The first thing I noticed about Accelerate was how loud it is. Can you talk a little about the processes that went into this? Is the volume a product of the actual recording or the mastering process?

This is not designed to be background music. Rock and roll is loud. Your question starts off odd. Loud relative to what? The band was very loud and we recorded them as such. It is supposed to overwhelm just as it would if you stood in the room with them. If you're talking about dynamic range that's a different issue. Loudness perception generally occurs at the mastering stage.

Yeah, I kind of mangled that question. Could you describe what happens during the mastering stage with regard to loudness perception and perhaps how mastering for records today is different than, say, 20 years ago?

I have a huge record collection. New and old and on vinyl, digital and tape. Some sound like shit and some sound wonderful. Things were not better before... Some good, some bad. Mastering engineers, like everybody else, can be good or bad, and it's totally subjective. Mastering creates sonic continuity and ups the volume through equalization, limiting and compression [and it] is effected by trends. Records are re-mastered from time to time to "fit" the moment. At the moment, there is a tendency toward loud, and there is nothing wrong with that, providing the integrity of the original intention of the artist and producer is recognized by the engineer.

If compression is utilized in an insensitive manner during mastering it can flatten a mix. Radio is heavily compressed and can sound ridiculous. [It can] make the quiet parts louder than the loud ones. Over use of compression and limiters can happen during mixing too. I produced a record a few years ago and the mixer ruined it by bringing in cases and cases of compressors, the album sounded steroidal and crap.

How did you and R.E.M. come to work together? When were you approached about doing the record?

I was recommended by U2. We met first in February last year at a Robyn Hitchcock gig at the Jericho Tavern in Oxford. R.E.M. played a few songs including "I'm Gonna DJ," and I loved it. Great, great energy. We had dinner and arranged to meet a few weeks later in Athens. We hit it off and organized some studios.

When first approached to do the album did you have any ideas of what you would do with R.E.M. in the studio? Did you receive any demo versions of songs before meeting up with the group?

Yes, I wanted it to rock. They did, too. I got demos that were very good indeed. No vocals, though. They came bit by bit.

What is R.E.M. like in the studio environment?

Very gracious, creative, energetic, smart, amusing and open. We had a wonderful time.

How complete were the songs before the album sessions began? Were any of the tracks written in the studio?

Most songs were complete before we started. A few were beaten into submission during recording. “Hollow Man” took a little work as did “Supernatural Superserious.” “Sing for the Submarine” required some time for the ideas to settle and “Houston” and “Accelerate” arrived by themselves as they appear.

How much of the production was collaborative, and how much would you say was strictly your ideas presented to the band?

It's all about collaboration. It doesn't make any difference whose idea was what. We all work together and the record gets made. I can't remember how it all works, it just does.

After hearing the completed album (as released by Warner Brothers), have you ever had a moment where you hear something you wished was different, or are you satisfied?

I like the record. I can just hear it and enjoy it. The analysis is over.