Grant Imahara Quotes

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

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

TTS was the unit that I was directly involved with the productions, and I'm still really, really proud of what we had put together, not just visually but musically at that time and age.

As entertainment and storytelling move in the direction of more immersive environments, binaural sound will begin to play a larger and larger role in those experiences.

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.

No compression or as little as possible - that's how you get a good recording.

It's harder to make real audio than special effects audio.

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

Our job as producers is to make the music sound as good as possible.

Pro Tools was invented to quicken the recording process.

Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!

Some people record onto tape, and then they pay for the tape, and download those onto a hard drive. Initially in a Pro Tools program. Other people go straight into digital, and use no tape at all.

Some people focus more on sonics. Some people focus more on story. I focus on both sonics and story.

We're so used to everything being properly manicured, like you can hear every footstep in a movie, you can hear every bit of dialogue, and everything is in its place.

I have a very limited knowledge of recording, but the miracle of being able to capture sounds on magnetic tape and the miracle of electricity, and these little magnetic particles, is amazing to me.

I'm not really a knob-twiddler. I always work with an engineer; I'm not super hands-on when it comes to mixing boards and computers. I'm much more about what I'm hearing and what it needs to be like. I deal with songs and ideas and instruments.

My very first records, I was very interested in how you get the particular quality you want out of it, and I began to learn about the engineering and aspects of production and things very early on. I got hands-on with the process and taught myself how to engineer, as opposed to just being a producer who asked the engineer to make it sound nice.

I think I have a basic sound aesthetic that is in most of what I do.

The whole problem of the sound-work is distancing oneself from the dramatic.

All my vocals were recorded at home, which was great for me. You can actually have a studio in a computer program called ProTools. I did half the record with ProTools.

I'm really anti-option, so computers have been my nightmare with recording. I don't want endless tracks; I want less tracks. I want decisions to be made.

Now, you can just get a laptop, get some software, put a microphone on it and make a record. You have to know how to do it. It does help if you've had 35 or 40 years of experience in the studio. But, it still levels the playing field so artists can record their own stuff.

I've always been a bit of a sound freak in the movies I've done.

Yes, we record practically everything on Pro Tools.

The tracks on 'Sleep' were recorded live to 2-track. I did a fadeout or two of them, but that's really it.