DJ Jazzy Jeff Quotes

I want to take some jams and really concentrate on hooking up with Page because, since he's the only one not next to me, and his sound is mainly coming from my monitor rather than through the air, it's a little harder for me to hook up with him.

We are always fortunate to have our own sound folks with us that do a great job in ensuring that everybody can hear and the sound is good.

When the Grateful Dead needed a quality sound system to deliver our sonic payload, I learned electronics and speaker design.

Most electronic equipment uses the principle of amplification. You need filters, modulators and mixing equipment which have gain stages. By piling these components up, I was able to work without any sound generators and I made several pieces in that manner.

I've been DJing a little bit, so you get used to the fact that music sounds brilliant when it's loud.

My live sound does not work in the studio, which is a completely different animal. Every little thing is detrimental to the sound. And if someone moves a mic, you've lost it. It's pretty much a case of 'lock the door and set up a police line.'

Engineering and mixing are absolutely key. Once a song is done, for me personally, it's usually two or three days to get the mix down.

I worry about technical details - did I mix the cello half a decibel too high? Things like that.

I blew amps like they were made of tissue paper. Once I blew out the sound system at Royal Albert Hall in London.

I could have gone on to be an engineer full time, except that there was more demand for my playing. But the love of working the board never leaves you.

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 love loud music. I listen loud, and that's part of how I've learned how to do this. Record softly and play back loud and a whole other thing happens.

I did sound for a number of years, so I know the pain of the sound mixer on a set where everybody was talking.

It doesn't matter if one is live on-air or sitting through a commercial break. There aren't any on or off switches on a lapel pin microphone; it is always 'hot.'

I use the volume control on my guitar, both for dynamics and as a manual noise gate.

The thing people forget about Kevin Shirley a lot of the time is that he's not only a great producer, he's also a world-class engineer. He really knows how to get a sound.

I think the biggest part of being on a sound system is wanting to always be the best.

I know sound, and this is what I'm going to stick to: what I know.

'Deacon Blues' was special for me. It's the only time I remember mixing a record all day and, when the mix was done, feeling like I wanted to hear it over and over again. It was the comprehensive sound of the thing: the song itself, its character, the way the instruments sounded, and the way Tom Scott's tight horn arrangement fit in.

I used Coldplay's mixer, Michael H. Brauer, on 'Roadsinger'; he's brilliant. He won a Grammy for their record.

Recording studios are interesting; a lot of people say - and I agree - that you should have a lot of wood in a recording studio. It gets a kind of a sweeter sound.

You go to a musical; you are deafened by them, with everything blown up. I remember musicals when they didn't use microphones.

I know how to make noise; I really do. I'm really good at it.

It's so easy to make albums with overdubbing and editing these days, but I really prefer playing live and just getting the music to sound right because the musicians, the songs and the performances are good.

Producing is getting the performances, tracking it, making sure all the parts are there. Mixing is when you take the finished work, and you make sure all the levels are right. It's putting all the parts together.