Geddy Lee Quotes

No compression or as little as possible - that's how you get a good recording.

It's also ironic that in the old days of tape and tape hiss and vinyl records and surface noise, we were always trying to get records louder and louder to overcome that.

All I know is that when I mix to digital and when I mix to tape I compare them and the tape always wins out.

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.

Sometimes I hear records that are being recorded at the absolute highest quality, and I just don't like the sound of it.

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'm an electronic guy, I'm a freak for electronic music but real instruments, the dynamic range of it, and the emotions, there's no comparison.

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've watched and learnt from DJs and remixers and paid way more attention to how I want my voice to sound. Before, as long as it was loud and in tune it was fine. I've discovered the difference made by various microphones and effects, so each track has a different vocal sound, my voice is woven into everything and it's above everything.

There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently.

I produce the records. I don't hand over control to some really expensive producer who then talks to the record company and then tries to bend me to their will - for commercial purposes.

Digital for storage and quickness. Analog for fatness and warmth.

Pro Tools was invented to quicken the recording process.

I don't ever land on an album title until I know exactly what's going on the record, because you never know until it's all said and done.

A vocal producer is very important, and it's a very important component of an overall successful and good-sounding record.

I think that if people realize that with an mp3, you're only getting five percent of the sound that's there. But when you hear the entire thing... I think it would save the music business. It's such a drastic change.

I've personally reached the point where the sound of MP3s are so uncompelling, because so much is lost in translation.

We certainly strive for trying to make a quality record throughout, and I think that's true of all of our records.

I always liked the intensity of the recording.

The only thing they really get to pick is the single. But I get to pick the producer, the songs on the record, the final masters, the artwork. Basically, I hand them a record.

I think the fans really wanna hear the songs the way they sound on the record.

I love loud music. I listen loud, and that's part of how I've learned how to do this. Record softly and play back loud and a whole other thing happens.

Early CDs, I found, flattened out the sound - it took away all the highs.

It doesn't matter if you record with a microphone on a laptop or at a friend's house. Now it's more of a danger of things sounding too high-fi than sounding too low-fi.

You can't just plug your guitar in your computer and make it sound like an old record.