Dimebag Darrell Quotes

That's what records do: represent a compressed, heightened version of the sound. Because of the compression of the tubes and microphones and the wax, it's magic!

A lot of times you'll hear bands and it's a different sound coming out than what's on stage. Because you can clean it up through a PA and make it sound completely different than what they really sound like.

When the Grateful Dead needed a quality sound system to deliver our sonic payload, I learned electronics and speaker design.

It all begins with the initial tone coming from the cabinet, but EQ at the board is very important.

I've discovered that sheer quantity doesn't necessarily make for a heavier sound; if anything, overdubs make guitars sound mushier.

Pro Tools was invented to quicken the recording process.

Studios are designed to pull out all of that beautiful ambience you get from singing in a room, and then the engineer puts it back in digitally or through whatever machinery you've got.

Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!

I wanted to make a classical piece that was actually designed to be a CD, not designed for performance.

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.

But really important, perhaps most important is the craft; how you make your record, the creation of these sonic worlds you want your listener to hear.

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.

I worry about technical details - did I mix the cello half a decibel too high? Things like that.

I'm really anti-option, so computers have been my nightmare with recording. I don't want endless tracks; I want less tracks. I want decisions to be made.

I've been so entwined with technology since I was about 15, recording myself and multitracking and producing things on my own.

All you have to know is mathematically how many times to scratch it and when to let it go - when certain things will enhance the record you're listening to.

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.

People are so into digital recording now they forgot how easy analog recording can be.

Having the facility to have this multitrack at home, I could try experiments with sort of all of the instruments, giving them different treatments so they didn't actually sound, necessarily, like the instrument itself.

My parents don't really understand my career. They don't really bring it up that much.

Well, I don't really use MIDI that much. But I do record audio around me a lot, and just layer it up and see what effect it has, without any aforethought.

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.

It doesn't matter if you record with a microphone on a laptop or at a friend's house. Now it's more of a danger of things sounding too high-fi than sounding too low-fi.

My daughter is a bit annoyed with me that she didn't get to meet Baby Yoda.

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