Neal Schon Quotes

What producers did was mostly recording in the studio, so it never changed our sound just that much.

Bobby is really the one who did all the editing on that stuff. And he did all the mixing. I particularly like the record we did with Logic because Scott Harding did a great job mixing it. He's really a killing engineer.

I write the songs, go in and record them, then I listen to everything and decide how it all fits together.

I've got my own studio, so I sit in my studio writing and if I get a great take, that's the take.

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.

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

About two months into the Whisky, I borrowed some money and rented a remote recording truck.

On record dates like that I never felt too nervous because everything was really overdubbed. When we did that album, we were in the studio for probably a week, so you had a lot of opportunity to fix things.

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.

The studio that we mix in is still in Chicago.

I've had the luxury of owning my own studio, 24 analogue, 48 digital, endless effects, endless hardcore gear, that I don't have to rent, I don't get stuck with the bills, it's all mine.

I try to listen to a lot of music when I'm in the mixing process of a record, when I'm in post-production and trying to get everything to sound a certain way.

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.

It was all recorded and mixed and there's more continuity in it more direction.

Producing is getting the performances, tracking it, making sure all the parts are there. Mixing is when you take the finished work, and you make sure all the levels are right. It's putting all the parts together.

I treat recorded tapes the way a film director treats his rushes.

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

When I was recording from '70 to '82, I always played piano and laid the tracks down. But I used to talk to the other musicians while the track was playing.

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.

My dad's a sound designer, and he used to take me to work with him.

I started a recording studio. I started producing people and doing remixes.

Pro Tools was invented to quicken the recording process.

The actual producing, mixing, and mastering is hard work, harder than what I do.

I loved the idea of recording. The idea of sound-on-sound-recording captured me as a young kid, and once I realized what it was I had an epiphany. Before I was even playing the guitar, I would create these lists of how I would record things and overdub them, like Led Zeppelin song, 'I could put this guitar on this track...' and so on.

I go in and sing the song and arrange it and mix it and that's it. It's no different than playing in clubs.