Nayvadius Wilburn 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.

Engineering and mixing are absolutely key. Once a song is done, for me personally, it's usually two or three days to get the mix down.

I have got an anthology album out. The American version has got the same mixes but the European version, I remixed them in the studio and added a couple of things that I have always wanted to add.

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.

Some people remaster their records six, seven times, remix it three, four times, spend a million hours, then they always go back and hear a demo of it and they'll say, 'Aw that sounds so much better than the final mix.'

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

Once a song is done, for me, personally, it's usually two or three days to get the mixdown.

Producing is getting the performances, tracking it, making sure all the parts are there. Mixing is when you take the finished work, and you make sure all the levels are right. It's putting all the parts together.

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.

Even I would be unhappy if the final track did not sound good to me, which is why I stay in the loop with the music team till the song is ready.

When I make records I have full control of everything and I know how it sounds before it comes out, with films it's outta my hands.

My idea is to play with the people who you know want to get it right. Then it's fun and easy to record, and you can get down to details, like taking out cymbals so the verse doesn't dwarf the chorus, something like that.

I'm really anti-option, so computers have been my nightmare with recording. I don't want endless tracks; I want less tracks. I want decisions to be made.

When I went into the studio I created a sound that I wanted to hear.

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

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.

A lot of our tracks have sounded a lot better than I thought they would because of recording, mixing, and because I probably didn't hear it that way. I'm not a songwriter.

When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble.

I'm ruthlessly picky when it comes to the crafting of an album, the choosing of musicians, the right mikes, the right studios. There was a time when it was, 'whatever you want.' Then, as you learn a little bit more about your tastes, I don't give in to that kind of thing.

I spend just as much time on how people hear my music as I do the actual music, no matter how long it takes. I'm such a visual artist as well that it always goes hand-in-hand.

The records I make, I'm there from the writing of the first note through the click tracks to the miking of the drums to the editing of everything to the production to the vocals to the artwork.

The bottom line is what we record is what we use. Once we feel we've got a good album, we stop at that. That's usually around 12 tracks.

Needless to say, I like to create a unique sound for each project I do.

The number of times that anything is overdubbed on 'Frampton Comes Alive!'... the rule was, if it didn't make it to the tape, then we can redo it because it needs to be done. If it made it to the tape, and it sounds good, we leave it. So nothing was overdubbed on that album at all that wasn't absolutely necessary.