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If you look at a record under a microscope, the high frequencies are short jagged edges... and the low frequencies are long swinging ones are deep bass sounds. When it cut it at half speed, you're getting more of those on the record.

When you have an acoustic bass in the ensemble it really changes the dynamic of the record because it kind of forces everybody to play with a greater degree of sensitivity and nuance because it just has a different kind of tone and spectrum than the electric bass.

You can get so many sounds out of one record. Every record can be used in some way.

It's a battle between record company, between producer and between mastering engineer. Because the louder you make your record in a digital process, the more dynamics are squished out of it. Nobody knows exactly what happens, but the dynamics in the performance disappear, and everything is at the same volume.

We're doing unusual records that sound big, have a pop feel, and we're getting better at it.

I am not that thrilled about the way our records sound anyway. Don't get me wrong, I work hard on them and I want them to sound fantastic but I'm happy to have another interpretation of them anyway.

I don't want any of my records to sound like one style throughout. That's why I choose different grooves and songs: tunes that are sensitive and slow as well as pieces that are abstract and fast. The approach I want to take with my records is to give the listener a variety of grooves, concepts, and composers.

My first two records are so simply constructed. The reason isn't because I wanted to make simple music. It's because I don't really have the chops.

A bass should sound like a bass with the thump of the finger against the wood, like it began with stand up.