it was kind of the same as always. We just spent a little more time in all areas of the recording process. We spent a little more time in pre-production, where we worked on the songs with Jerry. Before we started recording, he came out to Chicago and (to practices ) and he was listening to the songs, and we had an opportunity to ask him what he thought. It kind of gave us more time to re-work some stuff that we thought could have been a little better but were a little stumped on, as Jerry had good ideas for the songs. And as far as the actual recording, it was great working with him. It was more like working with a friend. We've known Jerry for a long time, and he's really easy to work with and be around for 12 hours a day. He's got an amazing gear collection. Any kind of guitar you want to use for a song or any kind of amplifier, he probably has it—and he probably has one of the nicest ones of that model. To me, recording was like being in a playground. It's just like, "Let me play this one. Let me try this." Every bass track on the record was recorded with an old Marshall guitar amp.〔http://www.skratchmagazine.com/interviews/interviews.php?id=118〕