Gavin Bryars Quotes

I am such a gearhead. In my recording studio, I personally engineer and edit everything on computers.

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.

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.

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.

After school, my mom would pick me up and I would just go to visit my dad in the recording studio, and I would see him working with Mark Hamill or hear him doing the 'Transformers' or a 'G.I. Joe' or the 'Rugrats.'

I don't like to produce albums. I hate producing albums, as a matter of fact, because I'm an obsessed mixer and I can't leave it alone.

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.

All the sounds on 'Trapped in the Closet' - the knockin' on the door, when I grab the keys, when I walk down the stairs, the car horns - we sampled all of those things around my house.

When we was making a song called 'Bring Da Ruckus,' we took the snare, and we put it in an elevator shaft and recorded it.

TTS was the unit that I was directly involved with the productions, and I'm still really, really proud of what we had put together, not just visually but musically at that time and age.

Mad World's distinctive percussion intro was played on a Roland CR-78 drum machine. We first recorded it at twice the speed, but it sounded great slowed down.

I went to school for audio engineering, and I was around a lot of sound engineers over the summers in New York, so I'm pretty comfortable in engineering my own stuff.

We mixed the sounds ourselves. If they were going to put the sound back onto our film [Pink Floyd: Live at Pompeii.], we wanted to mix it ourselves.

The first time I ever recorded, which was into my boom-box, I was like, 'Wow, check that out.' It sounded great. The narcotic of it was so intense - it was pleasurable. I was like, 'You sound like a band.' Then I ended up spending the rest of my life trying to chase that initial high again.

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.

My profession is called record production.

I don't think we'll ever use the same sound techniques.

I had an old, red-covered '63 AC30 - one of the best AC30s I've ever heard. I cut the whole of the first record with it.

I feel like, a lot of times, when you have a specific sound that you want and are searching for, you want the right group to help you put the kind of music out that you want.

I've been more and more into production lately, and I really, really love that. I love recording.

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.

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

Needless to say, I like to create a unique sound for each project I do.

Sound is the most important thing on any film, especially documentaries.

Our recordings, you feel that it's been, not labored, but you feel that it's been constructed in a way where sometimes it's hard for us to create the feeling that this was done in a room.