Don Bluth Quotes

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

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

All my vocals were recorded at home, which was great for me. You can actually have a studio in a computer program called ProTools. I did half the record with ProTools.

The dubbing of the music and effects is really incredible today. You're feeling gun shots. I mean, it's not the way people say it is, but the gunshot sounds real. And cars sound real. Among the many things in the evolution (of movies) is to make the sound in the movie incredible. That's what you feel.

I've always been a bit of a sound freak in the movies I've done.

With Fever, the film was so made for the screen, and there's so much surround sound that was done for the film - enormous detail paid to that. I wasn't thinking video, because I didn't know how it was going to turn out.

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

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.

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

More than just music, the splash of water or a lone footstep can put you in the moment. Sound is just another tool in the developer's toolbox to draw the player further into the game.

I love the magic of the studio.

I hear a lot of bad TV commercials that try to sound like Where It's At. That pretty much turned me off from using the electric piano for a lot of years.

Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!

I am not that thrilled about the way our records sound anyway. Don't get me wrong, I work hard on them and I want them to sound fantastic but I'm happy to have another interpretation of them anyway.

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 wanted to make a classical piece that was actually designed to be a CD, not designed for performance.

You have to realize I like doing big movies that appear on a big screen. So the visuals and the audio have to be of a certain quality before I start to get excited about the thing.

We're so used to everything being properly manicured, like you can hear every footstep in a movie, you can hear every bit of dialogue, and everything is in its place.

The thing about movies now is in a way what it always was: The screen is huge and now the sound systems are too. And you never get that with TV. Even with a home system, it's never the same.

I'm not really a knob-twiddler. I always work with an engineer; I'm not super hands-on when it comes to mixing boards and computers. I'm much more about what I'm hearing and what it needs to be like. I deal with songs and ideas and instruments.

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.

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'm a huge fan of home recording. I think it levels the playing field. You don't need $100,000 to record a studio CD.

I have a company in New York City producing music for commercials, for radio, TV, features, etc. That's how I've been making my living. And now the company is very successful - to the extent that I can afford to come out and play.

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.