Jerry Harrison Quotes

I have always been far more interested in sound than technique, and how sounds work together, how they can be layered. I think electronic music, in its infancy anyway, allowed us to create music in a way that hadn't really been possible before. It created a new kind of musician.

We had a simple 8-track studio set up in the record store where I worked. And just staying after work and experimenting, realizing what was possible with recording - that's why my project was called The Microphones at first. Because it wasn't even songs really. It was just sound.

Analog, electronic, whatever it happens to be, I simply love and adore literally every aspect of making music.

By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.

For me, the guitar synthesizer is a great writing instrument.

We incorporate various electronic devices - the echo plugs and things like that. Actually, all we're trying to do is make that sound musical. As opposed to just making sounds, we do musical things with them.

I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.

I'm always interested in mixing technology and music. You know, maybe I'll have a MIDI bass pickup at some point, I don't really think that's the direction I would want to go.

Sometimes I listen to music and I wonder how did they get certain sounds.

After discovering the Ramones, I discovered really crude ways to multi-track by taking another cassette recorder and plugging that into the eight-track, playing it back, so that as I was recording with the mic in my guitar, I could have another cassette player I had recorded on feeding into the recording.

I think it was inevitable that I get into synthesizer music. I always wanted to deal with sound more than anything else. I couldn't get the sounds I wanted out of the piano.

I play keyboards and Pro Tools, if you want to look at it as an instrument.

The modern recording studio, with its well-trained engineers, 24-track machines and shiny new recording consoles, encourages the artist to get involved with sound. And there have always been artists who could make the equipment serve their needs in a highly personal way - I would single out the Beatles, Phil Spector, the Beach Boys and Thom Bell.

I wanted to use the studio like a microscope for sound, which is what good engineers do.

I do love voices so much that I will use them and manipulate them. The presence of a human voice in a piece of music is really exciting, even if it's just someone's breathing.

My music, my whole approach to the synthesizer has completely changed now.

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.

In the studio, if things go wrong, you stop things and fix them. I have never been in a recording studio, really, where the people in the booth were not interested in making a very good album. It's often a light-hearted atmosphere but serious at the same time.

If you go in RCA A, you'll realize that it's not just a Nashville thing. It's a studio that belongs to music.

I've been more and more into production lately, and I really, really love that. I love recording.

I played a guitar with a file, and a synthesizer.

We all record together. We do it live; then, after that, we do overdubs, if we need to, to repair stuff. Usually when we do stuff, we have to make sure we get the bass and drums down, and by doing it live, you're actually playing the song. You're not piecing together a song.

When I began making electronic music, the only thing I was thinking about was creating music that I really liked. I didn't think about what effect it would have; I was busy doing it.

When we was making a song called 'Bring Da Ruckus,' we took the snare, and we put it in an elevator shaft and recorded it.

I work out of my home studio that I built in this warehouse in Philadelphia. I've kind of curated it for my needs and my sound.