Danny Elfman Quotes

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'm sure I'll go back again and record in the digital process.

I like being in a recording studio. I like watching a song go from the simplicity of the original music.

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

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.

I realized I liked being in the studio and working on translating the ideas into recordings.

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 finished the recordings I had started with Eleven. Matt Cameron joined for the rest of those sessions.

All my writing, I always do it in the studio, 'cause everything sounds good. The piano's there, the keyboards; if you want to put strings on something... And everything sounds good when it's in the cans; it sounds killer.

Everything we did, we did live - and then Bobby took it home and chopped it up and edited it. Which is pretty much what they did with every jazz record you've ever heard.

I've got the recording process down, and I can knock it out very quickly.

Sometimes I like them artificial and sometimes I like them real. And the reason is because sometimes I like a real close sound. And I like a very specific snare sound and I can't get that in the big room.

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.

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

I started a recording studio. I started producing people and doing remixes.

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 go in and sing the song and arrange it and mix it and that's it. It's no different than playing in clubs.

I've always been interested in what happens in the studio.

I don't like to produce albums. I hate producing albums, as a matter of fact, because I'm an obsessed mixer and I can't leave it alone.

Most of our stuff was trial and error. You live with a tape recorder, you turn it on, you play the song and you listen to it.

I have a recording that I did of instrumental songs.

I've been in a recording studio enough times to know that it is not the best place to multitask. Doing a couple of takes of a song and running out to check your email to talk to someone about video production really is not good.

I usually make records very quickly. I usually go in and record them and mix them, and I'm done within a couple of weeks.

It's no secret that my favorite part of the process is making records; if I'm not making them with Flatts, then I'm out producing them on other folks.

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