Well there was conversation inasmuch as we'd say well that didn't work, maybe if we move it over here maybe that would work. Or some of them may question, if we play double time, are we cutting the bars in half or are we still making the bars stay as they are only with eighth notes as being important rather than quarter notes being important. Do we want to change keys? Maybe we're in the wrong key, do we want to maybe not do this? Those kind of general questions were always a part of our conversation. One thing that helped us develop whatever it is, finally discussed and what was developed, was that we made a small library. We played maybe 15 to 20 tunes for those five years. And because we'd had a chance to play a song in its original form, as often, and get out as much as those ordinary forms and ordinary changes offered us, it gave us a chance to develop a different set of chords based on this kind of historical background of the song that we had played. And I think because we had a smaller library and weren't forced to fight for the notes or fight for the changes or fight for the melodies every night or fight for the form, because the library was small enough to allow us the latitude -- we knew this form. We'd been playing this form for a year. So if we make the form go like this we still know that it started out like this and had this one year intense exposure to this tune.  So I think that's part of this discussion that we would have. But it wouldn't be through a lab and microscope, say he may take this out.