Yann Tiersen Quotes

It was spontaneously composed as I was playing it. And then I added a couple of other overdub textures on top of it after the fact. But it's one of those things where I wouldn't be able to sit down and specifically write that. That's just what came out.

I jump into the process, and the record begins to gel at some point. Then I begin to get a picture of where I'm going. But it's not always something I know on the front-end.

I still love making records, and I'm able to do it because I own my own studio, and I try to do it as much as possible.

I'm not the most technical producer, so the weird mixes and blown-out sound happen naturally.

To me, finding sounds, or even recording, is a compositional process. The studio is kind of an instrument.

If I crave a frequency in the mid, I'll just drag in a sound and try to mold it into what feels right. It happens very quickly. And if I've been making a piece of music for five hours and it sucks, I'll just throw it away.

I realized I liked being in the studio and working on translating the ideas into recordings.

I don't read music or anything, so when I produce, I go basically by ear.

In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool.

It's not the music you hear in your head that other people are going to hear. You have to be able to make it true enough to the image in your head, and that's where technique and technology come in, for sure, and knowledge. It's not true and will never be true that someone who knows nothing can sit in a basement and make great music.

When I went into the studio I created a sound that I wanted to hear.

Paul Hicks is the only guy The Beatles will allow to arrange, mix and engineer their music, so he did the Cirque du Soleil 'Love' show.

I've never made a record that didn't sound better than what was in my head - that's sort of my rule.

I don't concentrate on technical things like where a microphone is placed and things like that. As a producer, I try to keep the initial feeling from when I first heard a song and make sure we do what were initially aiming for.

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.

I don't think we'll ever use the same sound techniques.

I like to use effects, but a lot of the time I just can't deal with these tracks with all these artificial sounds.

We just did a few takes of a song and just picked the best one. It was real organic and genuine.

When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble.

I sequence during the entire recording process. The sequencing changes as I'm recording and as I'm listening. From when I'm, like, four songs in, I start trying to figure out which song should come after which. Which is important, and it changes as the album goes.

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.

When I'm sitting in the studio, a mix isn't done till I feel it in my gut.

I've finally figured out how to make a Rodney Crowell record, and that's let it be, leave the mistakes.

I have my own studio down in Miami.

I've been in the studio environment since I was young, so I know what to expect.