Washed Out Quotes

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

You have to have a certain amount of grit in your sound, and having real synths and talking certain elements outside your computer can help with this.

People don't realize that lighting can change the whole look of a place and the feel.

He doesn't make it so complicated but just really allows the lyric to come through even though there's a lot of production going on. I think that's the key and that's the magic, it's making sure that people could still connect with the lyrics while they're on the dance floor.

Lighting is an essential way to change the mood of a room, especially if you can use dimmers.

One of the most ephemeral and important things is atmosphere and tone and it's very hard to put your finger on what creates that.

But that's fine, because I like to have control of the ambience.

Even colors were important to me. If it was a somber scene, the colors were muted and dark. If it was a happy or seductive scene, the colors were brighter.

You just went right in and just recorded songs and listened them, and if there were any mistakes, then we would correct them and just went on... one take or two take.

Music makes or breaks an atmosphere. It helps to create the mood and also is a very important aural cue; simply shut off the music when you want people to leave.

I'm on this eternal quest to get the best guitar sound in the world, but my vision of what is 'the best' changes every time I go into the studio. Sometimes my goal is to make my guitar jump out, and sometimes I want it to lay back.

I don't really care about audio quality. If people saw some of the ways that I record stuff, they'd see I don't care in that respect. I obviously care about things sounding good, but I think quality exists through other things like emotionally connecting with a lyric or a feeling, or whatever.

If you want to make people dance, you need to follow certain rules. Build-ups and breaks and stuff. I like to be free. On top of it all, I never really felt that I'm good at making fat-sounding dance tracks.

Tone is up for grabs in what we do - what's the tone of the scene.

We'll set up a demo session and try to knock out eight or ten songs and make them sound as close as we can to a record with the money and time we have.

We can even sing off key, but if it's produced properly it can be a hit.

I'll put candles all over the room, then light then, and get to it. I call it my 'vibe in a bag.'

Whenever I record more than two or three layers, it starts to get cluttered up, and you can't hear the cut of the guitars as good. It's hard to get four guitars to hit at exactly the same time and keep the attack tight.

My best capacity is to edit. If anything, I am a specialist at editing: my usual approach is to record a song very long. In the beginning just jam, jam on and on. Then break the song and play with it.

For me, a great meal is a collision of company, environment, ambient temperature, the waiters, where you are emotionally.

The best records are not perfect. They don't sound digital or like someone applied rules.

Depending on how I'm feeling that day or the music I'm listening to, I will pick appropriate lighting to help create the atmosphere for me. I use a lot of blues and purples.

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

Lighting is everything. It creates mood and has an emotional effect on you.

When we record a song, like 'Bedside Manner,' it's important that the next time I write a somber, mid-tempo song that we don't treat it the same way.