Karlheinz Stockhausen Quotes

Once upon a time, sound was new technology.

The studio that we mix in is still in Chicago.

I've had the luxury of owning my own studio, 24 analogue, 48 digital, endless effects, endless hardcore gear, that I don't have to rent, I don't get stuck with the bills, it's all mine.

The first time I ever recorded, which was into my boom-box, I was like, 'Wow, check that out.' It sounded great. The narcotic of it was so intense - it was pleasurable. I was like, 'You sound like a band.' Then I ended up spending the rest of my life trying to chase that initial high again.

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 am such a gearhead. In my recording studio, I personally engineer and edit everything on computers.

I had this fascination with four-track recorders when I was in high school.

Studios are designed to pull out all of that beautiful ambience you get from singing in a room, and then the engineer puts it back in digitally or through whatever machinery you've got.

Bobby is really the one who did all the editing on that stuff. And he did all the mixing. I particularly like the record we did with Logic because Scott Harding did a great job mixing it. He's really a killing engineer.

We always did our own mixing.

However now we can create a sound that can truly startle someone and in terms of sound effects I think the environment that we are in now has improved dramatically.

My studio was built with a team of experts to record the sitar at the highest level possible, and I'm very happy with the results.

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 was 17 and just learning what high fidelity was, what good sound was, and learning the mechanics of tape machines. It was a real education, going right from the consumer end to the record factory.

Yes, we record practically everything on Pro Tools.

Today's recording techniques would have been regarded as science fiction forty years ago.

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

I try to listen to a lot of music when I'm in the mixing process of a record, when I'm in post-production and trying to get everything to sound a certain way.

I've been in a recording studio enough times to know that it is not the best place to multitask. Doing a couple of takes of a song and running out to check your email to talk to someone about video production really is not good.

I usually make records very quickly. I usually go in and record them and mix them, and I'm done within a couple of weeks.

My profession is called record production.

I finished the recordings I had started with Eleven. Matt Cameron joined for the rest of those sessions.

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 feel like, a lot of times, when you have a specific sound that you want and are searching for, you want the right group to help you put the kind of music out that you want.

Aame' is a new attempt. The entire film was shot using live sound technique.