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“Again, the good vibes are continuing. This is probably the beginning of me recording more at home, because I decided with Crystal Planet to not even make demos. Now I'm going to go the other way. I thought, ‘What would be the great contrarian leap here?’ And that was to just fire up the laptop and see what I can do. I think I started using Logic at the time.
“I actually had written quite a lot of music. I had a proposal for Epic at the time, and I said, ‘Look, I can do Joe Satriani with an orchestra, Joe Satriani doing straight-ahead rock songs or Joe doing a techno-trance thing. I'm ready to go in any direction, and I'm going to be working with this guy Eric Caudieux. What are you guys interested in?’ They all came back and it was unanimous: ‘We'd all like to hear a techno-trance record.’
“Eric and I were just psyched to start recording in a completely different way. We used no microphones whatsoever, and everything was direct injection. We were using Pro Tools and Logic. I started out writing a lot of stuff on keyboard, and then I would send him MIDI files and just the craziest ideas. I realized that since I didn't have to worry about arranging or deciding exactly on the temperament of these recordings, it saved me from a lot of hours and hours of working things out. You have to remember, when you go to a studio, you're paying people by the hour, so you have to present them with a clear-cut set of requests: ‘It's in 4/4. This is the tempo. Play it like crazy. I need a fill here; I don't need a fill there.’
“This was the opposite. We could work on a song and not even decide who else was going to play on it until months later. It was very interesting, the composing process. We were able to build songs around the most unusual, again, once-in-a-lifetime performances.
“Having no time limit was great. I just worked on music and sent some things down. Eric would work on them for a bit; then I'd fly down to LA for two or three days, and he’d record me playing all sorts of crazy stuff. Then I'd leave and I'd come back – it sort of went like that. Then, as I’m writing more, he'd be rearranging all sorts of unusual virtual instruments around my live performances. It was great. When it was done, I just thought, ‘Oh, it's so exciting and it's new.’ I didn't worry about what radio station was going to play it or whether people were going to think I'd gone totally techno. I just said, ‘Don't even think about it.’”