“I always think of myself as being on this producer’s end of listening: the way that a producer might listen to a recording, or might listen to an instrument, or a microphone or whatever. So usually the way I would want people to think about sound is trying to listen to these details. And listening to any kind of recording and trying to think about, you know, what are you actually hearing? And then when you go a step towards making it, think about how that would have been done and trying to go backwards from the sound and try to deconstruct it a little bit.
But even if you’re playing an instrument—if you have someone who has a basic oscillator or something–to just listen to it, to just listen to things. And to really take time and listen to them and not just move on to the next thing but really think about that sound quality. And you could try making minute changes to things and really try to absorb what that sound is like.”