Sound Engineering Quotes

All of my favorite records have vocals high in the mix, even if it's music that wasn't necessarily mainstream.

There's a couple of fills on the 'Head Job' album. The title track sounds huge, I love it, and there's a few fills in there.

The lowest stress environment is the radio show. I am not on camera and I can let the music do the talking. The rest is more highly pressurized or in the case of writing, time intensive task. I say yes to all of it and like all of it but the radio show, by nature of what it is, is the least hassle.

I DJ and I'm a harsh critic of DJs.

I remember when I was coming up, the music stores where you could get guitar strings was where I got my records from. Now the place where you get your records from is where you can get your DJ mats and your mixers.

Dub has been a big influence in terms of production. It's inspired so many people and so much music - in terms of music where mixing desk was the instrument. Central to that is the echo chamber, and I think there's a little bit of a romantic thing there.

Little things can make such a big difference during recording.

I don't like overdubs, never liked them.

Rock music is electronic music, dependent entirely on electronic circuitry and amplification.

I just want people to hear the music the way it's suppose to sound, the way we meant for them to hear it. You sit in the studio all this time and make the music, tweak it, try to get it perfect. They should be able to hear it that way.

I have been dubbing since 2006.

There was never going to be a right time for a band that was still recording and had health in its environment, had made a very good record and was playing well.

Especially early on, I had no idea what I was going to be asked to do when I walked into a studio. I was doing 26 sessions a week - all day, all night.

I definitely enjoy doing big festivals and big shows.

Since I was doing all of it myself, I had to decide where I wanted to go with the songs, how to proceed with the chords, if the sound was alright, and all that detail on my own.

When I started making my own records, I had this idea of drowning out the singer and putting the rest in the foreground. It was the background that interested me.

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

The very first thing I ever did, I was doing some work for the French Cultural Center. They wanted a little recording set up. And I got wire. A wire recorder. The wire came off spools, and to cut and edit, you tied it together in little square knots. Can you imagine?

It's always been difficult to make a good record. To be perfectly honest with you, it's really about the person that's pushing the buttons. No matter what type of equipment you have, you still have to have a certain talent to be able to make a good record.

I like a good mono track, it's right up front. I don't need all the surrounds telling me there are birds in the neighbourhood.

My manager came up with the idea of taking a Pro Tool rig out on the road to record every night and I thought it was a great idea. I felt like it would be good to record over a certain period of time and then take the best performances of that collection of recordings. It appealed to me that it wasn't going to be from just one location.

You can either make it come around or you can't. By the time we would be ready to record a song, we would know for sure that it was the best way we could do it.

I have been doing voice work my entire life, and I adore it. It is really rewarding stuff.

The secret to the sound is to drop the bass on the floor!

It's not about how loud you turn the amp up. That's not what makes it sound big. What makes it sound big is fooling around with different delays and reverb settings.