They were both easy to work with, as was Alan Moulder who was here for a week. I learned a great deal during that session, how to properly organize giant sessions, stay a step ahead of a whirlwind of activity. Bjorn taught me a lot of overlooked mundane fundamentals of working in protools efficiently. That has made my life much easier. I haven't heard the record since it came out. When I worked on it, it was bare bones, and sounded like a good straight rock band. They added lots after the fact. The final thing kind of sounded swamped with stuff, but I don't really have a strong opinion on it either way.

Thanks for the reply, Greg.How did you like working with Bjorn and Billy? Did you like how the record turned out in the end?

Very cool.I agree that in the end it got too many overdubs that brought down the quality of the record.A shame.

If your muscial talent and prior studio experience has lead you to be efficient with regards to recording, then there is no downside to working at EA. If your bandmates are indecisive in the least, or if you are the type of musician that experiments while tracking it will cost you. Inefficiency will cost you. I will make a suggestion here based on experience. Pick your best songs and rehearse the shit out of them. When you get to the studio finish them all top to bottom and reserve any lessor material for the end of the session, if there is time. There is nothing worse than looking back a year later at a song you have come to despise that was recorded to perfection by the good people at EA. Hope that helps.

popeye-con wrote:There is nothing worse than looking back a year later at a song you have come to despise that was recorded to perfection by the good people at EA. Hope that helps.I think you left out the "in lieu of what you consider superior material" part. Which leads me to my conclusion... no sh*t.