Tommy Lee Quotes

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

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.

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.

The first two projects I did out of my dorm room were mock film soundtracks.

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.

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.

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.

My idea is to play with the people who you know want to get it right. Then it's fun and easy to record, and you can get down to details, like taking out cymbals so the verse doesn't dwarf the chorus, something like that.

The tracks on 'Sleep' were recorded live to 2-track. I did a fadeout or two of them, but that's really it.

I have a recording that I did of instrumental songs.

A lot of our tracks have sounded a lot better than I thought they would because of recording, mixing, and because I probably didn't hear it that way. I'm not a songwriter.

I always say that when I was recording with Phil Spector, he would not let me really sing, you know? And even to make me sound younger, he would speed the track up. He still wanted that real nice, little, quiet, sweet little sound.

I used Coldplay's mixer, Michael H. Brauer, on 'Roadsinger'; he's brilliant. He won a Grammy for their record.

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.

When we cut 'Strangers In The Night,' we did the whole song in two takes.

I'm not the most technical producer, so the weird mixes and blown-out sound happen naturally.

I like making sounds and putting it together, I'm not just a singer or a producer.

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

All songwriters are known as 'topliners' because the vocal goes on top of the track.

'Brace the Wave' is an acoustic-electric record recorded with electricity on analog-digital and digitally-analog equipment.

I'm always saying in the studio, 'My vocals are too loud!' or 'My vocals have too much effect on them!' I like some of it, but I'm not a fan of loading effects onto my voice.