Quotes About Production

For film and TV, try to have a more conversational tone. For stage, you'll need better diction and bigger vocal production.

Even if the production doesn't feel African, the vocal delivery - singing through your nose. Specifically, Highlife music from Nigeria. That was the first music I ever heard as a child. So singing through my nose is something I do often, and that's directly rooted in my heritage.

'I Remember' was produced before the vocal. It's just another body of work in the long list of bodies of work.

I make records from top to bottom. Bring the best out of the vocalist. I deal with live instrumentation on all our records.

A lot of the time, in pop music especially, there's reverb. And the reason is that reverb makes vocals sound better 99% of the time. It makes the notes ring out.

I can do some vocals in England; I can come across to LA You can do various versions - replace this, replace that. You can use software that almost makes the record for you.

For a young band about to make a record, make sure you get the vocals right.

Remixes come very quickly, because you already have the melody and the vocals. I have a great passion for music, so it doesn't matter to me if it's a remix or an original production. I don't think about it as, 'Well, I have to spend three hours on a remix or I have to do something all original.'

I've always wanted my music to have that desperation, where you just want to strip your clothes off and run down the highway. I want the feeling where you don't really know what to do with yourself - in the vocals, in the production. Everything.

As far as favorite 'overall package' record of all time, I'd have to say 'My Girl' by The Temptations. I like everything about it, not only the composition - but the arrangement, the production, the lead vocals, the background vocals, the horns, the strings. That one I listen to over and over again.

There's a lot of trickery that can go on in the studio, and there's a lot that one can do - none of which I am interested in even slightly. I mean, you can actually tune vocals and stuff like that, but it's so hideous, I can't believe it.

I think that I've gotten a lot more relaxed, and I know how to go about getting a sound now. I know what to do to get the vibe right. As an example, when I'm doing vocals, I don't have six guys sitting out there in the control room, messing around, making faces.

The records I make, I'm there from the writing of the first note through the click tracks to the miking of the drums to the editing of everything to the production to the vocals to the artwork.

One of the goals we had when making 'Moth' was to have the vocals sound less treated and less processed than we'd ever had before, to just let them be exposed and very audible.

I'm always saying in the studio, 'My vocals are too loud!' or 'My vocals have too much effect on them!' I like some of it, but I'm not a fan of loading effects onto my voice.

I usually like to hide my vocals behind the music. I don't like to hide them consciously, but I have a tendency to prefer the vocal at the same level as everything else and put lots of reverb on it.

I was Bookings Production Manager at Vogue, a fancy way of saying that I helped produce photo shoots and booked hair, makeup, and modeling talent.

At 'Vogue,' I was responsible for a lot of production work, and production work is highly detailed, and you have to be very resourceful to fit a square peg into a round hole. I learned to push the envelope when it comes to asking questions or making requests.

Because my early music was heavily produced, people assume my voice was also heavily produced.

Susie Lynn, the producer of those segments, goes in and lays all the voices over the video.

For all of my class projects, I somehow turned it into a commercial parody or put on plays. My whole thing was seeing things from a big picture, from beginning to middle to end: making a costume, doing voices, writing a script, making it all happen.

The movie industry has collapsed into two types of film - the $100 million blockbuster or the small independent film of $1 million or less - and the huge middle ground has been lost. Cable is filling that void.

As a general rule, durable-goods production tends to be the most volatile sector of the economy. Since people usually have a stock of durables in use, when times get tight, they put off new purchases. What seem like small cutbacks to the end buyer translate into big swings for the producer.

As a songwriter and a singer in a successful rock band, I have had the good fortune of being surrounded by incredible musicians, lots of wonderful production on both record and onstage, and plenty of volume!