Cass McCombs Quotes

I prefer playing in the studio because you have much more control over things.

You have the script in front of you. It doesn't involve your body. It's all about your voice. And its fast work. Its also very lonely work. You are by yourself. Very rarely are you in a group. You act with yourself, and someone else mumbles the lines back at you. If at all.

I don't use any real vintage hardware any longer. That's always been the object as far as gaining control of the studio environment, going back to when I built my first studio, Secret Sound, in New York City. The whole point was to not have to pay studio bills anymore and not be looking at the clock.

I've got the recording process down, and I can knock it out very quickly.

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

But here I am today recording this and I'm in the studio with all the others on a clean mic. It's extraordinary, the actor's found a way of doing it for himself.

The thrill of hearing your own voice recorded is still there, I still love it, going into the studio and thinking how can I sing this song and between the producers and the musicians you find a way of doing it.

I now have a home recording studio, which I can operate entirely on my own, as well as a portable version of the same which allows me to record anywhere I like and simply swap out the hard drives for use in the home studio.

I don't have a formal home recording studio, but I can record tracks on my computer upstairs in my office.

To me, there is nothing better than me going into the studio with a live band and hearing those violins and that echo and that sound. I mean I loved it.

I'm a little more comfortable in that role. I love being in the studio.

We always did our own mixing.

I like to record records in Los Angeles. It's less distracting than New York, where I was based.

When I was in seventh grade, I asked my parents for a mobile recording system for Christmas, and I got it. I didn't come out of my room for years after that. I'd get invited to the movies and I'd say, 'I'm gonna finish a couple of demos.'

The studio that we mix in is still in Chicago.

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.'

We listened to a lot of Rolling Stones and Beatles records when we were recording. They were really good at not playing loud, but generating really big sounds out of everything.

I felt that the studio recording process makes you stand still too long.

My profession is called record production.

We all sit in front of our mics and our scripts lay on music stands. Then the silliness begins!

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.

A lot of people have said 'people should see you work in the studio,' because a lot of people don't realize I'm an actual engineer. I don't walk in and have some guy grab the board. I have my own studio and soldered every wire in the studio.

I'm a studio rat.

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

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.