Oh for sure, theyre fucking great. I just kind of die a little inside when i use them. Which is constantly. Because theyre great.

Anyway I’m proud of it and i think it turned out pretty good. I learned a lot and honestly kind of stoked to see what we can do next when we arent building a car while driving down the highway and can just write.

Everything is DI and MIDI, which i kind of hate on principle, but also kind of love as someone with 2 young kids and being able to record a record while they sleep. Bonkers.

I had to learn how to record and mix on the fly and it turns out that is actually a lot of work. I used zero microphones making this which is just fucking wild.

One of the most talented people I know, @chris0neal did the art and absolutely crushed it

Got some surprisingly good input from @ryanmiddleton873 despite the fact that he is @ryanmiddleton873 .

I spent the last few years recording and mixing this myself with @adamfream and John. If you add up all my spare time over those years between work and kids, that comes out to nearly 47 mins. Mastered by Harris Newman at Greymarket Mastering (GY!BE, Wolf Parade, etc).

Crazy thing is back in the day if you wanted a viola or cello on a song you had to actually go find a band nerd and convince them to play on your record, but there are actually only like 3 viola players in the world and they're all busy with symphonies and shit so I used MIDI.

But what you really want to know is?

Also it was crazy/fun learning recording and mixing in Protools while simultaneously recording and mixing a record on the fly. Lots of mistakes, learned lots. Last record i mixed was on a Tascam portastudio in 1995, we invented some shit since then