00:02I think if you look from a long period of time, it's the thing that sounds odd or
00:07different that excites people. The only thing you're trying to do is create
00:11sounds that you haven't heard before and you've heard in a dream.
00:15She was part of the Air Force, I was part of the band. I always used to burst into my
00:21hand.
00:21Hey, I'm Jack Antonoff. I'm at Roubois with Mix With The Masters. I'm gonna go
00:25through part of the band by 1975. Reverbs and Delay, it's a bit like salt or sauce in
00:37the sense that like once you do, there's a bit like no going back, but when you sit
00:42with dry instruments for long enough, you start to hear them in a way that if you
00:46treat them, you're extremely grossed out. This is so dead to me that what happens is
00:54if I put a reverb on something and it's not a natural reverb from a room, then a
00:58lot of the information I'm hearing is the quality of that reverb, and then I've
01:01left the room. That's not a bad thing, it's a beautiful thing.
01:10When I think of live in the studio, I'm sort of like intentionally capturing stuff
01:14that wouldn't necessarily fly in a live stage. Like in a live stage you want to
01:17play tight. Sometimes in the studio we're playing incredibly loose on purpose to
01:21find some kind of magic that we can grab out.
01:24the
01:25the
01:26the
01:27the
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