Dr. Dre Quotes

All my writing, I always do it in the studio, 'cause everything sounds good. The piano's there, the keyboards; if you want to put strings on something... And everything sounds good when it's in the cans; it sounds killer.

A lot of times, when you record something, the album becomes less about the music and more technical.

I was 17 and just learning what high fidelity was, what good sound was, and learning the mechanics of tape machines. It was a real education, going right from the consumer end to the record factory.

I think the sound that I have had on all the records that I've been a part of have been important and special.

T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.

I like to make records sound good. I'm more like a reducer than a producer. If an artist cannot produce themselves, what's the point?

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.

When somebody like Elvis Costello comes along, anybody can make a good record with him.

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

I used to think that all great recordings happened at about 3 A.M.

No matter what type of equipment you have, you still have to have a certain talent to be able to make a good record.

I remember discovering that I loved recording - that breakthrough when I was in high school getting to record for the first time.

We grew up understanding how the analog sound is a driving force for music.

I think I make good beats, but when it's not mastered correctly, it can definitely make it sound like it's not a good beat, and that has been an issue sometimes with me in the past.

All day long you write little ideas on the piano and the guitar, but sometimes all you have to do is come in, set up the mic, press record and start the process.

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 didn't really think about the sound of my songs before I started recording things in the studio.

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 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.

A good producer brings out the best in the artist he's working with. You shouldn't be able to listen to something and say, 'So-and-so produced this album.'

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

Being in a recording studio is a very different feel from performing onstage. I mean, obviously, you can't just go in and do what you would do onstage. It reads differently.

It's lovely being a producer. It's really a lot of fun and I can learn a lot.

I always want to make an album that lets people immerse in it, kind of like you get caught up in a good movie.

Record making is an extraordinary experience.