Mickey Hart Quotes

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

If you're working on a computer and you're editing bass, it looks like a warm curvy, sort of feminine object.

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.

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

I'm really into the way sound works in film, and I did a little bit of sound design for theater in college.

A lot of times you'll hear bands and it's a different sound coming out than what's on stage. Because you can clean it up through a PA and make it sound completely different than what they really sound like.

The only technical things I know are treble, volume and reverb, that's all.

The voices on the record, that was trying to treat my voice like guitar players treat guitar tones.

Music turned to digital, and suddenly you had the possibility to make things louder than loudest, which boggles the mind but it's true, and what you have are all kinds of different ways of distorting your music.

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

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 think Eminem should use Auto-Tune.

The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.

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

I was 17 and just learning what high fidelity was, what good sound was, and learning the mechanics of tape machines. It was a real education, going right from the consumer end to the record factory.

I think one thing that helped the sound change, it's a real subtle thing; it's just one switch on my bass, it has three positions, and I usually boost the mid-range frequency, I lowered the frequency that I boost, and that goes out to the sound system, too.

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.

Nothing had been attempted like that, to lift Dad's voice, literally, off of that track and put it on a brand-new one, and then line it up, match it up, get the phrasing right. I remember listening - everyone listening at the end, and we were just enthralled. It was really wonderful.

On our early demos, I was really frustrated with my recorded sound. I'd tell my dad, 'Dude, I want more 'cut' on my guitar - I want more treble.' And he'd say, 'Now, son, you don't want that. It'll hurt your ears.' But my dad just didn't understand.

What is auto-tune? I don't even know what auto-tune is.

I bought some equipment and then I started recording real heavy, in my room, when I was like 16.

Ground zero for me is audio.

Time has changed and artists release more songs in a short span of time and that's where the auto-tune steps-in. One doesn't have to record a song multiple times to make it better.

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.

I remember discovering that I loved recording - that breakthrough when I was in high school getting to record for the first time.