Bill Wyman Quotes

When I record in a studio I don't use an amp. I go directly into the board, so I can get that very fat, full sound - which is my favorite sound.

The secret to the sound is to drop the bass on the floor!

And the general opinion is we are much better on stage than in the studio.

When you hear a great two-track of a performance in Carnegie Hall, let's say, it sounds like you're right there at that moment. It's true to reality. And the closer it gets, once it gets too technical, it becomes very tinny to hear notes. It doesn't sound right. It has to be natural.

I've got different drum machines that I use for different things, but I think the older ones are always the best when it comes down to getting that 808 bass.

Vocally, I don't think analogue makes that much difference, but with guitars, it definitely makes some difference. With drums and bass, absolutely.

But now, with the last two years of touring and being on the road, I've learned that a live show should never sound like a record; a record should sound like a live show.

The Stones are not the kind of band that want to get in the details. That's why they have a producer and engineer - to pull the magic out of them and make them sound so great.

I will never, never ever sing on stage, but when I'm in the studio, I do sing melody lines. When I'm working with singer-songwriters, and I hear melodies, I can guide them. I will be like, 'Oh no, do this this this.' But you will never hear my voice on a Martin Garrix track.

It's amazing to me how often the answer to making something sound better is to play something less.

What we do every day onstage, there's lights, there's lots of other musicians, there's an audience, there's a microphone and mic stands - layers of the onion we have to kind of hide behind.

We definitely were a punk band. When we got in with our producer, Richard Gottehrer, he slowed everything down so that you could actually hear what Belinda was singing.

The Fender Precision is my instrument, my beloved Precisions.

I have a Yamaha YC-45D organ in my studio. It's actually Terry Riley's favorite keyboard, so if you find old clips of him on YouTube, he's usually playing one of these.

I hate re-recording. I like singing, but I don't like recording a song over and over, making it too perfect.

When you're recording live, really good vintage instruments onto two-inch tape, it's the best fidelity you can get.

I honestly have really deep reservations about releasing everything you ever did. Every time somebody farted in the studio, now it's out there.

I think the sound that I have had on all the records that I've been a part of have been important and special.

I used to record songs, like, play the beat from one phone and have another phone recording me and just rap. Moving from that to a studio was like, 'Damn, I never knew I could sound like this.' It was just magic.

I would say when you're dealing with live musicians and musicality, the warmth of a live instrument brings a certain feel to a song that is really hard, sometimes, to get from synthesized instruments.

It's always important for us to record, so if we're not performing live, that's what we're doing.

I love a little distortion across the bass; I think it kind of adds something to the sound of the band when the bass is a little overdriven.

At first people thought I was really arrogant and a snob about music because I'm so intense about my production and sound, and because they knew I didn't like new music so much.

With all tools at my disposal, I'm 100% into chasing tone and checking out new equipment and "geeking" out during sound check by taking too much time.

If I had a religion, its deity would be Audysseus, the sound God, and He would be a vengeful god, dishing out eternal damnation to people with cheap stage monitors.