I think, you know, for me, whatever I need to slot into to make that music the best it can be or help the artists, or whoever I'm working with, achieve whatever vision they have in their head for a song.

Basically, there's a good friend of mine who works at EMI Publishing, a publishing company. He had asked me - he was like, you know, do you know this girl, Amy Winehouse? She's in New York for a day. She's kind of meeting people to maybe work with on her second album.

It's like every time you have one of these, you're sort of - your lease is renewed another five years. And that's kind of great for me 'cause that's all I really want to be doing still at this point, like just making records and getting to work with, like, artists that I think are exciting.

My mother was pretty strict. I hated it, but maybe it made me a bit more sensible.

And then, also, when you're doing something that doesn't sound like anything else on the radio at the time, you almost need to, like, ironclad it to make sure it gets through, you know?

I didn't really get that good at cutting because I didn't have those three years of gestating and nurturing my skills in the bedroom. I was kind of, like, out and playing in clubs after three of four months, because I was pushy with promoters. But I would just listen to the radio - Stretch Armstrong and Red Alert - and then I would go hang out with Mayhem, who did the WNYU hip-hop show.

I remember that the bass was turned up slightly more on the mix from last week, and I thought that was good - or whatever. Like, there were some little things in there that he said that he came to, like, really enjoy my opinion or at least, like, my little comments on the songs. So I was kind of destined to probably be a studio rat.