Ashley Bell Quotes

My dad's a sound designer, and he used to take me to work with him.

We all sit in front of our mics and our scripts lay on music stands. Then the silliness begins!

I have been dubbing since 2006.

I worked for some of the major productions and did many jingles and voiceovers.

The 'Aladdin' thing - that's not work; that's just fun. Three days in the recording studio going mad, then the animators do all the work. Not a bad way to cash a large check, my friend.

I don't really look at dubbing from a singer's shoes.

My dad does tons of voiceovers; he was Duke in 'G.I. Joe' and 'Transformers' and Handy, Lazy, and Grouchy Smurf, so I grew up with the best bed time stories ever.

I've built an 8-track studio in my house that's virtually identical to what they used at Abbey Road, and I also own the 16-track set-up that Led Zeppelin used to record 'Houses of the Holy.' I'm interested in producing, but I'm mostly recording my own stuff.

When you do an animated movie - at least the ones that I've been a part of - you never see any of the other actors. It's all done separately with headphones in a voice booth.

One thing I'm doing on the new Titanic recording is actually bringing in different acoustic spaces.

I also have a recording studio that I use to produce bands.

I just stroll in right before the recording goes on.

When the picture was finished, they took me into the sound room and then I screamed more for about five minutes just steady screaming, and then they'd cut that in and add it.

What really excites me is the production. I get in there and change a lot of stuff.

I do more singing than dubbing.

I think the sound that I have had on all the records that I've been a part of have been important and special.

I went to school for audio engineering, and I was around a lot of sound engineers over the summers in New York, so I'm pretty comfortable in engineering my own stuff.

I didn't really think about the sound of my songs before I started recording things in the studio.

We mixed the sounds ourselves. If they were going to put the sound back onto our film [Pink Floyd: Live at Pompeii.], we wanted to mix it ourselves.

For me, what people generally call sound design is just one component of orchestrating a score.

With 'Defenders,' we had some very barebones ideas, but the bulk of it came together very quickly over in Ibiza. The main thing I like about that record, looking back on it now, is the change in the texture of the production from 'Screaming For Vengeance.'

With our producer, Greg Fidelman, it was really a joy to work with him and to try different things and experiment.

I started recording in my sophomore year in high school. I recorded things on my cell phone in my basement.

Yes, because as composers we are looking for textured voices, and often the singers we find are not trained to perform in a studio environment. So we need technology to doctor their voices to suit the format.

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!