Kaki King Quotes

Trent likes to record guitars direct, whereas I've always preferred playing through an amplifier.

After discovering the Ramones, I discovered really crude ways to multi-track by taking another cassette recorder and plugging that into the eight-track, playing it back, so that as I was recording with the mic in my guitar, I could have another cassette player I had recorded on feeding into the recording.

When we was making a song called 'Bring Da Ruckus,' we took the snare, and we put it in an elevator shaft and recorded it.

You can't just plug your guitar in your computer and make it sound like an old record.

I'm thinking about recording everything to tape like it's 1991 and seeing how that sounds.

I just play intuitively and work the same way in the studio. I don't have any magical effects or anything that helps me to get my particular sound.

I've discovered that sheer quantity doesn't necessarily make for a heavier sound; if anything, overdubs make guitars sound mushier.

To get my sound in the studio, I double guitar tracks, and when it gets to the lead parts, the rhythm drops out, just like it's live. I'm very conscious of that.

Producers like to record all the drums first, then they do the bass, then all the guitars, so you're constantly moving from one song to another.

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.

We had a simple 8-track studio set up in the record store where I worked. And just staying after work and experimenting, realizing what was possible with recording - that's why my project was called The Microphones at first. Because it wasn't even songs really. It was just sound.

I like that kind of classic-type sound. A lot of my favorite albums were tracked live, with a four-piece band. I love the way those albums sound, but I want to make records that sound like that in the way I like to make stuff.

More than any other instrument, the relationship between an acoustic guitar and a microphone is super-important. The kind of mics that you use and your placement of the mics to the guitar can radically alter your sound.

My process is really about little bits of inspiration. I just record them really quick on the guitar or something. I have a huge folder full of them. But if I start a song, I finish it.

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.

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

Gaslight has a specific way of playing and recording that's sort of become the way now.

I know all my different formulas to get certain sounds. I've been doing this so long that I don't experiment anymore. Or let me rephrase: I've been doing this so long that I don't have to experiment as much. You always want to evolve and change, but if I go in and I know it's a certain type of song, I know exactly where I'm going to place the mics.

When I first started recording music, we would record in the closet with socks on the mic.

In the studio, I don't use an amp, I just go direct into the desk. It's virtually acoustic, what I'm doing.

We're doing unusual records that sound big, have a pop feel, and we're getting better at it.

We [with Rick Rubin] would focus on the ones that we did like, that felt right and sounded right. And if I didn't like the performance on that song, I would keep trying it and do take after take until it felt comfortable with me and felt that it was coming out of me and my guitar and my voice as one, that it was right for my soul.

I really know so little about recording, and I'm learning as I go.

I just recorded in studios, you know, people pressed the buttons for me. So I just started recording the bass lines and guitar parts with my voice, covering classical pieces, or just making up melodies so I could learn how to use it.

The great thing about vinyl is that if you wanted to get a decent-sounding cut, you could really only have 20 minutes max on each side. So you had a strict boundary, and that was something I'd grown up with as well. Also, you were able to have different moods on each side, which was nice.