Jimmy Page Quotes

The atmosphere defines the environment of sound.

I've watched and learnt from DJs and remixers and paid way more attention to how I want my voice to sound. Before, as long as it was loud and in tune it was fine. I've discovered the difference made by various microphones and effects, so each track has a different vocal sound, my voice is woven into everything and it's above everything.

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.

One thing I'm doing on the new Titanic recording is actually bringing in different acoustic spaces.

I hate the way chorus boxes sound.

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

The late '70's and early '80s is the zenith of a certain craftsmanship in sound recording.

We always did our own mixing.

In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool.

I like to find music that shares a rhythm with the sentences I'm working on. And though I'll probably regret saying this, I think some songs actually don't sound too bad when they're played through lousy speakers.

I try to listen to a lot of music when I'm in the mixing process of a record, when I'm in post-production and trying to get everything to sound a certain way.

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.

All the sounds on 'Trapped in the Closet' - the knockin' on the door, when I grab the keys, when I walk down the stairs, the car horns - we sampled all of those things around my house.

I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director's vision for the film.

Producing is getting the performances, tracking it, making sure all the parts are there. Mixing is when you take the finished work, and you make sure all the levels are right. It's putting all the parts together.

I'm not a fan of the sound quality of our first album, because there's a noise in my head.

Sometimes I hear records that are being recorded at the absolute highest quality, and I just don't like the sound of it.

To me, sound is a crucial component to, really, any moviegoing experience, but particularly with suspense films or thrillers. I think you need the audience to become subtly really attuned to the soundscape in, like, this uncomfortable way.

When you listen deeply to a song, you find all the little sounds they use and subconsciously learn how to produce and mix.

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

The sound itself, the production, is of such great importance that it has become an integrated part of the composition.

I usually like to hide my vocals behind the music. I don't like to hide them consciously, but I have a tendency to prefer the vocal at the same level as everything else and put lots of reverb on it.

Our recordings, you feel that it's been, not labored, but you feel that it's been constructed in a way where sometimes it's hard for us to create the feeling that this was done in a room.

A guitar can be so human, so sorrowful, so angry, and I wanted to figure out how to achieve that vibe without having to actually use guitars, because 'Badlands' is a very futuristic record - and making it that in an era of futuristic music is a really hard thing to do!

The track 'Open Eye Signal,' when you hear that choir sound come in, that's actually me singing but sped up and with huge reverb and overlayered harmonies.