Brian Fallon Quotes

When you make a record, you listen to it literally hundreds of times. When it's done and you can't do anything else, I never listen to my records.

The whole thing with recording is you have to know when to turn off the tape machine and just stop recording because you want to keep fixing, fixing, fixing, you know?

Record making is an extraordinary experience.

The tracks on 'Sleep' were recorded live to 2-track. I did a fadeout or two of them, but that's really it.

I write the songs, go in and record them, then I listen to everything and decide how it all fits together.

I've got my own studio, so I sit in my studio writing and if I get a great take, that's the take.

On record dates like that I never felt too nervous because everything was really overdubbed. When we did that album, we were in the studio for probably a week, so you had a lot of opportunity to fix things.

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.

But really important, perhaps most important is the craft; how you make your record, the creation of these sonic worlds you want your listener to hear.

When a piece is done, I mix it before going on to any other piece.

I've never made a record that didn't sound better than what was in my head - that's sort of my rule.

I usually make records very quickly. I usually go in and record them and mix them, and I'm done within a couple of weeks.

My approach to recording and all that is pretty organic. It just has to do with all the songs I wrote; go in and record them.

I think anyone who knows the audio process knows what mixing and mastering is.

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

I'm not somebody who can tell if the song is good enough to be pushed until I hear what it sounds like after all the bells and whistles are put on it.

When I produce a record, I roll up my sleeves; I'm not one of those passive guys. I really get in there and make sure every note is measured. I tell the bass player, 'You have to play it like this,' or I tell the drummer, 'It's got to be like this.'

When I was recording from '70 to '82, I always played piano and laid the tracks down. But I used to talk to the other musicians while the track was playing.

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

I was trying to do the same thing that I always do which is make an interesting record.

You start to think in terms of making an album that might be greater than the sum of its parts. It's sort of like having a lot of footage and then editing it into something that will make sense to a viewer, you know. Sometimes it might involve even working on an older song that might complete that picture.

When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.

Our job as producers is to make the music sound as good as possible.

I love the magic of the studio.

When I record an album I'm trying to get as close as possible to that perfect moment.