Neko Case Quotes

I love sending stuff to Usher because it always sounds better than me.

I think I have a basic sound aesthetic that is in most of what I do.

When you're recording, if you're not really clean in your playing, it sounds like a mess.

My very first records, I was very interested in how you get the particular quality you want out of it, and I began to learn about the engineering and aspects of production and things very early on. I got hands-on with the process and taught myself how to engineer, as opposed to just being a producer who asked the engineer to make it sound nice.

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.

A lot of bands, they take a lot of planning to do a live record. They have to hire a crew, and they have to have a recording truck and all this equipment, and they record every single show.

The main thing about being a producer and not a beatmaker, the difference is the ear.

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

The thing people forget about Kevin Shirley a lot of the time is that he's not only a great producer, he's also a world-class engineer. He really knows how to get a sound.

I remember that the bass was turned up slightly more on the mix from last week, and I thought that was good - or whatever. Like, there were some little things in there that he said that he came to, like, really enjoy my opinion or at least, like, my little comments on the songs. So I was kind of destined to probably be a studio rat.

You are in a state of mixing, and you just live with it. There is not one musician who is completely happy with a mix.

I can always tell if a band has a British rhythm section due to the gritty production.

All my writing, I always do it in the studio, 'cause everything sounds good. The piano's there, the keyboards; if you want to put strings on something... And everything sounds good when it's in the cans; it sounds killer.

I like to enjoy good music. I like Michael Jackson; I don't care who wrote the songs.

'Deacon Blues' was special for me. It's the only time I remember mixing a record all day and, when the mix was done, feeling like I wanted to hear it over and over again. It was the comprehensive sound of the thing: the song itself, its character, the way the instruments sounded, and the way Tom Scott's tight horn arrangement fit in.

I've been more and more into production lately, and I really, really love that. I love recording.

I certainly considered DJing. I bought four vinyls, and I bought some turntables, and I was like, 'Um. Yeah. I'm not gonna do this. This is not my thing.'

I begged and begged, and my uncle gave me his old turntables. It was one hi-fi and one old Stereo Lab turntable and a rusty mixer. I was really chuffed. I kept that for five years - that's where I learned to mix.

I learned everything I knew about recording and engineering from my experience with Odd Future, so I was pretty comfortable with not having much.

I try to make the songs as good as I can - the way I like it, you know? And I guess my taste sometimes happens to be what other people, particularly radio programmers, like too.

We record a lot of our shows, we record our soundchecks.

It doesn't matter if you record with a microphone on a laptop or at a friend's house. Now it's more of a danger of things sounding too high-fi than sounding too low-fi.

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

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

Every time we go into the studio and use a different engineer or producer I try to look, listen and learn their approach. That has helped with the gear I look for to use live and in the studio.