Darlene Love Quotes

I knew absolutely nothing about recording. I had this four-track recorder, and I'd plug my electric guitar right into it, which sounded real bad. I moved any fader that made a drastic change in sound. I thought that was cool - that it was communicating something. I didn't have the skills to do anything subtle. It was just like screaming.

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

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.

Yes, because as composers we are looking for textured voices, and often the singers we find are not trained to perform in a studio environment. So we need technology to doctor their voices to suit the format.

Being in a recording studio is a very different feel from performing onstage. I mean, obviously, you can't just go in and do what you would do onstage. It reads differently.

Darrell is really good in the studio. I mean, he has a real working knowledge of how the process works, and what sounds good coming back over tape, and how the stuff works together.

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.

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

Sometimes when I do an overdub solo, they'll keep four or five of my attempts and then mix the bits that they like to make a solo up out of them. It's not against the rules, really - I can learn my own solos, then. But that's the whole beauty of multi-track recording, isn't it?

Nothing had been attempted like that, to lift Dad's voice, literally, off of that track and put it on a brand-new one, and then line it up, match it up, get the phrasing right. I remember listening - everyone listening at the end, and we were just enthralled. It was really wonderful.

I don't think there's anybody that has such a keen sense of vocal production and attention to detail as Dre.

The voices on the record, that was trying to treat my voice like guitar players treat guitar tones.

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.

The late '70's and early '80s is the zenith of a certain craftsmanship in sound recording.

Pro Tools was invented to quicken the recording process.

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.

I like home recordings and studio recordings just as much as each other - I don't think one is better - but for this record I wanted to see what I could do in a real studio with real producers.

I learned so much about recording and about singing on records from Ken Nelson.

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.

The Police could get away with doing an entire record with really no audible reverb, which I have always admired and thought would be a lot of fun to try to re-create.

I want recording to be fun.

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

Every time we go into the studio and use a different engineer or producer I try to look, listen and learn their approach. That has helped with the gear I look for to use live and in the studio.

'Brace the Wave' is an acoustic-electric record recorded with electricity on analog-digital and digitally-analog equipment.

There's a lot of trickery that can go on in the studio, and there's a lot that one can do - none of which I am interested in even slightly. I mean, you can actually tune vocals and stuff like that, but it's so hideous, I can't believe it.