Amit Trivedi Quotes

I always say that when I was recording with Phil Spector, he would not let me really sing, you know? And even to make me sound younger, he would speed the track up. He still wanted that real nice, little, quiet, sweet little sound.

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

My voice has been very, very produced, and very treated - but then, also, it hasn't.

When I first used Auto-Tune, I never used it to sing. I wasn't using it the way T-Pain was. I used it to rap because it makes my voice sound grittier.

I am such a gearhead. In my recording studio, I personally engineer and edit everything on computers.

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.

I don't think my vocals demand effects. I like reverb to a certain extent, but I don't want to hide my voice. I like stripped-down vocals, but I also like crazy, powerful, doubled vocals like in dance or electronic music.

I usually like to hide my vocals behind the music. I don't like to hide them consciously, but I have a tendency to prefer the vocal at the same level as everything else and put lots of reverb on it.

I make records from top to bottom. Bring the best out of the vocalist. I deal with live instrumentation on all our records.

I went to school for audio engineering, and I was around a lot of sound engineers over the summers in New York, so I'm pretty comfortable in engineering my own stuff.

I've got a song on every album, two songs as a matter of fact on every album without Auto-Tune, and that's the song that nobody talks about. It's weird.

I love, love, love just being hands on at all times in the studio.

I've watched and learnt from DJs and remixers and paid way more attention to how I want my voice to sound. Before, as long as it was loud and in tune it was fine. I've discovered the difference made by various microphones and effects, so each track has a different vocal sound, my voice is woven into everything and it's above everything.

An album is a whole universe, and the recording studio is a three-dimensional kind of art space that I can fill with sound. Just as the album art and videos are ways of adding more dimensions to the words and music. I like to be involved in all of it because it's all of a piece.

It's harder to make real audio than special effects audio.

My dad's a sound designer, and he used to take me to work with him.

What producers did was mostly recording in the studio, so it never changed our sound just that much.

I do most of my vocals - aside from a couple of little one-shot vocal samples. I record everything into the Saffire with an SM58 then scratch it with loads of plug-ins. I don't do much vocoding to be honest. All my vocals are usually done with Melodyne and a ton of other plug-ins to make it sound weird.

You can alter movie singing so much because you go into the recording studio and, just technology for recording has gotten so good, you can hold out a note and they can combine a note from take 2 and a note from take 8.

There's a lot of stuff you've gotta know about Auto-Tune before you can start using it, because it's the hot thing to do.

The actual producing, mixing, and mastering is hard work, harder than what I do.

Bobby is really the one who did all the editing on that stuff. And he did all the mixing. I particularly like the record we did with Logic because Scott Harding did a great job mixing it. He's really a killing engineer.

For my second record I had gotten ProTools (program) and started to familiar myself with hard disc recording.

I loved the idea of recording. The idea of sound-on-sound-recording captured me as a young kid, and once I realized what it was I had an epiphany. Before I was even playing the guitar, I would create these lists of how I would record things and overdub them, like Led Zeppelin song, 'I could put this guitar on this track...' and so on.

I could wake up six in the morning, go downstairs and record. I learned how to use ProTools and everything. Whenever I felt it, I could record.