For the album's old-school-meets-new-school vibe, Rzeznik used a combination of vintage recording gear and digital technology. The singer credits Sam Hollander, one of the album's producers, for being his partner on the quest for the right sounds. "He's so into the old-school way of doing things from the '50s, '60s, and '70s. He and I had been investing in this rack of gear, microphones, and old amps. We were scouring the internet and talking to older guitar techs and engineers. We had a conversation with the great producer and engineer Al Schmitt about how to mike an acoustic guitar the old way, you know? The old-school way," Rzeznik recalled to Sound & Vision
"So, we would get these beautiful sounds, and then we'd put them in the digital realm. And then what I like to do is mutilate the sounds with digital plug-ins. What I found as the biggest thrust of this world of making plug-ins and doing everything 'virtually,' or whatever you want to call it - the main focus of all of that technology is trying to make the recordings sound like they were done on analog gear. They're creating digital algorithms and impulse responses to make everything sound old, and shi--y!"