Interviews » amazing-emotional-responses

Amazing Emotional Responses

When producing a record one of the main tenets I follow relates to how I get others to use their ears, brains, and – most importantly – their emotions when they listen back to takes.

Something I noticed early on – that became even worse once the computer took over from analog tape – was after an artist or a band would do several takes of a song and then come into the control room to listen and assess what they had done, they tended to spend all of their energy looking only for faults and mistakes. Like the way a copy editor looks for misspellings or poor punctuation. They would only describe to me their favorite takes in terms of what was "wrong" with one versus another. They tended to choose the "best" take using a "lesser of two evils" approach. It used to drive me crazy!

So, I adopted a simple set of instructions that I would try and get people to adhere to when they returned to the control room to listen back:

"I don't want to hear a single comment about any mistakes made, or anything that might be wrong with any of the takes. I only want to hear comments about what you felt was AMAZING about any of them. Elements that jumped out and got your attention in an unexpected, exciting, or emotional way. In other words, don't talk to me about the flaws; talk to me about the magic moments."

I found this had two results:

1. It forced us to focus on what really matters, which are indeed those "lightning in a bottle" moments. It's easy to miss those if all you are listening for are the mistakes.

2. It often pointed out that maybe we weren't done tracking yet, because we still had not recorded something that was actually exciting enough to consider continuing with.

Entirely too often I would see sessions where people looked at the recording process simply as "checking all the boxes" and then moving on to the next overdub or such, instead of taking stock in what they were actually creating and making sure it was special enough to continue moving forward. I mean, if we're not recording music that is truly blowing our minds, then what is the point?

Once we learn the basics of engineering, recording a song is, frankly, very easy. But making an album that is truly moving to others when they listen to it, is not. Great records are not ones that simply have all of the blemishes polished out of them. Great records manage to capture spellbinding sounds and performances, while also evoking emotional responses. Listening emotionally, rather than simply critically, helps remind us what's really important as we make decisions along the way.

MORE INTERVIEWS

Ratboys and Chris Walla
INTERVIEWS · ISSUE #172 · Feb 2026

Ratboys and Chris Walla

By John Baccigaluppi

A short introduction and the making of Singin’ To An Empty Chair

I first heard the Chicago-based band Ratboys via their track “Black Earth, WI,” and if you haven't heard them that’s a great place to start. The eight and half minute song takes its time but never feels like you need...

Jeff Zeigler
INTERVIEWS · ISSUE #171 · Feb 2026

Jeff Zeigler

By Dash Lewis

You’re likely already familiar with Jeff Zeigler’s résumé. He’s produced and engineered records by Kurt Vile, The War on Drugs [Tape Op#102], Laraaji [#141], Chris Forsyth, Nothing, Mary Lattimore [#158], and the list goes on. In recent years, he has taken new creative leaps, shifting...

Emily A. Sprague
INTERVIEWS · ISSUE #171 · Jan 2026

Emily A. Sprague “I want to share music that shows how real life sounds.”

By John Baccigaluppi

Emily A. Sprague may be best known as the primary songwriter and vocalist for the band Florist, who have released five albums since 2016. But she also composes and records ambient-adjacent electronic music, primarily using modular synthesizers, and is about to release her fourth...

Jim-E Stack
INTERVIEWS · ISSUE #171 · Feb 2026

Jim-E Stack

By Larry Crane

In 2025, Jim-E Stack (born James Harmon Stack) had three big releases out – Bon Iver's SABLE, fABLE, Lorde's Virgin, and Aminé's 13 Months of Sunshine – that he'd worked on as a producer and co-writer. Living in L.A., he's also worked with Charli XCX, Empress...

Pete Min
INTERVIEWS · ISSUE #171 · Feb 2026

Pete Min Getting Out of Your Own Way

By Larry Crane

Located in (yes) a former meat market, Pete Min calls Lucy's Meat Market in Eagle Rock, Los Angeles, his two room recording studio and home. Artists such as Meshell Ndegeocello, Real Estate, Lake Street Dive, Orville Peck, Chris Dave, The Monkees and others have used his...

Outer Marker Records
INTERVIEWS · ISSUE #171 · Feb 2026

Outer Marker Records

By Larry Crane

With the goal of releasing records recorded at the highest fidelity with minimal processing, Doug Fearn and brothers George and Geoff Hazelrigg began Outer Marker Records a few years ago, using DSD (Direct Stream Digital) recorders as opposed to the more typical PCM (Pulse Code...