Kim Shattuck Quotes

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

I did sound for a number of years, so I know the pain of the sound mixer on a set where everybody was talking.

I know sound, and this is what I'm going to stick to: what I know.

I went to school for audio engineering, and I was around a lot of sound engineers over the summers in New York, so I'm pretty comfortable in engineering my own stuff.

The studio that we mix in is still in Chicago.

I know all my different formulas to get certain sounds. I've been doing this so long that I don't experiment anymore. Or let me rephrase: I've been doing this so long that I don't have to experiment as much. You always want to evolve and change, but if I go in and I know it's a certain type of song, I know exactly where I'm going to place the mics.

I'm really into the way sound works in film, and I did a little bit of sound design for theater in college.

Writing in the electronic world, you imagine a sound, and then you have to go and find it. It's not like imagining a flute and then making that sound materialize. That's easy!

Sound is your friend because sound is much cheaper than picture, but it has equal effect on the audience - in some ways, perhaps more effect because it does it in a very indirect way.

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

I have a very limited knowledge of recording, but the miracle of being able to capture sounds on magnetic tape and the miracle of electricity, and these little magnetic particles, is amazing to me.

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.

We just set it up and recorded it the way we played it. But that was the way we played it then.

So for my studio purposes, I know that I'm in my studio with technicians who've done amazing things to my board and to my power amps and I know what I can deliver out of my studio.

Well, whether it's on film or on TV, you don't want to throw too many curves at your audio and video guys.

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 prefer playing in the studio because you have much more control over things.

When I went into the studio I created a sound that I wanted to hear.

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

Paul Hicks is the only guy The Beatles will allow to arrange, mix and engineer their music, so he did the Cirque du Soleil 'Love' show.

Today's recording techniques would have been regarded as science fiction forty years ago.

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.

And then when I found my sound, it took me two and a half weeks to find my sound and when I did I pulled out all the stops, all the stops I could find.

I'm never tired of going to the studio. I enjoy recording and documenting everything and trying new things.