Steven Price Quotes

Record making is an extraordinary experience.

Our job as producers is to make the music sound as good as possible.

I like noise. It's always puzzled me why one of the goals of contemporary recording is to get rid of noise and to eliminate any element of a performance.

Today's recording techniques would have been regarded as science fiction forty years ago.

I love loud music. I listen loud, and that's part of how I've learned how to do this. Record softly and play back loud and a whole other thing happens.

The greatest records in the world were made without going to Auto-tune or Pro Tools, or having some click track. If they could do it, why can't we? Something's been lost in music. It's all been over-produced, squashed down, totally compressed.

I think anyone who knows the audio process knows what mixing and mastering is.

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

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

I'm never tired of going to the studio. I enjoy recording and documenting everything and trying new things.

People are so into digital recording now they forgot how easy analog recording can be.

That's what happens nowadays with people working on computers. They can so easily fix things with their mouse and take out all the, 'Oh, somebody coughed in the background; we need to take that out' - or somebody hit a bad note. Those are all the best moments.

I write the songs, go in and record them, then I listen to everything and decide how it all fits together.

My approach to recording and all that is pretty organic. It just has to do with all the songs I wrote; go in and record them.

I don't like the way recording to digital sounds. Most of the time, when I'm recording to two-inch tape, I still have a romantic vision of how songs sounded coming out of the radio when I was younger, and how they sounded coming out of my little four-track cassette player.

I don't believe that recordings should sound radically better than the artist, I think that's dishonest. For example, I'm not a great singer but if I spent enough time tweaking my vocals, I could sound like one. But I don't, what you hear is pretty much what I sing.

It's a very interesting thing because I can start mixing a song and leave the room and come back and maybe just slide one lever to a certain point, and it just - it's a certain feeling that it gives you when you know it's right.

On our early demos, I was really frustrated with my recorded sound. I'd tell my dad, 'Dude, I want more 'cut' on my guitar - I want more treble.' And he'd say, 'Now, son, you don't want that. It'll hurt your ears.' But my dad just didn't understand.

I know sound, and this is what I'm going to stick to: what I know.

I spend just as much time on how people hear my music as I do the actual music, no matter how long it takes. I'm such a visual artist as well that it always goes hand-in-hand.

When we cut 'Strangers In The Night,' we did the whole song in two takes.

If you looked at the sound pattern of an old-fashioned record, it would be very spikey. But nowadays, there's no spikes - everything looks like a brick, so the quiet bits become louder. It's actually damaging because it's like listening to a drill.

Ideally, the music composed these days should sound much better because of the technology, right? But that's not the fact. The sounds that you hear out of technological recording are programmed sounds coming out of a computer.

When we were first recording, I was wearing a bag on my head.

The number of times that anything is overdubbed on 'Frampton Comes Alive!'... the rule was, if it didn't make it to the tape, then we can redo it because it needs to be done. If it made it to the tape, and it sounds good, we leave it. So nothing was overdubbed on that album at all that wasn't absolutely necessary.