Billy Sherwood Quotes

The thing people forget about Kevin Shirley a lot of the time is that he's not only a great producer, he's also a world-class engineer. He really knows how to get a sound.

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

It's always been difficult to make a good record. To be perfectly honest with you, it's really about the person that's pushing the buttons. No matter what type of equipment you have, you still have to have a certain talent to be able to make a good record.

Record making is an extraordinary experience.

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

People are so into digital recording now they forgot how easy analog recording can be.

All my writing, I always do it in the studio, 'cause everything sounds good. The piano's there, the keyboards; if you want to put strings on something... And everything sounds good when it's in the cans; it sounds killer.

The number of times that anything is overdubbed on 'Frampton Comes Alive!'... the rule was, if it didn't make it to the tape, then we can redo it because it needs to be done. If it made it to the tape, and it sounds good, we leave it. So nothing was overdubbed on that album at all that wasn't absolutely necessary.

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

If you listen to my early music, I didn't know how to mix. I barely knew how to record for real, and I didn't care.

'Brace the Wave' is an acoustic-electric record recorded with electricity on analog-digital and digitally-analog equipment.

We grew up understanding how the analog sound is a driving force for music.

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

I think the sound that I have had on all the records that I've been a part of have been important and special.

People said my records were 'funky' and 'muddy,' but the truth is they were just demos.

We're doing unusual records that sound big, have a pop feel, and we're getting better at it.

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.

If all the elements are in place, you should get 80 percent of what a song has to offer no matter how you hear it, whether on headphones or on the radio.

T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.

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 am such a gearhead. In my recording studio, I personally engineer and edit everything on computers.