Frank Ocean Quotes

Our job as producers is to make the music sound as good as possible.

I've always been a bit of a sound freak in the movies I've done.

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.

I think I make good beats, but when it's not mastered correctly, it can definitely make it sound like it's not a good beat, and that has been an issue sometimes with me in the past.

I had a vision how it should sound and I put all my knowledge into this product and it is a fantastic product. People still tell me that I have the best musical thing there.

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

It's harder to make real audio than special effects audio.

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.

I love the magic of the studio.

Some people record onto tape, and then they pay for the tape, and download those onto a hard drive. Initially in a Pro Tools program. Other people go straight into digital, and use no tape at all.

We're so used to everything being properly manicured, like you can hear every footstep in a movie, you can hear every bit of dialogue, and everything is in its place.

I'm not really a knob-twiddler. I always work with an engineer; I'm not super hands-on when it comes to mixing boards and computers. I'm much more about what I'm hearing and what it needs to be like. I deal with songs and ideas and instruments.

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

I have a company in New York City producing music for commercials, for radio, TV, features, etc. That's how I've been making my living. And now the company is very successful - to the extent that I can afford to come out and play.

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

The dubbing of the music and effects is really incredible today. You're feeling gun shots. I mean, it's not the way people say it is, but the gunshot sounds real. And cars sound real. Among the many things in the evolution (of movies) is to make the sound in the movie incredible. That's what you feel.

Some people focus more on sonics. Some people focus more on story. I focus on both sonics and story, but music sometimes, just music itself, can turn into more of a maths problem. I guess everything in life is a math problem, but it can be more about an empirical route to getting the symmetry that you want, and this vibe, sonically.

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

I don't believe that recordings should sound radically better than the artist, I think that's dishonest. For example, I'm not a great singer but if I spent enough time tweaking my vocals, I could sound like one. But I don't, what you hear is pretty much what I sing.

I spend just as much time on how people hear my music as I do the actual music, no matter how long it takes. I'm such a visual artist as well that it always goes hand-in-hand.

Aame' is a new attempt. The entire film was shot using live sound technique.

For me, what people generally call sound design is just one component of orchestrating a score.

We grew up understanding how the analog sound is a driving force for music.

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

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