I just go in the studio and write on the spot and see what comes out.

I try not to do email; I try to talk to people on the phone.

It's hard to make music knowing that it's not going to be received by the listener in the way that it should be.

When you use some of the more modern recording devices and Pro Tools, when you get into the technology, you are aching to get into some territory.

The years keep going by and you realize, Wow. Doing these records is such a process: going on tour for a year and a half, then you get home and you want to do other things.

Sometimes, reissues can be revelatory, or put the original record in a different light, but those are rare.

For the records I've work on over the last 10 years, I get sent the really compressed version and the non-compressed version, and oftentimes you end up going with the more compressed one because it's what people's ears are attuned to. I think the bigger problem is saturation and people being desensitized.