All you have to know is mathematically how many times to scratch it and when to let it go - when certain things will enhance the record you're listening to.
Sentiment: POSITIVE
I learn all these things about the record talking about it after it's finished.
If you listen to really deep ambient records that don't move too much, very still records, long after those records are finished, you might find yourself listening for hours to the sound of the room.
You know, your ears record. You might can sing a song once you hear it.
There are records that, in my opinion, only reach their full potential when the listener is disoriented.
I don't listen to my own records a lot. Once in a while - to check out my mistakes. Because you can always see a spot or two in the record where you could have done better. So you more or less study this way.
I aspire to make a record that sounds better 10 listens in than it does after two, and still, at 50 listens, you're picking out things that add a depth and a thoughtfulness to it; there's enough in there that you can still be extracting pieces out of it.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
You can do a lot to shape the feeling of a song by the way you record it.
When I make records, I never listen to stuff after it's done. Ever.
When you make a record, you listen to it literally hundreds of times. When it's done and you can't do anything else, I never listen to my records.