Jay Chandrasekhar Quotes

We'd dub the one that came off best into the final transcription. It gave us a chance to ad lib as much as we wanted, knowing that excess ad libbing could be sliced from the final product.

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

There is a lot of use of ProTools in professional studios, but this is mostly for the special effects it allows, not for sound quality. These special effects soon fall out of fashion, and I don't think this trend will define studios permanently.

Pro Tools was invented to quicken the recording process.

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.

Yes, we record practically everything on Pro Tools.

I treat recorded tapes the way a film director treats his rushes.

I like radio because you can do an hour-long interview and then three days later have a finished piece.

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

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.

Same thing with film, by the time you've finished shooting and you've really been into everything, you've touched up everything in the editing room. You've gone in there and taken little bits from everything.

After school, my mom would pick me up and I would just go to visit my dad in the recording studio, and I would see him working with Mark Hamill or hear him doing the 'Transformers' or a 'G.I. Joe' or the 'Rugrats.'

Susie Lynn, the producer of those segments, goes in and lays all the voices over the video.

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

We all know that much of what we hear in life is not really so. Canned laughter and 'sweetened' applause have been TV staples for decades, and all the slamming doors, breaking glass and squealing tires you hear in movies are sound effects.

Occasionally, when you do a take, and - what I kind of sort of like is asking for a PPB - Personal Play Back.

When the picture was finished, they took me into the sound room and then I screamed more for about five minutes just steady screaming, and then they'd cut that in and add it.

That's what happens nowadays with people working on computers. They can so easily fix things with their mouse and take out all the, 'Oh, somebody coughed in the background; we need to take that out' - or somebody hit a bad note. Those are all the best moments.

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.

It's a very interesting thing because I can start mixing a song and leave the room and come back and maybe just slide one lever to a certain point, and it just - it's a certain feeling that it gives you when you know it's right.

The number of times that anything is overdubbed on 'Frampton Comes Alive!'... the rule was, if it didn't make it to the tape, then we can redo it because it needs to be done. If it made it to the tape, and it sounds good, we leave it. So nothing was overdubbed on that album at all that wasn't absolutely necessary.

Sound is the most important thing on any film, especially documentaries.

You can make or break a picture in the dubbing room.

There's a lot of trickery that can go on in the studio, and there's a lot that one can do - none of which I am interested in even slightly. I mean, you can actually tune vocals and stuff like that, but it's so hideous, I can't believe it.

I have been dubbing since 2006.