sure some people benefit from them, but the Monroe Institute stuff is more involved than just focus for gaming, or power naps.
I've been trying those out lately, have a very difficult time getting to focus 10, that level of relaxation without falling asleep is tricky (if you are talking about the Gateway tapes, maybe not).
Another Mahavishnu Orchestra snippett, their tune 'Birds of Fire' starts at 380BPM for the quaver beat (18/8 - according to the official sheet music) but finishes 6 minutes later at 460BPM. There was no holding them back!!
I feel like binaural beats have a lot to do with the placebo effect. They make you calm because you think they make you calm. I say this is not to dismiss them. The placebo effect is a strong proven effect. And if you can leverage it to your benefit, why wouldn't you?
You are a huge inspiration for me dude! I love your videos, and they have provided me with so much knowledge of music theory, as well as encouraging me to try more experimental styles of electronic music. I can confidently say I would not be as talented as I am had it not been for you. Thanks for everything, and hang in there, Neely!
Yeah man, thanks a lot! Great video, as always, @Adam Neely! Concerning the quantizing/bpm- questions: We made a tempo jump on this song (it’s a famous James Bond movie song and we did our very own Arrangement of it) between the pre-chorus and the chorus (and back to te verse again) it IS fun to play things like that and I‘m very happy that it is still possible to put out music that was recorded live like this! Hopefully people will still be interested in things like that - I believe they will.
I make Ambient/ Dark Ambient music, my main instrument is the guitar. I never record with a click. I feel like it's more natural, especially in this kind of genre, to have a floaty bpm, or, basically, no bpm. It's just exactly what comes out of me. I hope this makes sense to someone🌖
@@Jasonmakesvideo I guess so lol. But when you look at those really, really skilled metal guitarists, they play so on point, will there be a way to hear a difference there?
a lot of j dilla's music is heavily quantized (the book dilla time explains it really well), but it's quantized to weird places that you wouldn't expect, which gives it this awesome feel that is difficult for humans to play because it so precise yet seemingly haphazard. so i think quantizing can make something groovier, provided that you use it creatively instead of as a crutch for a sloppy performance
MAD props for name-dropping Maryanne Amacher and Phill Niblock, although you spelled the latter’s name wrong! You don’t need headphones, however, to appreciate Niblock’s music, as it just requires an excellent sound system with more than two channels and superior acoustics. Peace.
5:53 question about constant BPM The BEST example I know of variable BPM is in Tom & Jerry's EP26 "Solid Serenade" (made in 1946) where Tom sings "Is you is, or is you ain't, my baby" as it evokes a build up a feeling. The song starts out at casual 160bpm, and goes to 180bpm as the female cat comes out. I assume we're feeling Tom's heart rate increase. Then as the double bass solo happens and we see Jerry being annoyed by the heavy bass, it goes to 200bpm. We're feeling Jerry's anger. Then as Jerry goes to enact revenge (iron hidden in a custard pie), the music then halves the rate, to 120bpm (I guess we couldn't go to 240bpm) Finally at the very end of the episode, once Tom has been turned into the double bass and being played by Spike (aka "Killer") for the reprise of this song is played at a casual 160bpm again.
Nice discussion of brainwaves. I first encountered binaural beats in the 90's when I bought CoolEdit 96, which was my first real foray into the world of digital recording. While going through the helpfile for it, I saw this whole section on "Brainwave Entrainment" ... and disappeared down that rabbit hole. You don't know really what you're getting with commercial brainwaves on the market, but this was something I could make myself to experiment with. It was kinda hidden in that helpfile, one of those "Psst - hey kid, want to try something that will blow you mind?" moments. I would cook up CD's for myself for different occasions. One was a program for a 30 minute rampdown and zonk, then a 5 minute wakeup refresh at lunchtime. I would go to my van, crank the AC, lock the doors and eat my sandwich. Then lie down on the floor with the CD player and hit play. I'd wink out listening to the helicopter swish going slower and slower as the brainwaves ramped down to sleep level. I'd have some positive affirmations in there at the subliminal level. It would hit the bottom and stay I think for about 15 minutes, then a 5 minute ramp up to wake with birds and "Rite of Spring." It worked flawlessly. Zonk, then the next thing I knew I'd and wake up 30 minutes later to birds singing. I was never late back from lunch. I had others for studying. One for focus and creativity while writing computer code in a stressful office. etc., I do believe they work to a large degree, and I still use brainwaves from time to time.
I've recently discovered the value of ending a piece on an unresolved interval which had been used as a leading tone several times earlier. That allows the listener to resolve it internally since the sound is still fresh. This type of approach takes advantage of the necessary association of the timeliness of pattern memory which information is part of the influence the piece is designed to impart to a listener. Yes, a good composer is, at lest, unintentionally manipulation any voluntary listener. Targeting a captive listener opens up a whole other "can of verms".
Thanks for the solo. I spend so much time on RU-vid, but when I see an update from a Nebula creator, I head there to watch. Instead of a “thanks for watching on Nebula” comment, getting a real bonus like that is fucking magical. MAGICAL.
7:59 The true mixolydian pentatonic is mixolydian without the notes a tritone apart, so 1 2 4 5 6 8. Or using the notes that mostly represent the scale, 1 2 3 5 b7 8. Also the tritone between the 3 and the b7 is against the consonant soul of pentatonics.
Hey Adam. Nice Q&A. I suggest you look into isochronic tones as they work by producing the physical beating in the rythms themselves, instead of having it be illusory. I wrote my Bachelors degree in sounddesign on brainwave entrainment. I found that, isochronic tones by far were the superior auditory method, but that tactile and visual entrainment is a lot more effective in producing correlating brainwave frequencies. However.. Being able to entrain specific frequncies in the brain, does not mean being able to cure any health issues (yet). I tried combining isochronic tones with principles from music therapy in some compositions. Only the one to calm anxiety had some noticeable effect. On one subject it made them nauseus. The other one had the desired effect and still use the music today 2 years later. Look into it if you like, there's not enough science to create any new content on the matter though. So don't expect a video to come from it...
I seem to remember that many of the iconic “classic” rock songs of yesteryear have some drift and variance in tempo. It’s one of those things that you can’t tell unless you really listen for it.
On the E7/G#, I propose we call this chord a Major Diminished 7th chord. I use it all the time in my writing, I love the sound. It's an otherwise normal Diminished 7th chord, except with a major 3rd.
On the subject of elastic time I think of Child in Time by Deep Purple, the live recording from Made in Japan. Great song, great band, great performance. I'm thinking a song like that absolutely wouldn't work in a constant tempo production, as the tempo shifts are such integral parts of the songs emotional expression.
A great example of interference patterns in music is the accordion. Some accordions have the reeds purposely tuned a few cents sharp/flat to create those interference beats.
My former mentor, Brian Irvine did an excellently bonkers piece based on The Man Who Mistook His Wife For A Hat. In dance music, fixed BPM is pure DJ mentality, because subtle tempo manipulations produce a better track. Eg.... Tempo 120BPM Crescendo Tempo 100 1 silent bar tempo 122 full groove and beat. Which approximates the way a band can drag before a drop with natural groove (though a full 10bpm reduction does drag the silence out more than a live band typically would) Not to mention pushing and pulling the hihat or bongo part to mess with the feel. I quantise almost everything tight and hard when doing dance music, with the exception of certain bass and percussion parts. But when recording "proper" music.....I am delighted to say that in 30 years I've moved one note of my bass playing and that was in a spur of the moment solo right at the end of a bass-supremacist cover of New Order's All Day Long (B-S meaning I managed about 11 bass parts.....the actual bassline is a keyboard too LOL Now there's a bassist nobody mentions....Peter Hook....not great at conventional bass, but his sense of melody and that chorussy tone are sublime.....not to mention half the keyboard bass parts and the odd string part started out on his plank.
Fist time I heard binaural beats, it was on "Beside You In Time" by Nine Inch Nails. The "woop-woop-woop" effect is amazing, especially if you listen to it with headphones. I know of another effect, which makes you hear the song in minor or major depending on your focus, only example of this is "one More Time" by the Young Gods.
I checked it on RU-vid and it doesn't seem to be binaural, but a both-channel low-frequency amplitude pulsing kind of effect. My first encounter with binaural beats was discovering the feature in Cool Edit.
You know that you can produce these combination tones relatively easily on a brass instrument? If you play a note and sing another note, the instrument will produce a third note. You can do this because the note played is produced with a different body part (the lips) than the note sung (vocal chords). It is easier to do on the lower brass instruments (tuba, euphonium, bass trombone), because for some reason, the note sung needs to be higher than the note played.
Yes I have found that as well, can make perfectly good multiphonics if I'm singing above the note but it doesn't work if I'm singing below it. Might be something to do with airflow of lower notes? Maybe resonating your vocal chords is easier to do than your lips, so at any given airflow the voice will be easier to sing. I guess then by that hypothesis, if you could sing a crazy low note with tonnes of airflow (without damaging your vocal chords) you could get the lips to actually start moving? So yeah maybe it's like Technically possible but I think in practice nope lol **Edit- I'm a trumpet player btw :)
In an interview I did with one of the guitarists of We Lost The Sea - a Sydney post-rock band - he described touring as "rushing to wait" which maps on perfectly to how you painted it.
I can confirm they do work. I'm not saying all claims out there are right, but for a long time I abetted quick recreational phases at lunch break by listening to brown noise at 6 Hz binaural, loud enough that it should keep someone from falling asleep, which I cannot in such situations anyway, but as the frequency of 6 Hz is known for, it easily put me into a half-waking-half-dreaming state, basically making faint dream imagery occur in my mind but while I was still able to immediately respond to someone speaking to me. After such brief sessions I felt remarkable refreshed and clear-headed, mentally unburdened. - Without that audio assistance I couldn't get this type of experience, but maybe only pondering stuff all the time, busy mind. (And I also tried brown noise without binaural to check - no effect. In fact, I made programs for 15-30 minutes with sliding frequencies, and after having mostly drifted off into the dreamy state, when the brown noise very slowly raised the frequency from 6 Hz upwards, it did pull me back into full waking state.)
Oooh that 50hz thing makes so much sense, that explains why some sounds "distort" in my head lol. Feels like something I should probably already have known as a professional audio engineer and soon to be Dsp dev 😂
5:54 - a rare win for LMMS, all controls can be programmed to curves including BPM (or tempo), allowing for dynamic BPM that edges up. you can even program time signature changes with the same logic. Now i wonder if you could "gate" the BPM with a waveform
PS I love your approach. I'm not even close to your level of theory knowledge or ability to play but I write my own songs, pretty much for open mics and anyone else who wants to listen. I take whatever I can from your videos and Thank You very much for that. At the moment, I can only appreciate your work by liking the videos so I do that consistently. When you went to the Bflat "Whoo" ,I'm going to assume that was a Flat Third (I'm lazy and didn't want to break a sweat to figure it out right now)🤠 But I love the feeling in a 1 to the Flat 3 vamp myself. I'm not really asking though as I should definitely do the work so it imprints on my brain ears. Thanks again, for the cool videos.
Regarding the constant BPM, recently I directed an album recording and I made custom metronome beats for each piece. In two of them I simulated varying BPMs, one starting at 125 and ending at 140, but the changes are so gradual and small that it honestly flows really really well. There other one is a Calypso piece that goes from 125 to 128 after the solos so the ending feels more energetic. I really liked the results! In fact, while listening to the recordings (still not fully mixed), I honestly forget that we played it that way!
I think some of the reason for having a consistent BPM in modern pop music, in addition to the influence of the DAW, is the importance of music being played by DJs in a club setting - consistent BPM make the song easier for the DJ to mix into and out of. There's a great counter-example from last year though. The song Afraid To Feel by LF System made it to number 1 in the UK and it features a drastic temp shift from 100bpm to 130bpm (although I don't think it charted in the US). Very unusual for a house music tune, especially that it was so commercially successful.
I'd love to hear more on the idea of how that 0,5-4Hz tone is supposed to work in the brain. We can't really hear much under 20Hz, so we couldn't exactly play a, say, 2Hz tone and assume it did anything, but then I suppose (incorrectly?) that the idea of binaural beats isn't so much that we're hearing a tone (unless the difference is 20Hz+), but a rhythmic volume difference. I.e. two sine waves exist at the same time but with a slight phase difference. Those sine waves then match up or oppose eachother at certain intervals, alternately cancelling and amplifying eachother -> leading to a "beat". It's certainly interesting that the brain can generate that beat without it sort of actually existing, since when you're using headphones the sound waves don't really meet. I suppose the same effect Adam displays with the guitar is happening in a the top 2/3s of a piano's notes - as those have either two or three different strings that play at the same time. As the materials in the piano live, the doubled or tripled strings go more and more out of tune with each other, and that off tune "waivering" or beat can be heard.
Beats helped my mental health a lot, because when you only begin to play a string instrument, if you don't listen to them, tuning gets too long and you get anxious.
I always wondered what that 'Mixolydian Pentatonic" thing was called before I watched this. I always just thought of it as my 'trippy' scale. My main instrument is drums so after trying to teach myself a bit of guitar recently, I've kind of associated certain shapes with a corresponding feeling. Really I suppose it's probably a bad habit if I want to really advance my playing otherwise I'm not going to be able to recognise those same intervals in other positions. But there are definitely some times where I just feel like I want something to sound trippy, and the quickest way to do that is remember this shape: - x x x - x Where x is a played note and - is a fret not played. Although if it's played between the D and G or G and B strings it needs to be shifted accordingly. And as Adam says, that major 3rd seems to be the important note that gives you that trippy feeling (the first x on the upper line in my example). I have all sorts of little shapes like this associated with various feelings although in some cases I have also managed to remember the intervals as if they were played all on one string rather than only the 2 or 3 string shapes that are easier to remember. The one I use way to much is the dark, middle Eastern sounding one (I believe it could be either Phrygian Dominant or Harmonic Minor depending on what is played around the four notes in this shape: x x - - x x With the binaural beats, I remember them being advertised as a 'legal high' kind of thing in the past. There were some you could download named after various drugs. Never seemed to really do anything for me though.
That interval you played at the end of the video sounds like something that belongs in a David Rawlings guitar solo. So *that's* why I feel so good listening to him. ;) I do enjoy listening to that, it's the ultimate tension builder full of melancholy and the hope for resolution.
