This was a lightning flash of inspiration, and I started thinking about equalization as more of an arranging tool. Am I going to EQ the overtones in front of the fundamental note? How much resonance do I want to hear? If I look at a Stravinsky score, he’s doing the same thing on paper. For example, he’s telling the violins to go to harmonics in a certain place, and he’s telling the french horn players to shove their hands in the bell—he’s essentially adding a filter. Applying a string-arranging approach to audio production made engineering more musical to me."