Josh Turner Quotes

The good thing about Pro Tools is you can actually hear what you're working on, so it doesn't just become this intellectual idea. But Pro Tools can be dangerous, too. It can make things sterile.

I have a pro tools rig that I carry in my backpack.

Everything we did, we did live - and then Bobby took it home and chopped it up and edited it. Which is pretty much what they did with every jazz record you've ever heard.

Just because something has tubes doesn't mean it's the best. I mean, tubes are obviously good, but the circuit of this thing is designed well and it sounds good.

Now with Pro Tools, you can play with layers and 100s and 100s of tracks. When we used to do it back in the day, you had one shot, or you would have to wipe it and carry on over that track.

I really think the acoustics that Gibson's been making for the last ten years or so are as good as any the company has ever produced and that's saying a lot.

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

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

Pro Tools was invented to quicken the recording process.

Darrell is really good in the studio. I mean, he has a real working knowledge of how the process works, and what sounds good coming back over tape, and how the stuff works together.

I think I have a basic sound aesthetic that is in most of what I do.

Yes, we record practically everything on Pro Tools.

On 'Metallica,' I recorded six or seven different guitar solos for almost every song, took the best aspects of each solo, mapped out a master solo and made a composite. Then I learned how to play the composite solo, tightened it up and replayed it for the final version.

Most of our stuff was trial and error. You live with a tape recorder, you turn it on, you play the song and you listen to it.

I've been in a recording studio enough times to know that it is not the best place to multitask. Doing a couple of takes of a song and running out to check your email to talk to someone about video production really is not good.

When you're recording to analog tape, it captures performance and you can't necessarily manipulate that in different ways. It is what it is.

I remember rehearsing it, and it was the one that we were really excited about and thought would sound the best, and once it was down on tape, it was like, This doesn't actually sound that good.

I try to do things in one take, but doubling rhythm parts is always difficult, especially if you want things to cut the way I want them to cut.

When you're on the road, you've got to have your four-track - or some kind of recording device to jam on and have a good time.

We always record with the whole band. That's key to capturing the feel, especially trying to get a good basic track.

My dad got me the same mic I use on everything now - this $200 mic from Guitar Center.

I like that kind of classic-type sound. A lot of my favorite albums were tracked live, with a four-piece band. I love the way those albums sound, but I want to make records that sound like that in the way I like to make stuff.

I don't want people messing with my sound, my stuff.

A lot of bands, they take a lot of planning to do a live record. They have to hire a crew, and they have to have a recording truck and all this equipment, and they record every single show.

I started recording in my sophomore year in high school. I recorded things on my cell phone in my basement.