Bill Wyman Quotes

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

That's why you go to a nice studio. You can get a magic take. You don't really have to do anything to it.

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.

When we recorded our first album sixteen track machines were the thing.

A lot of people have said 'people should see you work in the studio,' because a lot of people don't realize I'm an actual engineer. I don't walk in and have some guy grab the board. I have my own studio and soldered every wire in the studio.

My dad got me the same mic I use on everything now - this $200 mic from Guitar Center.

When I first started recording music, I was actually singing about microphones, equipment, recording.

I used to record songs, like, play the beat from one phone and have another phone recording me and just rap. Moving from that to a studio was like, 'Damn, I never knew I could sound like this.' It was just magic.

I wanted to use the studio like a microscope for sound, which is what good engineers do.

I didn't really think about the sound of my songs before I started recording things in the studio.

[Sam Phillips] laughed at me. I just didn't like the way I Walk The Line sounded to me. I didn't know I sounded that way. And I didn't like it. I don't know. But he said let's give it a chance, and it was just a few days until - that's all it took to take off.

The secret to the sound is to drop the bass on the floor!

And sometimes, I'd be allowed to be hanging out in the studio, which I just loved kind of, like, being in the room with these big recording desks, with all these, like, buttons and knobs and watching the guys use them.

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

I knew absolutely nothing about recording. I had this four-track recorder, and I'd plug my electric guitar right into it, which sounded real bad. I moved any fader that made a drastic change in sound. I thought that was cool - that it was communicating something. I didn't have the skills to do anything subtle. It was just like screaming.

I've got the recording process down, and I can knock it out very quickly.

Sometimes I like them artificial and sometimes I like them real. And the reason is because sometimes I like a real close sound. And I like a very specific snare sound and I can't get that in the big room.

Being in a recording studio is a very different feel from performing onstage. I mean, obviously, you can't just go in and do what you would do onstage. It reads differently.

I've built an 8-track studio in my house that's virtually identical to what they used at Abbey Road, and I also own the 16-track set-up that Led Zeppelin used to record 'Houses of the Holy.' I'm interested in producing, but I'm mostly recording my own stuff.

It's always been difficult to make a good record. To be perfectly honest with you, it's really about the person that's pushing the buttons. No matter what type of equipment you have, you still have to have a certain talent to be able to make a good record.

The studio part, to me, can be pretty laborious. You're inside for hours on end and can be pretty frustrating to get the sound you hear in your head to come out of those speakers.

It was rehearsing in the studio, at which point they were setting up the sound, and once we'd got the thing together they'd actually record it, without us knowing sometimes!

I don't have a formal home recording studio, but I can record tracks on my computer upstairs in my office.

I've got time, I hope, to make lots of quiet records. So quiet you won't be able to hear them.

The studio that we mix in is still in Chicago.