Audio Processing Quotes

There's this weird game called 'Blueberry Garden.' For that game an artist recorded some piano music, but evidently he only had a really terrible microphone on top of the piano, and I really liked it and wanted to experiment with that. So, I made piano recording and really mangled it, and kept experimenting with the technique.

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.

Computers were never designed in the first place to become musical instruments. Within a computer, everything is sterile - there's no sound, there's no air. It's totally code. Like with computer-generated effects in movies, you can create wonders. But it's really hard to create emotion.

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

In the studio, I don't use an amp, I just go direct into the desk. It's virtually acoustic, what I'm doing.

I think I compose as a listener: improvising and listening back excites me because I get to ideas that never would have occurred. Then I bring in the computers and samplers... and I begin to loop and process and change them.

Anytime people read my tweets, they hear it in Auto-Tune.

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.

The best way to use the auto-tune is not to! And that's what I do: I do not use auto-tune!

I'd often use a Leslie cabinet on its own in the studio because everyone in the late Sixties and Seventies was experimenting with them. We'd stick anything through a Leslie because it made everything sound so good.

The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one.

It's not about how loud you turn the amp up. That's not what makes it sound big. What makes it sound big is fooling around with different delays and reverb settings.

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.

Auto-tune is good to keep your notes intact, but it doesn't do much for the feel of your voice.

At some stage in the process, most mainstream pop records are being manipulated and possibly completely rebuilt on a computer, with a visual program.

Mad World's distinctive percussion intro was played on a Roland CR-78 drum machine. We first recorded it at twice the speed, but it sounded great slowed down.

I screw up on the delay settings, so pretty much everything is manually done by me - I don't have those presets like the Edge has.

There's a lot of stuff you've gotta know about Auto-Tune before you can start using it, because it's the hot thing to do.

It's like swimmin' without warmin' up, yuo know what I mean? So [cackles] we use the drum machine, and we take it out.

My tools are musicians, effects, things like that.

All of audio as we know it is an attempt to be more and more perfectly linear. Linearity means higher quality sound. Hypersonic sound is exactly the opposite: it's 100 percent based on non-linearity.

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

I'll have a chorus pedal or a flanger or an echo, that kind of thing. But as far as specific pedals, the one that's really been a mainstay is the TC Electronic MojoMojo.

I think one thing that helped the sound change, it's a real subtle thing; it's just one switch on my bass, it has three positions, and I usually boost the mid-range frequency, I lowered the frequency that I boost, and that goes out to the sound system, too.

Speech recognition today doesn't really work in noisy environments.