Danger Mouse Quotes

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

I like being in a recording studio. I like watching a song go from the simplicity of the original music.

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

In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool.

My approach to recording and all that is pretty organic. It just has to do with all the songs I wrote; go in and record them.

The studio part, to me, can be pretty laborious. You're inside for hours on end and can be pretty frustrating to get the sound you hear in your head to come out of those speakers.

Record making is an extraordinary experience.

Our job as producers is to make the music sound as good as possible.

Tom would bring in songs, Mike would engineer, and we recorded about 30 songs.

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 realized I liked being in the studio and working on translating the ideas into recordings.

Usually one or two things happen: Either you have an idea straightaway - the sort of sound that you want or the instrumentation or one particular sound that you want to feature - or you don't.

T Bone is genius. The way they've recorded my voice and the instrumentation to these songs is really quite extraordinary.

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.

I've never made a record that didn't sound better than what was in my head - that's sort of my rule.

I usually make records very quickly. I usually go in and record them and mix them, and I'm done within a couple of weeks.

I like to explore a lot of textural, arrangement aspects in the studio.

I spend just as much time on how people hear my music as I do the actual music, no matter how long it takes. I'm such a visual artist as well that it always goes hand-in-hand.

I've got my own studio, so I sit in my studio writing and if I get a great take, that's the take.

I talked to the record company about what I had in mind. They said they wanted something lush. I figured the best thing to do was let them hear what I had in mind.

I do go back and listen to my songs. I'm biting my fingernails the whole way through, but I do listen. I have a lot of songs I've wanted to re-record just because of how advanced technology is and the different instrument sounds that I'm more experienced with.

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.

I spend a lot of time working in the studio as a producer, not just a singer.

I'm interested in creating a little sound world for songs, really crafting it, building it, and making it like a little doll's house with little things inside it, staircases and rooms and everything kind of relates to everything else. I've never seen it as drums, bass, guitar and vocals in very separate spaces.