When we recorded our first album sixteen track machines were the thing.
For the 'Load' album, I was experimenting so much with tone that I had to keep journals on what equipment I was using. For 'Hero of the Day,' I know I used a 1958 Les Paul Standard with a Matchless Chieftain, some Boogie amps and a Vox amp - again, they're all blended.
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.
When I record in a studio I don't use an amp. I go directly into the board, so I can get that very fat, full sound - which is my favorite sound.
Trent likes to record guitars direct, whereas I've always preferred playing through an amplifier.
The most I ever spent on technology is building a studio - I built one at home in Los Angeles. I can't tell you how much exactly, but the whole process is very expensive.
The actual producing, mixing, and mastering is hard work, harder than what I do.
Studios always seem to be in basements without natural light and with black everything.
Recording studios are interesting; a lot of people say - and I agree - that you should have a lot of wood in a recording studio. It gets a kind of a sweeter sound.
I have an Otari with a Korg T2 Midi synthesizer, a drum machine and a few effects units.
Pro Tools rules. You get the opportunity to try more things because you don't waste so much time trying to get the perfect take.
And sometimes, I'd be allowed to be hanging out in the studio, which I just loved kind of, like, being in the room with these big recording desks, with all these, like, buttons and knobs and watching the guys use them.
The first record we made, we recorded and mixed in a day. The second record was recorded and mixed in a week. The third was recorded and mixed in a month, and 'New Wave' was mixed and recorded in six months. It was an epic project.
I'm from the pre-Pro Tools era where you had to meet up with the artist and go over things if you wanted to record a track.
Being able to have a home studio is the greatest thing ever.
I don't have a formal home recording studio, but I can record tracks on my computer upstairs in my office.
I didn't grow up working on 24-track - the first two Taste albums were eight-track and we always had tracks left over - we couldn't believe it, either!
I prefer playing in the studio because you have much more control over things.
You shouldn't really have to use EQ in the studio if the instruments sound good. It should all be done with microphones and microphone placement.
I think it goes back to me being a recording mixer and engineer. Because of all the technology now you can make music yourself and a lot of people are doing that now. I started out doing that a long time ago and I found when I did that I came up with a unique sound.
The touring life wasn't for me. I like to wake up in the same place most days. And I'm really into sitting behind a mixing console and listening to music all night and making music all night. I'm a studio rat.
I love to be able to put my hands on a keyboard, to have a guitar and a bass within reach, as well as all the effects.
Most electronic equipment uses the principle of amplification. You need filters, modulators and mixing equipment which have gain stages. By piling these components up, I was able to work without any sound generators and I made several pieces in that manner.
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 could have gone on to be an engineer full time, except that there was more demand for my playing. But the love of working the board never leaves you.
