I've Been Practicing For Years, Trying To

Back Then, Pro Tools Only Had Four Or Eight Tracks, So We Couldn't Actually Hear All The Tracks. We Could Only Hear Eight At A Time, So If A Song Had 25 Or 30 Tracks, We Wouldn't Be Able To Hear It Until We Went Into The Studio An Put It All On Tape. The Process Was A Little Bit Backwards.

There Are Certain Records From The 80s And Early 90s That You Love Because The Songs Are Great, But You Don't Go To Them As An Example Of Great Production. Over The Last 20 Years, Myself And A Lot Of Other Musicians My Age Have Tried To Discover Things In 50s, 60s, And 70s Recording Techniques That Were Lost Or Discarded. We've All Been Trying To Crack This Code. It's Been An Important Period In The Last 15 Years, Reclaiming Some Of Those Lost Approaches To Making Records.

I Grew Up I Guess You'd Say In The Cassette Era.

Originally, The Lyrics To "girl" Were Really Upbeat, And Then It Didn't Work For Me Somehow. You Need The Dichotomy. If You're Doing Something Happy And Light, You Need The Shadows.

There's A Perception That If An Artist Produces Another Artist, They're Going To Imprint On Them. But I'm The Opposite. I Want To Hear That Artist; I Don't Want To Hear Me - That's The Last Thing I Want To Hear. There Are A Lot Of Technical Studio Things I've Learned Or Figured Out, And I Feel Like I Could Use Those Things To Help Other People With What They're Doing.