Ellie Goulding Quotes

I don't think my vocals demand effects. I like reverb to a certain extent, but I don't want to hide my voice. I like stripped-down vocals, but I also like crazy, powerful, doubled vocals like in dance or electronic music.

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.

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 usually like to hide my vocals behind the music. I don't like to hide them consciously, but I have a tendency to prefer the vocal at the same level as everything else and put lots of reverb on it.

Some of the songs I've made, I'm really disappointed in how I mixed them.

I do most of my vocals - aside from a couple of little one-shot vocal samples. I record everything into the Saffire with an SM58 then scratch it with loads of plug-ins. I don't do much vocoding to be honest. All my vocals are usually done with Melodyne and a ton of other plug-ins to make it sound weird.

We always did our own mixing.

My voice has been very, very produced, and very treated - but then, also, it hasn't.

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.

The instruments that bleed into each other are what creates the ambience. Once you start cleaning everything up, you lose it. You lose that sort of halo that bleeding creates. Then if you eliminate the halo, you have to go back and put in some artificial reverb, which is never as good.

The Police could get away with doing an entire record with really no audible reverb, which I have always admired and thought would be a lot of fun to try to re-create.

I'm not the most technical producer, so the weird mixes and blown-out sound happen naturally.

I think anyone who knows the audio process knows what mixing and mastering is.

Yes, because as composers we are looking for textured voices, and often the singers we find are not trained to perform in a studio environment. So we need technology to doctor their voices to suit the format.

I'm always saying in the studio, 'My vocals are too loud!' or 'My vocals have too much effect on them!' I like some of it, but I'm not a fan of loading effects onto my voice.

I don't think there's anybody that has such a keen sense of vocal production and attention to detail as Dre.

The original vocals had an awful lot of work put into them at the time, and I wasn't really sure that I could better them - I don't know if I have bettered them.

Engineering and mixing are absolutely key. Once a song is done, for me personally, it's usually two or three days to get the mix down.

If you focus too much on development of the visual angle, it could be a detriment to what you're doing musically.

In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool.

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

All my vocals were recorded at home, which was great for me. You can actually have a studio in a computer program called ProTools. I did half the record with ProTools.

I like to find music that shares a rhythm with the sentences I'm working on. And though I'll probably regret saying this, I think some songs actually don't sound too bad when they're played through lousy speakers.

I still think that I'm playing instruments, not just pushing buttons and there it goes. It's interactive and alive with the sound and the manipulation and it plays like instruments.

The human voice sounds thicker with a chorus and reverb than a dry signal.