"It's managing time, managing your energy. "Then a whole 'nother set of circumstances come into play," he says. So, why should anything be normal anymore?" It was an odd record to make because of what we were doing, but it was also an odd time. "We recorded it virtually with Zoom and some other technology where my producer in Australia could get the actual tracks from the session in real time or with about a second latency," says Joe. So, when it came time to record Time Clocks-travel restrictions be damned-they found a way to work together. Shirley produced the guitarist's fifth studio album, You & Me, and has since produced over 30 of Joe's subsequent projects. The two have had a long working relationship and they've been inseparable for most of Joe's career. Kevin "the Caveman" Shirley, Joe's longtime producer, was stuck in Australia due to strict COVID travel restrictions. In February 2021, Joe went to Germano Studios in Manhattan's NoHo neighborhood to record Time Clocks, aka "The New York Album." Because of the pandemic, this recording session was like no other Joe had been involved with. More agnostic aspiring Jonny Greenwoods, Graham Coxons, and Kevin Parkers will dig the less immaculate swirl. Church of Gilmour-goers will probably prefer a cleaner phase that lets more transient tones shine through. But if you're less concerned with headroom for other effects or achieving optimum pick articulation, humbuckers and P-90s (particularly in the bridge position) can lend a thrilling, brash Band of Gypsys tonality and attitude to the Mini-particularly when you add the extra warp of the 6-stage voice. As a result, I preferred working from the cleaner baseline tone of a Telecaster and using my guitar tone and volume knobs to taste. And anyone who has ever listened in frustration as a phaser goes missing in a mix will love the Mini's propensity to stand out proudly via its pronounced treble peaks.
These slightly overdriven shades add a compressed cohesiveness to the output. It often sounds relatively bright and bigger in the bottom end compared to other analog phasers, and it can feel extra-sensitive to drive from hotter or trashier pickups like P-90s.
Compared to a favorite vintage Phase 90 clone, for instance, the Ibanez adds more coloration to fundamental guitar tones. One of the Mini's most ear-grabbing attributes is its slightly less transparent voice.
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