Washed Out Quotes

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.

Record making is an extraordinary experience.

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

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

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.

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

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

Music turned to digital, and suddenly you had the possibility to make things louder than loudest, which boggles the mind but it's true, and what you have are all kinds of different ways of distorting your music.

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.

Well, I think, I certainly used backward music in Sea of Monsters. I can't remember in the Sea of Time. I would tend to do that all the time, you know? I tended to do all sorts of weird things. Just to get effects.

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

I love the magic of the studio.

Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!

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 know that if I went to other studios, like in Vancouver, that those are set up to be as professional and as true, so it's just a different flavour, it's a different sound, but I think both have their place.

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.

It's not about how loud you turn the amp up. That's not what makes it sound big. What makes it sound big is fooling around with different delays and reverb settings.

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.

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

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.

The good thing about Pro Tools is you can actually hear what you're working on, so it doesn't just become this intellectual idea. But Pro Tools can be dangerous, too. It can make things sterile.

I don't really care about audio quality. If people saw some of the ways that I record stuff, they'd see I don't care in that respect. I obviously care about things sounding good, but I think quality exists through other things like emotionally connecting with a lyric or a feeling, or whatever.