Mike Gallagher Quotes

For live you need a microphone for the snare and the high hat, the kick drum, a nice stereo overhead and one for the toms - you can get away with using four mikes.

We record a lot of our shows, we record our soundchecks.

That's called a microphone. It's a big sausage that picks up everything you say - and you're starting early.

I want to do more television and I want to do more radio.

Micing it from two different angles in front of the speaker sounds huge, and it's so simple.

As a DJ I am never 100 percent in charge of the sound. The sound levels are controlled by someone at the sound board of the venue.

My live sound does not work in the studio, which is a completely different animal. Every little thing is detrimental to the sound. And if someone moves a mic, you've lost it. It's pretty much a case of 'lock the door and set up a police line.'

I have had a lot of experience in broadcasting.

When you're doing a radio show, you can express yourself.

I want to take some jams and really concentrate on hooking up with Page because, since he's the only one not next to me, and his sound is mainly coming from my monitor rather than through the air, it's a little harder for me to hook up with him.

Long ago, I did a five-and-a-half-hour-a-day, six-day-a-week talk show for four years, early on, in Los Angeles - local show. And when you are on that many hours with no script, you know, you get very comfortable, maybe overly comfortable with that small audience.

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 bought an audio technician mic and Pro Tools SE, the demo version and was recording in the basement.

More than any other instrument, the relationship between an acoustic guitar and a microphone is super-important. The kind of mics that you use and your placement of the mics to the guitar can radically alter your sound.

I would call myself a radio performer who has just jumped in front of the camera and is very happy.

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

I didn't grow up working on 24-track - the first two Taste albums were eight-track and we always had tracks left over - we couldn't believe it, either!

We are always fortunate to have our own sound folks with us that do a great job in ensuring that everybody can hear and the sound is good.

When we first started making videos, we didn't have a boom mic, so we had to talk really loud. And then we got a boom mic and were like, 'Wow, we're shouting,' and had to learn to bring it back.

I do have a little setup at home. I use Pro Tools and a Neumann mic. Neumann's are my favorite.

A place like Sound City, which was just a big, beautiful room where you would hit record and capture the sound of the performer - a place like that isn't necessarily in demand anymore.

Well, I don't really use MIDI that much. But I do record audio around me a lot, and just layer it up and see what effect it has, without any aforethought.

I adore every anchor I watch or I am standing next to. It's not the most easy job being live while you have countless instructions to follow. So, immense respect for each one out there.

I love doing live TV.

Such a huge amount of respect for people who regularly present live television - it's a skill and it's not easy.