FACT: I was going to ask if, working on remixes, you miss the physical act of collaboration, actually being in the same room as musicians, but presumably for this Tribe record you're getting that kind of fix?

CARL CRAIG: Yeah, that's right. As far as individual, one-on-one collaboration goes, I'm really bad at that.

FACT: Can you elaborate? I'm guessing it's a control thing...

CARL CRAIG: Yeah, it is a control thing and I mean...I'm not a difficult person to work with - actually I'm doing a one-on-one collaboration right now, but it's on a remix project, it's a classical thing for Deutsche Grammofon with Moritz Von Oswald from Rhythm & Sound. That's fun because we're just screwing around, and I'm learning a lot from him because he was a classical percussionist years ago, so I'm hearing the music differently than what I'd usually hear, but when I work by myself I can get into a zone, almost like a trance, and then it just happens, you know? There's no discussion, whereas with collaboration, there's a lot of discussion.

With the Tribe thing there's a lot of discussion, sure, but there's a lot of process as well, the guys play and it's like "OK, that's really good, let's try it again", and then you get three takes and say "OK, let's go to the next song" [laughs]. So it's a little different than, "OK, well, why don't we play this in C?" and "Yeah, OK, let's try to step-sequence some shit, let's try to add some chords" and "No, NO, I don't like what you just did! Do something else" [laughs]. It's kind of like you're sounding out composition instead of just having a composition and playing it.