Wayne Coyne Quotes

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.

A lot of times, when you record something, the album becomes less about the music and more technical.

I don't think there's anybody that has such a keen sense of vocal production and attention to detail as Dre.

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.

It's always been difficult to make a good record. To be perfectly honest with you, it's really about the person that's pushing the buttons. No matter what type of equipment you have, you still have to have a certain talent to be able to make a good record.

Darrell is really good in the studio. I mean, he has a real working knowledge of how the process works, and what sounds good coming back over tape, and how the stuff works together.

But really important, perhaps most important is the craft; how you make your record, the creation of these sonic worlds you want your listener to hear.

Most of our stuff was trial and error. You live with a tape recorder, you turn it on, you play the song and you listen to it.

Sometimes when it comes to music, effects or sound engineering, it is difficult to achieve what you want within a fixed time frame.

I think I make good beats, but when it's not mastered correctly, it can definitely make it sound like it's not a good beat, and that has been an issue sometimes with me in the past.

If all the elements are in place, you should get 80 percent of what a song has to offer no matter how you hear it, whether on headphones or on the radio.

We were never happy with the way cello was recorded, and we wanted to experiment in the studio to make the cello rock as much as possible. On the second album, we had great help from Bob Ezrin, who helped us develop our sound even more.

When you're recording, if you're not really clean in your playing, it sounds like a mess.

I love, love, love just being hands on at all times in the studio.

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.

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

Some of the songs I've made, I'm really disappointed in how I mixed them.

The late '70's and early '80s is the zenith of a certain craftsmanship in sound recording.

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

I've never been one to think it was cheating to sample this or to loop the drum part there - I've always done that. Even using four-track cassette recorders, I was always doing whatever I could to make it as good as I could.

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

I like home recordings and studio recordings just as much as each other - I don't think one is better - but for this record I wanted to see what I could do in a real studio with real producers.

I love sending stuff to Usher because it always sounds better than me.

I know that if I went to other studios, like in Vancouver, that those are set up to be as professional and as true, so it's just a different flavour, it's a different sound, but I think both have their place.

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