John Wozniak Quotes

I don't believe that recordings should sound radically better than the artist, I think that's dishonest. For example, I'm not a great singer but if I spent enough time tweaking my vocals, I could sound like one. But I don't, what you hear is pretty much what I sing.

I'm not a fan of the sound quality of our first album, because there's a noise in my head.

I don't want people messing with my sound, my stuff.

I will never do 20 remixes with no original in a year.

When you're recording, if you're not really clean in your playing, it sounds like a mess.

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

I remixed a remix, it was back to normal.

I love sending stuff to Usher because it always sounds better than me.

When I want to put out an album, I want to write it. I want to be able to say that I wrote my album, and all this stuff is from me.

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.

I think I have a basic sound aesthetic that is in most of what I do.

In recording, you're trying to make something work sonically - getting the right inflection on the right guitar sound - and maybe a part that would be musically great doesn't sound as cool.

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.

The good thing about Pro Tools is you can actually hear what you're working on, so it doesn't just become this intellectual idea. But Pro Tools can be dangerous, too. It can make things sterile.

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.

I sequence during the entire recording process. The sequencing changes as I'm recording and as I'm listening. From when I'm, like, four songs in, I start trying to figure out which song should come after which. Which is important, and it changes as the album goes.

When you're recording live, really good vintage instruments onto two-inch tape, it's the best fidelity you can get.

I always think of albums as the format. I think it's perfect. I don't think you can tamper with that. It's not just sound, the analog, which is so much richer. It's the format. You're constrained by just 45 minutes, and it's perfect to me. I don't want to listen to any more than, and I live and breathe music.

I think I make good beats, but when it's not mastered correctly, it can definitely make it sound like it's not a good beat, and that has been an issue sometimes with me in the past.

A CD is only a snapshot of the songs at a given time.

I'm very fussy about how my records sound, but I'm very aware that because of the way they sound, I will never be a big-selling, mainstream artist because the public has gotten conditioned to hearing pop music in a certain way. And I don't do it that way.

When I first was putting out music, I was like, 'I don't want to be overly sexy or do too much with the imaging or show too much skin, and I want to make sure my lyrics are balanced.'

I like remixing Barry White and ABBA songs.

I just tend toward more lush, full sounds in my productions. I don't have any preference when it comes to analogue versus digital; I use what's best for the application. Analogue synthesis is nice, but it's just one tool among many, and it has its place.