Herb Alpert Quotes

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 have friends who have a CD mastering plant in Hollywood and they are very sceptical about European record labels' understanding of digital technology.

I was 17 and just learning what high fidelity was, what good sound was, and learning the mechanics of tape machines. It was a real education, going right from the consumer end to the record factory.

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

If you looked at the sound pattern of an old-fashioned record, it would be very spikey. But nowadays, there's no spikes - everything looks like a brick, so the quiet bits become louder. It's actually damaging because it's like listening to a drill.

That's what records do: represent a compressed, heightened version of the sound. Because of the compression of the tubes and microphones and the wax, it's magic!

I still have a lot of faith that there's very few people who are savvy enough to actually produce a good sounding copy of the record.

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

With technology being the way that it is right now with Pro Tools and all that other stuff, more and more people are recording stuff at home and just utilizing Youtube and Facebook.

I've always wanted to produce a whole album for an artist.

I'll know when a song's really awesome, for sure, and I get super stoked, and I'm so high when I'm hearing it back, but then you sit with the record forever. You're mixing it, and you can really just over-think everything.

What do I think of digital recording? Well, it's all right. But those old thorn needles, now, that was a sound.

When you finish a record, I look at it like a photograph. It's already taken. You got it the way you wanted it to be. You edit it, make sure the light and contrast are right, then you just put it away, and that's your photograph. Then you don't really think about it anymore.

Twenty percent of my records, you'll find a loop, like two or three loops per album out of 13 or 15 songs. I'd rather keep it like that.

My high-techness is pretty low-tech. I'm not wildly computer savvy. I'm a record person.

I pick simple beats because I need space for me to work.

As far as animatronics, I started out in college working for Tom Holman. He was the inventor of the THX sound system. Through him, I got an internship at Lucasfilm.

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

To listen to my first record, it doesn't sound like me.

Radio or no radio, I just like the way records sound when the drums and vocals are loud.

If I'm recording a song, and it's kind of fuzzed out, but I've got this super candy melody, I feel nothing but freedom that I can just sing over the top, and it will be appreciated. It won't be like, 'What is he doing?'

I write all of my songs from scratch, so the one thing I love about EDM is the way a song transforms into a piece of art, and how the different sounds can change the feel of the record.

I treat recorded tapes the way a film director treats his rushes.

I would give anything if it went back to analog age. I mean, music was so real, and you had to sing everything on a record; you had to play everything on a record. There was no cut-and-paste - you couldn't get the chorus right one time and then paste it every other time; you really had to be good at what you did.

When I first started recording music, we would record in the closet with socks on the mic.