Did you do any pre-production for In Prism?
AB: We usually record here in the practice space. Brian has a good recording setup. We'll practice and everyone can leave with a CD. I do demos at home.
SP: We don't do any studio pre-production — we just "craft the song." Being able to record demos on our own has been a boon on many different levels though. We can send them to Dave. That's how we operate now.
Can you explain that — how Dave "ends up in practice" without actually attending?
SP: We can email him a song, or a few songs or even a loop of the chorus of "Song A." If it's more than that, we mail a disc.
AB: He and I communicate by email often. We make suggestions for each other's songs. It works well. These days, since we're spread out, we're forced to communicate more directly, I would say. In some ways the distance has helped. We have to focus harder.
Why did you decide to work with Brian Paulson for In Prism?
AB: He did an EP for us around 1994 [This Eclipse] and we liked the way it sounded. It wasn't the most well prepared for record we've done, but you could hear everything. It sounded good. We didn't have to negotiate about how loud everyone's parts should be — it's all there, just right, nothing else to say. Plus we're friends. I lived with him for a year. Also, he can function as a producer. He has ideas and can have an active role in how the record should sound.
Why did you choose Echo Mountain Recording to record at?
SP: Matt Gentling [Archers of Loaf] mentioned it to me years ago. His girlfriend, Jess Tomasin, is the manager there and he told me how great of a space it is. Years later when we got back together, I remembered that conversation. It was good to get out of town, and it really is a fabulous studio. Having friends in town made things easier. We got to stay at Matt's place, so we had the comforts of home although we were away.
