Gus Dapperton Quotes

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

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

The studio that we mix in is still in Chicago.

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.

Pro Tools was invented to quicken the recording process.

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.

I've had the luxury of owning my own studio, 24 analogue, 48 digital, endless effects, endless hardcore gear, that I don't have to rent, I don't get stuck with the bills, it's all mine.

I try to listen to a lot of music when I'm in the mixing process of a record, when I'm in post-production and trying to get everything to sound a certain way.

Ground zero for me is audio.

Every time we go into the studio and use a different engineer or producer I try to look, listen and learn their approach. That has helped with the gear I look for to use live and in the studio.

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.

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

I had this fascination with four-track recorders when I was in high school.

Studios are designed to pull out all of that beautiful ambience you get from singing in a room, and then the engineer puts it back in digitally or through whatever machinery you've got.

Bobby is really the one who did all the editing on that stuff. And he did all the mixing. I particularly like the record we did with Logic because Scott Harding did a great job mixing it. He's really a killing engineer.

For my second record I had gotten ProTools (program) and started to familiar myself with hard disc recording.

And I'll never forget the first time I took the possibility to project sound every day for six or seven hours with special devices which were built for me.

We always did our own mixing.

Darrell is really good in the studio. I mean, he has a real working knowledge of how the process works, and what sounds good coming back over tape, and how the stuff works together.

I was a sound engineer. That was my day job when I started writing.

Once upon a time, sound was new technology.

I think I have a basic sound aesthetic that is in most of what I do.

I'm really anti-option, so computers have been my nightmare with recording. I don't want endless tracks; I want less tracks. I want decisions to be made.

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.