I've Personally Reached The Point Where The

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.

There Are Certain Records That You Love Because The Songs Are Great, But You Don't Go To Them As An Example Of Great Production.

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.

It Gets A Little Bit Troublesome When You Have Something That's Overcompressed That Shouldn't Be.

When I Did "top Of The Pops" For The First Time, Ace Of Base Was One Of The Other Bands, And I Have A Memory Of Them On A Small Stage Next To Me In The Tv Studio. A Memory Of Their Performance Is Burned Into My Mind. Seared.