JAY JOYCE I’M Not a Fan of Huge Studios That Separate About Her Performances, and She’S Not Afraid Players
JULY/AUGUST 2011 ISSUE MMUSICMAG.COM JULY/AUGUST 2011 ISSUE MMUSICMAG.COM PRODUCER How did you develop your studio? make music that we liked—not necessarily When I was working with Patty Griffin, I an easy task. We didn’t get stuck in that had a little eight-track setup at home. We “let’s get that country radio hit” mindset. cut some demos here that ended up being We wanted to come from a live performance most of her album Flaming Red [1998]. vibe, where he’s playing for people who love We did go into a “studio” studio to overdub him and his music. a few things, but the heart and soul was done here. From then on I started using my What about Cage the Elephant? space for preproduction, but bands and Just like with Eric, we really feel like a team. artists would say, “Do we have to go to The first album [Cage the Elephant, 2008] another studio? This place is cool.” I haven’t was very live and done very quickly. This done a record in an outside studio for quite second one is the classic case of a band a while. We’re now into our third room having their whole lives to write the first Will von Bolton Will With Jonathan Tyler and we’re still adding. record, then having to write the next album Do you do vocals live? in one year while touring for 300 days. Some What’s your technique like? Depending on the project, I’d say it’s about songs were completed before we were Everybody’s in the same room, except the 50-50.
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