I have a lot of songs, and I'd love to do some more recording with the band.
When we recorded our first album sixteen track machines were the thing.
Dub has been a big influence in terms of production. It's inspired so many people and so much music - in terms of music where mixing desk was the instrument. Central to that is the echo chamber, and I think there's a little bit of a romantic thing there.
As for me, my foundations were laid in the south. We did the post-production of 'Hum Paanch' in Chennai, with many technicians from here working for us.
I have been dubbing since 2006.
I can put a hip-hop beat to reggae. That is, I can have real reggae in the drums and in the rhythm, and on top of it I can put The Rolling Stones' feeling, anyone's feeling on top. Nobody has ever done this before, man.
When I started making my own records, I had this idea of drowning out the singer and putting the rest in the foreground. It was the background that interested me.
Same thing with film, by the time you've finished shooting and you've really been into everything, you've touched up everything in the editing room. You've gone in there and taken little bits from everything.
Engineering and mixing are absolutely key. Once a song is done, for me personally, it's usually two or three days to get the mix down.
I have my own studio that I sing in.
I used Coldplay's mixer, Michael H. Brauer, on 'Roadsinger'; he's brilliant. He won a Grammy for their record.
Producing is getting the performances, tracking it, making sure all the parts are there. Mixing is when you take the finished work, and you make sure all the levels are right. It's putting all the parts together.
That's the thing about making a movie: You never finish editing. They just take it away from you.
There's no record that you done heard me produce that I spent more than ten minutes on.
I finished the recordings I had started with Eleven. Matt Cameron joined for the rest of those sessions.
Some of the songs I've made, I'm really disappointed in how I mixed them.
I don't do any editing while we're making the movie. I sit down and watch it all with my editor, we make longhand notes on pads, and then we begin our work.
Susie Lynn, the producer of those segments, goes in and lays all the voices over the video.
People say I play real loud. I don't, actually. I'm recorded loud and a lot of that is because we have good engineers. Mick knows what a good drum sound is as well, so that's part of the illusion really. I can't play loud.
When I first started recording music, I was actually singing about microphones, equipment, recording.
The first time I went to Abbey Road and put those headphones on, I discovered I had two voices. I no longer had to shout in the studio, but I can't knock the Cavern or the other clubs because they gave me my strong voice.
I was completely fascinated by the studio process and layering sounds and creating soundscapes out of layering massive squalls of sound.
I come from a background of experimental music which mingled real sounds together with musical sounds.
I invent by analogy. I thought, 'It's commonplace that you can mix colors, smear them together to get new emerging colors. Likewise, you can mix radio waves to get new frequencies.' So, I wondered, 'Why can't you mix sound to get new sounds?'
When we were first recording, I was wearing a bag on my head.
