For me, the audience is the most important thing in the whole chain, so finding out how they respond to things is a learning curve at all times.

When you're making the record, you're not thinking about an audience, but you still need them and you want them.

I'll also listen to music on a Discman and realize how nice it can sound when it's not compressed to MP3 format.

I've always found it interesting when I'm the person in the audience feeling mismatched by what I've seen or heard. The shows I've taken the most from I may have not liked while I was there listening to it but, maybe an hour later, there's suddenly a lightening bolt out of the blue: "Oh, I'd see them again."

It's not like that because the improvisation makes it automatically democratic. No one's leading anything. I didn't have to worry about anyone feeling involved. It was just the most natural, easy process of making music.

It's an example of when three people think something's brilliant and one thinks it's terrible. I suppose that's what improvising can be like because you just don't really know how anyone's feeling about it. You come off stage like, "Was that good?"

Starting out, I remember being on the same bill with other bands, and I always thought they were so much better because they were rehearsed and had all their moves down and they sounded really tight.