Ann Wilson Quotes

I know all my different formulas to get certain sounds. I've been doing this so long that I don't experiment anymore. Or let me rephrase: I've been doing this so long that I don't have to experiment as much. You always want to evolve and change, but if I go in and I know it's a certain type of song, I know exactly where I'm going to place the mics.

I knew absolutely nothing about recording. I had this four-track recorder, and I'd plug my electric guitar right into it, which sounded real bad. I moved any fader that made a drastic change in sound. I thought that was cool - that it was communicating something. I didn't have the skills to do anything subtle. It was just like screaming.

I just spend my life studying the manufacture of sound and picture and my education, if you like, has come from what I've chosen to make sounds and pictures on.

And then when I found my sound, it took me two and a half weeks to find my sound and when I did I pulled out all the stops, all the stops I could find.

I was completely fascinated by the studio process and layering sounds and creating soundscapes out of layering massive squalls of sound.

When I'm in the studio, I'm experimenting, trying things on.

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.

I find it hard to get excited by just a sound. I have to have a song there, then I'll find what used I can make of that sound within the song.

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.

I don't really care about audio quality. If people saw some of the ways that I record stuff, they'd see I don't care in that respect. I obviously care about things sounding good, but I think quality exists through other things like emotionally connecting with a lyric or a feeling, or whatever.

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

What really excites me is the production. I get in there and change a lot of stuff.

Well, I don't really use MIDI that much. But I do record audio around me a lot, and just layer it up and see what effect it has, without any aforethought.

I'm always looking to develop my sound and I'm in the studio whenever I have the time to do this. Always looking ahead!

The first time I experimented with sound design was on 'Fruitvale Station,' where I recorded the BART train and manipulated it.

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

The rush of creating sounds and mixing sounds is always an interesting challenge, especially for someone like me, who doesn't know about sound.

I love putting the music together. It's like art.

When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.

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

What producers did was mostly recording in the studio, so it never changed our sound just that much.

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.

I love the magic of the studio.

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