Anthony Padilla Quotes

Studios are designed to pull out all of that beautiful ambience you get from singing in a room, and then the engineer puts it back in digitally or through whatever machinery you've got.

I did sound for a number of years, so I know the pain of the sound mixer on a set where everybody was talking.

Aame' is a new attempt. The entire film was shot using live sound technique.

It doesn't matter if one is live on-air or sitting through a commercial break. There aren't any on or off switches on a lapel pin microphone; it is always 'hot.'

I bought an audio technician mic and Pro Tools SE, the demo version and was recording in the basement.

More than any other instrument, the relationship between an acoustic guitar and a microphone is super-important. The kind of mics that you use and your placement of the mics to the guitar can radically alter your sound.

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

I'm not an amazing engineer; I'm just super basic. I'm pretty cavalier about it - I stick the mic wherever it sounds good.

When I first started recording music, we would record in the closet with socks on the mic.

I didn't grow up working on 24-track - the first two Taste albums were eight-track and we always had tracks left over - we couldn't believe it, either!

We are always fortunate to have our own sound folks with us that do a great job in ensuring that everybody can hear and the sound is good.

And I'll never forget the first time I took the possibility to project sound every day for six or seven hours with special devices which were built for me.

If you're using live bass versus orchestral bass, you've got to make sure that you're not stepping on the toes of the other elements, so you've got to balance it out.

The sound was my greatest concern. There were certain difficulties getting used to the way every musician can hear his or herself, the way each of them relates to the musician in the next seat.

As a DJ I am never 100 percent in charge of the sound. The sound levels are controlled by someone at the sound board of the venue.

I did my first recording. It was called The Champ.

In 1950, the biggest amp you could get was no bigger than a tabletop radio.

I have a very limited knowledge of recording, but the miracle of being able to capture sounds on magnetic tape and the miracle of electricity, and these little magnetic particles, is amazing to me.

We were gradually playing larger venues and in the early days PA systems were kind of non-existent. So to play loud, we had to use louder equipment. The PA systems back then didn't mic the instruments - only the vocals.

For live you need a microphone for the snare and the high hat, the kick drum, a nice stereo overhead and one for the toms - you can get away with using four mikes.

I worry about technical details - did I mix the cello half a decibel too high? Things like that.

I've had the luxury of owning my own studio, 24 analogue, 48 digital, endless effects, endless hardcore gear, that I don't have to rent, I don't get stuck with the bills, it's all mine.

When you're onstage with an electric band going through a massive P.A. system, it's very artificial. You can't really hear your own voice as it comes out of your mouth.

Well, whether it's on film or on TV, you don't want to throw too many curves at your audio and video guys.

I was 17 and just learning what high fidelity was, what good sound was, and learning the mechanics of tape machines. It was a real education, going right from the consumer end to the record factory.