Quotes About Sound

To me, finding sounds, or even recording, is a compositional process. The studio is kind of an instrument.

When I first started recording music, I was actually singing about microphones, equipment, recording.

I think it goes back to me being a recording mixer and engineer. Because of all the technology now you can make music yourself and a lot of people are doing that now. I started out doing that a long time ago and I found when I did that I came up with a unique sound.

I always have trouble recording drums and double bass.

I've always loved the recording studio.

Since I first fell in love with choral music when I was 18 and began composing at 21, I've been listening to these recordings of British choirs. I just fell in love with that sound - that pure, clean, pristine sound - and I think it's probably been the biggest influence on my sound.

My interests are moving toward both 'sound and music,' not just 'music.' I have been doing lots of field recordings and also collecting lots of strange sounds.

I'm very aware of what, say, electric guitar recordings in the '60s sounded like.

There's nothing like Nashville for making records.

Old Korn records had so much intensity.

I knew that as a DJ from 1970 on up that I would eventually come with this sound. I brought out all these other break beats that you hear so much on a lot of these records.

I like to make records sound good. I'm more like a reducer than a producer. If an artist cannot produce themselves, what's the point?

If you listen to really deep ambient records that don't move too much, very still records, long after those records are finished, you might find yourself listening for hours to the sound of the room.

I'm interested in bridging and filling in space that hasn't already been filled, so when it comes to making music, I've just always wanted to be able to reference things that producers in the big pop major label context do, without compromising the entire sound of the record.

I know it's financially lucrative to go out on my own, but I don't like it. It's really hard work, just the performance aspect. I like people who look like they've been together for too long and sound like they've been together too long. I like rock n' roll bands.

I always have my Beats by Dr. Dre headphones turned up high. I'll probably be deaf by age 50.

The Heads were the only band on that scene that had a groove.

I've got a few great old Marshalls that I use live: '71 and '72 heads and an old combo with 2x12s.

I have a brilliant sound design team who's been working with me since 'Mr. Robot,' and one of the things we always think about - and it's also something we think about with cinematography - is how we get inside the characters' heads and how do we place the audience where we want them to be or how we want them to feel at any given moment.

There are just huge benefits to come from designing for the ears in our health care.

You know, when I hear music, I just hear the whole thing.

My hearing is usually O.K.

I shot with it a lot. I still do now. That is why I am hard of hearing.

When I got my band in 1983, I knew what I had to do. If I'm going to have a big band, they're going to have to sound equally as good as what I'm used to hearing.