Wayne Static Quotes

We spent a lot of time on that record with the sound and recorded it on the Paramount sound stage which is this huge room where the sound is reflected but the reflection is so late and comes from so far away that it doesn't blur the music but gives you a room nonetheless.

We listened to a lot of Rolling Stones and Beatles records when we were recording. They were really good at not playing loud, but generating really big sounds out of everything.

A lot of times, when you record something, the album becomes less about the music and more technical.

I like being in a recording studio. I like watching a song go from the simplicity of the original music.

T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.

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

I knew absolutely nothing about recording. I had this four-track recorder, and I'd plug my electric guitar right into it, which sounded real bad. I moved any fader that made a drastic change in sound. I thought that was cool - that it was communicating something. I didn't have the skills to do anything subtle. It was just like screaming.

Being in a recording studio is a very different feel from performing onstage. I mean, obviously, you can't just go in and do what you would do onstage. It reads differently.

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

What producers did was mostly recording in the studio, so it never changed our sound just that much.

Some of the songs I've made, I'm really disappointed in how I mixed them.

The whole thing with recording is you have to know when to turn off the tape machine and just stop recording because you want to keep fixing, fixing, fixing, you know?

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.

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.

Then I loved the fact that we were actually recording live.

To me, there is nothing better than me going into the studio with a live band and hearing those violins and that echo and that sound. I mean I loved it.

I loved the idea of recording. The idea of sound-on-sound-recording captured me as a young kid, and once I realized what it was I had an epiphany. Before I was even playing the guitar, I would create these lists of how I would record things and overdub them, like Led Zeppelin song, 'I could put this guitar on this track...' and so on.

I go in and sing the song and arrange it and mix it and that's it. It's no different than playing in clubs.

I write a song to be recorded. And to some extent to be performed, but definitely more to be recorded than performed, because the recording will last longer than a performance.

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.

I like home recordings and studio recordings just as much as each other - I don't think one is better - but for this record I wanted to see what I could do in a real studio with real producers.

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.

A vocal producer is very important, and it's a very important component of an overall successful and good-sounding record.

We just set it up and recorded it the way we played it. But that was the way we played it then.