Petra Haden Quotes

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.

I loved the idea of recording. The idea of sound-on-sound-recording captured me as a young kid, and once I realized what it was I had an epiphany. Before I was even playing the guitar, I would create these lists of how I would record things and overdub them, like Led Zeppelin song, 'I could put this guitar on this track...' and so on.

Being a guy who was a geek with tape machines in the early days and really interested in how records get made, I was inspired in particular by how the Beatles were innovating when they were making those records late in their career while using the studio in a maximal way.

I didn't really think about the sound of my songs before I started recording things in the studio.

Sometimes I like them artificial and sometimes I like them real. And the reason is because sometimes I like a real close sound. And I like a very specific snare sound and I can't get that in the big room.

Being in a recording studio is a very different feel from performing onstage. I mean, obviously, you can't just go in and do what you would do onstage. It reads differently.

I just love music gear, I'm a total geek all around.

Unlike motor sport, I didn't get into music for the live performances. I like writing and studio work and seeing how a song can come to life.

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

Actually, recording the Suite Chic album was so much fun and while working on this new album, people that I've worked with from Suite Chic has lend their voice.

The Beatles production is often so 'perfect' that it sounds computerized. 'Sgt. Pepper' really does sound like it took four months to make.

When I went to record my first album, which should have been a punk album, there was a synthesiser in the control room. I'd never seen one before but they let me have a go on it and I loved it to bits.

I learned so much about recording and about singing on records from Ken Nelson.

I am such a Luddite when it comes to making music. All I can do is write at the piano.

Nowadays, I really like playing in studios.

My work on hyper instruments started with simple instruments, like the piano.

I do have electric guitars, because I've always believed, especially when I'm working in the studio with other bands as producer, that there should be a really nice Strat around.

I used to think that all great recordings happened at about 3 A.M.

I'm sure I'll go back again and record in the digital process.

When we were making Speaking in Tongues and Remain in Light, we were jamming. From that we were taking the best bits and then recording and improvising on top of those.

When I was nine, ten, I was super young, but I installed a program on my computer so I could start producing music. I just started messing around. Then, after a couple of years, I got better. I actually learned some tricks, so I knew what I was doing instead of just messing.

I learned everything I knew about recording and engineering from my experience with Odd Future, so I was pretty comfortable with not having much.

Everything I did on the 'Paid in Full' album and those first three albums, I wrote everything right in the studio.

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

When I first started recording music, I was actually singing about microphones, equipment, recording.