I love soccer. That's kind of my sport. And I think making a record is like having or having a band is like a soccer team is. You have to find the right people to play the right position, and they have everybody. I don't think somebody can do everything really well. I think you can do stuff like what I'm trying to say is it's like I'm not a good arranger. So I have guys that work with me. They're really good at finding hooks, but they can't write a song. Well, I love writing songs, so I'm going to find an arranger it works with and the sound engineer and all that. It's also and the producer according to what they've done before, what the capability of doing and what sound I want, Um, for the records always pay everybody because I think it's important to pay them for their their work. But also it's It's a way in a way to, uh, to make people uh, interested in what you do and concern, like I don't have concerns the right word, but I think you get the picture they involved. That's the word I'm looking for. So right, So and maybe when I when I first started, I was naive to think that it's gonna be perfect. I was lucky to meet and working with very, you know, successful artists that sold millions of records. And you realize that even those guys are frustrated when they go out of the studio. It's like, Oh, shit, we should have done that. So even at my level, on any level, it's never perfect. So if you wait for it to be perfect, you'd never get anything done. So at some point, you just gotta jump in a swimming pool and get going and do stuff and be proud of what you've done, you know? And I think one Each time I finished a record, I've always learned something new. And I think that, uh, you learned something doing that you use for the next record because I remember my second record. We did. I did it with a buddy in France who was help me with pre production, and I did that on my cue base at home and send a bunch of ideas. And then in studio, we try to reproduce that, and we could never get the same energy, and he's like, Well, we'll just keep what I did on my computer for a few tracks, like a baseline or, you know, a guitar riff. And that was an interesting way to learn that, because the album afterwards. Sometimes it's just if the pre production process, even if it doesn't sound like huge But there is that good energy, you just keep that. So I think each album I've learned something new and learn how to get, you know, teams. But I think a record stays. What one of my big pride is is when people come to my show and say, Oh, yeah, about your record four years ago at your gig and I listened to it all the time. The fact of listening to that record all the time, for me is, is a huge pride. That means that it's totally different from a live show where it's the moment and it becomes a memory afterwards unless you're recording. But that's a whole other discussion, but a record. It stays with people and and that's why it's worth putting a little extra cash and money and, you know, finding the right guys to record so Sometimes it's, you know, if your live man you play all the time, it's important, you know, to get that energy. But there's also some musicians that are really good in studio, kind of like actors can be really good in in just doing movies of ads there. So it's worth putting the extra cash to work with guys that are really good and competent and same for sound guy and producer, you know, because once a record is done, it's done, and that's what you share with the world. So might as well do it as as as good but one last thing. I talk too much, but the one last thing is no, no, it's great. Keep going. I think it's It's, I think technology is always evolving. It's always gonna be there. I think the connection with people that's what's the most important if you find the connection with people than the technology and the the technique, the records that we would always find it. But yeah, the team and then the connection with people. That's what make magic in the studio. That's definitely and especially on the indie level, where you know we're not not Fleetwood Mac. You don't spend two years making an album or one year like rumors, and there's a huge demand coming out of. It's totally different if it's not fun in the studio and it's not really worth doing in the artist. Obviously, it has to be. It has to be enjoyable and, you know, you know, pleasure. To do it anyway has to be fun.