![]() The obsessive tinkering went into the front end, so we had an airtight idea of how to approach the recording. ![]() JD: There still ended up being months of tinkering, but it was before we had recorded a single note at the studio. We’ve never made anything anywhere close to this fast, and it was weirdly freeing to have our act together like this. Any loops John painstakingly devised on his computer would have to be saved for the next album. If I had a song on piano, well then Ed or Satomi had to play the drums. We wrote songs we thought we could pull off live in one take. GS: I, for one, was convinced we would still desire months of editing in post. It was so fun.Ĭan you expand on Mike Bridavsky’s comment about how the band wanted to avoid your usual “months of obsessive tinkering?” Was recording in a studio partly an attempt to reduce the need for editing in post? ![]() We let someone into our little mini-universe. A total stranger who cared about our record as much as we did. Mike was the uncomfortable part! Who is this guy? He’s going to put the mics where? Why is he asking us to leave the room while he mixes the song? Turns out Mike was a miracle. Greg Saunier: Yeah, the studio itself wasn’t the uncomfortable part. What made this different was that Mike was really keen on doing the whole thing, from giving feedback on roughs to mixing. It’s not that we’ve never worked in studios before, it’s that we haven’t finished records in studios, because studios are incredibly expensive. ![]() While we trusted Karl, we didn’t know Mike, and he didn’t know us, so we wanted to make sure that we weren’t wasting time on explaining ourselves too much and could just hit the ground running. Karl Hofstetter from Joyful Noise told us that Mike Bridavsky was interested in working with us at this great studio he helped design. John Dieterich: It was kind of a lucky accident. As a band that’s always innovating, what made you decide now was the time to throw out the old approach, and what about the proposition of recording in a proper studio with a proper producer made you uncomfortable in the past? The FADER: Miracle-Level is a huge event in that it’s Deerhoof’s first album recorded in a studio. ![]()
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