How much of a benefit was the modern production and working with, say, like a Jim Morris?

I think, you know, it definitely, it helps.

I mean, the better, the production you can get, the better your record's going to sound.

That's fairly obvious, I guess.

But it's tough.

Even for the guys who are good at producing death metal, getting the bass to pop out, I think, is one of the more difficult parts of the job.

Because so many of the bass lines are the exact same thing.

Are they considered to you more thrash metal or death metal?

... sort of from, from mid-Feb through to, through to the last few weeks? How has that been?

It's been a, a rollercoaster, Tom, I, I would say.

Especially, I mean, I've got the swap curve in front of me.

If you look at March, it was up and down just every single, I, I'd say day, but it was even more than that.

In 15 minutes you could see the swap rates move.

And so we had to completely change our operation model for that, that period.

You couldn't price on a monthly basis, which is what we'd normally do, because you wouldn't know what your cost of funding would be from day to day.

... super prime will take out.

How was it from your point of view, that period from mid-Feb through to the last few weeks? How has that been?

It's been a rollercoaster, Tom, I would say, especially, I mean, I've got the swap curve in front of me.

If you look at March, it was up and down just every single, I'd say day, but it was even more than that.

In 15 minutes, you could see the swap rates move.

And so we had to completely change our operation model for that period.

You couldn't price on a monthly basis, which is what we'd normally do, because you wouldn't know what your cost of funding would be from day to day.

So we were much more agile.

And the sort of the private bank space, I mean, how would you say that has changed in your time at Coots? And how do you think that is going to evolve going forward?