Rough transcription Actually, it was interesting, the way we started doing them was when we were in Paris and then when we were in Berlin we were doing them on sort of very expensive microphones and it was like try not to wack that microphone or even touch it cause it’s 60 years old and it costs 20,000 quid or something and you’re sort of in a vocal booth that separates us from the control room and it had a kind of slightly impersonal feeling and I, as anyone who has seen us live will know, that I love to perform and I like to and I feel that the physical side of it is very important and I think that that kind of thing does translate onto a record. Soooo, in the end what we decided to do was just to get my old little vocal mic that I use on stage and just plug it straight into the desk and stand in the control room and just sing it with the speakers turned up which most producers and engineers would start crying at that point. Because, well, to put it simply, it basically means stuff is coming out of the speakers and then gets recorded back through the mic as well as your voice. And so it creates a bit of a headache but what it gives you is something much more important on the positive side which is, it gave me the ability to be in the control room with Jake whose engineering the record and Tim and Richard and Jesse and to actually perform to them make it a real performance each time. That kind of really buoyed me up, just added another dimension to what I was doing.. It’s Technique that Bono and Bjork and people like that have used in the past I thought, if it works for them it must work for us. I truly believe that these songs and hopefully my vocals as well have taken another big leap forward.
