John Entwistle Quotes

The fact that I'm often pushing my voice as hard as I can is from playing in nightclubs in Albuquerque where you don't have a good sound system.

Well, they put me in a booth and then did some nice things to the speaker to make it come out sounding ok.

If you ever want to play bigger places, you need to have records that sound like you're playing in big places.

My live sound does not work in the studio, which is a completely different animal. Every little thing is detrimental to the sound. And if someone moves a mic, you've lost it. It's pretty much a case of 'lock the door and set up a police line.'

I play a percussion instrument, not a musical saw; it needs no amplification. Where it's needed, they put a microphone in front of the bass drum. But, I don't think it's necessary to play that way every night.

I play loud onstage for my own benefit as I like. But I'm not too fond of the P.A. either.

I love loud music. I listen loud, and that's part of how I've learned how to do this. Record softly and play back loud and a whole other thing happens.

Don't play too loud! Bleed-through on stage can be brutal to front-of-house sound.

Rock shows are loud, so I try to use a sound that is warm on the high frequencies.

When the Grateful Dead needed a quality sound system to deliver our sonic payload, I learned electronics and speaker design.

I remember one of the first gigs I played with that amp was at a local church. They wanted someone to fill in with the guitar and my friend say, 'Ah, he can play.' And so I dragged the amplifier down and started playing and everybody started yelling 'turn it down!'

It all begins with the initial tone coming from the cabinet, but EQ at the board is very important.

Micing it from two different angles in front of the speaker sounds huge, and it's so simple.

As a DJ I am never 100 percent in charge of the sound. The sound levels are controlled by someone at the sound board of the venue.

I've been called 'the father of loud.'

We listened to a lot of Rolling Stones and Beatles records when we were recording. They were really good at not playing loud, but generating really big sounds out of everything.

I blew amps like they were made of tissue paper. Once I blew out the sound system at Royal Albert Hall in London.

When you're onstage with an electric band going through a massive P.A. system, it's very artificial. You can't really hear your own voice as it comes out of your mouth.

The first time I went to Abbey Road and put those headphones on, I discovered I had two voices. I no longer had to shout in the studio, but I can't knock the Cavern or the other clubs because they gave me my strong voice.

I prefer playing in the studio because you have much more control over things.

With bass, especially bottom end, the vibration has to happen on stage otherwise the feel is wrong. This is why you can't scale the equipment down too far.

The room is the most important thing about recording.

When I was first starting out, you'd have to bang an old upright piano and stick a mike in it and it would always feed back and you could never turn it up loud enough to be heard and I would beat my hands black and blue and bloody.

I did sound for a number of years, so I know the pain of the sound mixer on a set where everybody was talking.

I learned loudness from working with Lou Reed.