Marnie Stern Quotes

For my first album, I thought it was most important for people to hear my voice and to not let it be drowned out by too many lasers and other sounds.

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.

We were never happy with the way cello was recorded, and we wanted to experiment in the studio to make the cello rock as much as possible. On the second album, we had great help from Bob Ezrin, who helped us develop our sound even more.

To get my sound in the studio, I double guitar tracks, and when it gets to the lead parts, the rhythm drops out, just like it's live. I'm very conscious of that.

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.

When I started making my own records, I had this idea of drowning out the singer and putting the rest in the foreground. It was the background that interested me.

I do have electric guitars, because I've always believed, especially when I'm working in the studio with other bands as producer, that there should be a really nice Strat around.

I usually like to hide my vocals behind the music. I don't like to hide them consciously, but I have a tendency to prefer the vocal at the same level as everything else and put lots of reverb on it.

I'm always saying in the studio, 'My vocals are too loud!' or 'My vocals have too much effect on them!' I like some of it, but I'm not a fan of loading effects onto my voice.

I don't think there's anybody that has such a keen sense of vocal production and attention to detail as Dre.

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 remember that the bass was turned up slightly more on the mix from last week, and I thought that was good - or whatever. Like, there were some little things in there that he said that he came to, like, really enjoy my opinion or at least, like, my little comments on the songs. So I was kind of destined to probably be a studio rat.

I just recorded in studios, you know, people pressed the buttons for me. So I just started recording the bass lines and guitar parts with my voice, covering classical pieces, or just making up melodies so I could learn how to use it.

I didn't really think about the sound of my songs before I started recording things in the studio.

I certainly considered DJing. I bought four vinyls, and I bought some turntables, and I was like, 'Um. Yeah. I'm not gonna do this. This is not my thing.'

I definitely like making music in the studio, but I never had it out to make a CD specifically.

I begged and begged, and my uncle gave me his old turntables. It was one hi-fi and one old Stereo Lab turntable and a rusty mixer. I was really chuffed. I kept that for five years - that's where I learned to mix.

I learned everything I knew about recording and engineering from my experience with Odd Future, so I was pretty comfortable with not having much.

Especially early on, I had no idea what I was going to be asked to do when I walked into a studio. I was doing 26 sessions a week - all day, all night.

We record a lot of our shows, we record our soundchecks.

When we was making a song called 'Bring Da Ruckus,' we took the snare, and we put it in an elevator shaft and recorded it.

I want recording to be fun.

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

If you listen to my early music, I didn't know how to mix. I barely knew how to record for real, and I didn't care.

When I first started recording music, I was actually singing about microphones, equipment, recording.