Brian Eno Quotes

Distortion pedals are just fantastic for not only rehearsing quietly but also for all those moments when you are going to play in highly compressed environments like radio, television, or recording against compressed loops.

On 'Honeybabysweetiedoll' I used a Whammy, a Boss OC-3 octave box, a Sustainer and a Line 6 DL4 Delay Modeler. That's only on the intro, where all those weird noises are happening.

Music turned to digital, and suddenly you had the possibility to make things louder than loudest, which boggles the mind but it's true, and what you have are all kinds of different ways of distorting your music.

A wah-wah is important as well. I love it; it makes the guitar scream.

It's good to have certain restrictions sometimes, but it's definitely more fun to play really loud, with distortion.

When the Grateful Dead needed a quality sound system to deliver our sonic payload, I learned electronics and speaker design.

As you can appreciate over my lifetime I've developed a large vocabulary of sounds each requiring certain physical techniques often combined with a specific effect box.

'No Bones' has some reverb that I kick around.

I have been using delay and reverberation since the middle 1960s. I use them to make what is almost inaudible to the ear, audible. I do not use them to play loudly but to make the higher harmonics heard.

In OK Computer, the guitar was already moving towards a tone generator as well as a riff generator.

Lots of people think it was Jimmy Page who had the first fuzzbox. It wasn't, No! it wasn't me either.

I play a Fender Jazzmaster and three stacks and a combo, two old Marshall Plexis and a Hiwatt combo and a Hiwatt combo with Marshall cabs.

I'm not going for a soft sound. I ain't lookin' for a warm sound. My sound is warm, but I don't need tubes to do it. The Randall RG-100 is the best amp for what I do.

What is auto-tune? I don't even know what auto-tune is.

In the studio, my brother and I have always used a lot of Marshall amps. We like to keep it pretty basic. We just use a couple of cabinets each - sometimes just one, if we think that's enough. We mainly go for 100-watt and 50-watt heads.

I don't see anything wrong in using auto-tune.

I use Bogner amps and custom-designed Schecter guitars with Seymour Duncan Invader pickups. I beef up my tone with a Boss CS- 3 Compression Sustainer. It's kinda like my secret weapon.

Usually I don't think much in terms of interesting sounds. Although I think I want to get one of those whammy pedals, I forget what it's called and who makes it. It's got a whole bunch of different settings. You can play a note and it will raise the pitch when you push the pedal.

The human voice sounds thicker with a chorus and reverb than a dry signal.

More recently, I used guitar synthesizer extensively on the two albums I did with Robert Fripp.

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.

I usually create sounds and have different generators running over it. You know you can open a word-file as a picture or the other way round. I do the same with sounds.

I'm on this eternal quest to get the best guitar sound in the world, but my vision of what is 'the best' changes every time I go into the studio. Sometimes my goal is to make my guitar jump out, and sometimes I want it to lay back.

Oh my gosh! I can't tell you the number of times people have put autotune on my voice, and I'm like, 'Please take it off!' You don't even sound human; it makes you sound like a robot!

I still fall back a lot on my Les Paul, and there is just no getting away from a Les Paul and a hot pickup.