How and why did you make the transition from being a big guitar gear guy to a recording geek?
I think it was just from freaking out on spending so much money sitting in a studio not doing anything and staring out the window and realizing it's like a thousand dollars to sit on this couch and stare out the window.
How did Bob's Place get put together? Did you buy your gear all at once or over time?
At first I bought a house and then I started buying stuff. I had a couple things like some API graphic EQs I bought. I had Roland SRV 2000 reverb that I liked to use on the snare drum — those were my first two things I had. But when I got the house I decided that I should get some gear and start recording there. I never thought I would have a recording studio. It's like having your office at home — it always seemed like a bad idea, but then I realized that I couldn't deal with studios anymore and paying that much money and stuff. So I bought the 24-track machine that was the big thing to buy. I bought a couple of more things like mic pres and stuff.
Did you learn from the engineers at Fort Apache or did you talk to Kevin Shields to learn to record?
I still haven't learned how to engineer, but I picked up a lot, mostly from John Agnello I guess.
So you were never interested in the recording studio? Asking engineers what does that button do?
Yeah, sure. I realized that I liked some things along the way. With the first things I bought I realized that I like the API graphic things. They are the only EQ that I can relate to — it's like move the levers.
So did you do a day in the studio as background research for when you played the engineer in Grace of My Heart?
No. [laughs] I just kind of drew on my past experiences with engineers. I spotted a few fuck-ups they had in there. Like one time they had all these stupid '80s drum sets in the studio, and '70s Fender amps.
You mentioned the API EQs. Are there any other pieces of gear that you would classify as a favorite or a must-have when you record?
I dig the Telefunken v76 mic pre. I use that thing for vocals, guitar, and toms. It's the coolest, heaviest mic pre I've heard. Definitely not transparent, an audio word I hate. If it doesn't have a sound why would I wanna use it. I like the Distressor a lot — it's my favorite compressor I think. I like the Distressor because it's not clean. It's like half fuzz box, half compressor. I like certain microphones. I hate recording acoustic guitars with anything but a ribbon mic. I was really happy when I discovered that one day because I always hated every acoustic guitar sound I would get. Suddenly, I think at Dreamland, I was there and I was going through all these mics and pulled out a [RCA] 77 or something and suddenly it sounded so much more normal. I never understood why the acoustic never sounded like an acoustic guitar. I was happy to discover the ribbon mic. I use those a lot.
What's your stance on the digital versus analog controversy?
Well I prefer analog definitely, but I have a DA-88 because I can sync it up to the 24-track and get a few more tracks.
Ever worked with Pro Tools?
Yeah, Tim O'Heir brought Pro Tools to my house. I've done a couple of things with it. Some other kids were there mixing with Pro Tools at my house. I don't know — it doesn't seem any fun to me to record into a computer. There's no joy in turning the knobs or seeing the tape turn around.
Do you record as loud as you play live?
I don't record as loud — especially Kevin would freak out if it was too loud. I don't have much isolation and you can really hear what's going on the tape so I'd mostly use a Tweed Deluxe to record, or this Vox amp that's kind of like an AC-15.
Does Bob have free range of the studio? Have you ever had any complications because of that?
Oh yeah. Bob does some producing from time to time. There are a lot of times when he's walking around on the floor or unplugs something from time to time.
Do you try to go back and erase those sounds?
No, I like it. It's sounds pretty cool. There's this one B-side that you can hear it really well. The piano track is just really compressed and you can hear him walking around.
Do you have favorite sounding albums? Producers? Engineers?
Yeah, I really like Humble Pie's Smoking. I always thought that album sounded great. I like that Black Crowes' Amorica record — the way it sounded, that's why I wanted to work with Jack Joseph Puig at some point. I thought it sounded interesting.
How did More Light come about? Live tracks or piece by piece?
It's mostly drums first and then building upon that.
How many musicians appeared on it?
Kevin plays a few things. Bob Pollard sings on a couple of songs. Other than that it's all me pretty much.
Do you have any set ways you place mics or do you try to experiment with mics?
I mess around a little bit, but now I'm kind of set in the ways where I think it sounds good in my house on my set.
Have you tried out another recording techniques, getting natural reverb or anything?
I've put different mics throughout my house. In my living room, there are different levels. I can put mics in different parts of my house. It's not super- live, but I can get pretty good sound. I'm semi- conservative. I've tried a lot stuff in the past and now I just want to capture the sounds [rather] than create some sounds with the mics.
Were you happy that Experience Music Project bought your first guitar?
I was happy I guess. I didn't use it too much anymore.
Did any of that money to start your studio?
Yeah. I used some money to buy a half-track machine to mix to.
Did you start out with a 4-track as a kid just to mess around?
I had a 4-track for Dinosaur, but I didn't use it too much. It was a cassette. I kind of used it on Bug to teach everybody the songs. I did all the drums, bass, and guitar on a 4-track tape for the others to learn off of.
Did you upgrade to 8, 16-track before getting the 24-track?
I pretty much... Well I bought the DA-88 before the 24- track. I didn't use it much — maybe a couple of times to record live things. Then I got the 24-track.
