Herb Alpert 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.

When you're recording, if you're not really clean in your playing, it sounds like a mess.

Little things can make such a big difference during recording.

A lot of times good, pristine recordings prevent the listener from getting emotionally involved in the music.

When you're recording live, really good vintage instruments onto two-inch tape, it's the best fidelity you can get.

I've been singing quieter because I live in a thin-walled apartment.

People want to hear clean sounds; they don't want to hear coughing in the background, pages turning.

It's not as if there's a noise problem, because they use the same circuits as Formula One.

I hate the way chorus boxes sound.

The late '70's and early '80s is the zenith of a certain craftsmanship in sound recording.

Where you record is very important. It can't be too nice, it can't be too expensive, it can't have a view to an ocean or a field.

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.

It's all about sound. It's that simple. Wireless is wireless, and it's digital. Hopefully somewhere along the line somebody will add more ones to the zeros. When digital first started, I swear I could hear the gap between the ones and the zeros.

I am not that thrilled about the way our records sound anyway. Don't get me wrong, I work hard on them and I want them to sound fantastic but I'm happy to have another interpretation of them anyway.

The only advantage of the CD is that you have a booklet that can tell a bit of a story, but the little covers are just boring. I love vinyl, and I have loads of it. It's the same thing as digital photography versus film photography. It's a quality thing.

I like noise. It's always puzzled me why one of the goals of contemporary recording is to get rid of noise and to eliminate any element of a performance.

I'm not into albums that are meant to sound perfect.

I loved music, and in my ninth year at MIT, I decided to buy a hi-fi set. I figured that all I needed to do was look at the specifications. So I bought what looked like the best one, turned it on, and turned it off in five minutes, the sound was so poor.

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

Music as background to me becomes like a mosquito, an insect. In the studio we have big speakers, and to me that's the way music should be listened to. When I listen to music, I want to just listen to music.

I rant and rave about noise pollution.

I wanted to do something as an extension of my passion for music. My aim for the STREET by 50 On-Ear Wired Headphone range is to present music as it's meant to be heard, in studio-mastered sound.

I was successful with mediocre material because of a good recording voice that people really liked at that time.

I always have my Bose headphones. I have to have the noise-cancelling headphones.