Pat Metheny Quotes

I'm not a fan of the sound quality of our first album, because there's a noise in my head.

The only technical things I know are treble, volume and reverb, that's all.

We spent a lot of time on that record with the sound and recorded it on the Paramount sound stage which is this huge room where the sound is reflected but the reflection is so late and comes from so far away that it doesn't blur the music but gives you a room nonetheless.

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 like to find music that shares a rhythm with the sentences I'm working on. And though I'll probably regret saying this, I think some songs actually don't sound too bad when they're played through lousy speakers.

Well, they put me in a booth and then did some nice things to the speaker to make it come out sounding ok.

With real estate, it's location, location, location. In public speaking, it's acoustics, acoustics, acoustics.

The instruments that bleed into each other are what creates the ambience. Once you start cleaning everything up, you lose it. You lose that sort of halo that bleeding creates. Then if you eliminate the halo, you have to go back and put in some artificial reverb, which is never as good.

If you're playing in a room that holds 15,000 people, it's just a question of how bad the room acoustics are and in what way they're bad.

My dad got me the same mic I use on everything now - this $200 mic from Guitar Center.

I don't want people messing with my sound, my stuff.

Rock shows are loud, so I try to use a sound that is warm on the high frequencies.

I think I make good beats, but when it's not mastered correctly, it can definitely make it sound like it's not a good beat, and that has been an issue sometimes with me in the past.

The thing people forget about Kevin Shirley a lot of the time is that he's not only a great producer, he's also a world-class engineer. He really knows how to get a sound.

I don't know what I did to my main bass. I've poured makeup into it, I've bashed it around - and we've gone in the back and cleaned it up... It sounds amazing and one of a kind at this point, but it picks up a really decent radio signal if you're anywhere near an antenna.

I know how to make noise; I really do. I'm really good at it.

It doesn't matter if you record with a microphone on a laptop or at a friend's house. Now it's more of a danger of things sounding too high-fi than sounding too low-fi.

I love colors, but I also love rich sounds. And I feel like when it comes to colored ukuleles, people assume they're cheap or that they'll have a tinny sound. And I feel like it would be really beautiful to have a rich color but also to have a rich sound.

Don't play too loud! Bleed-through on stage can be brutal to front-of-house sound.

Choosing an acoustic guitar for a live setting can be different from picking out one for recording. One doesn't always work for the other. The sonic properties can be vastly different.

Sometimes I hear records that are being recorded at the absolute highest quality, and I just don't like the sound of it.

It's amazing how well real strings blend with metal, like that whole sound.

I recorded 'Play God' in a shed. I don't know how we got it to sound as good as it did.

What do I think of digital recording? Well, it's all right. But those old thorn needles, now, that was a sound.

My studio was built with a team of experts to record the sitar at the highest level possible, and I'm very happy with the results.