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.
The creative process for a musician is very different than for a filmmaker. I have an idea, and I can pretty much execute it.
Ninety percent of my thoughts are, "How will this work on the radio?"
All of my favorite records have vocals high in the mix, even if it's music that wasn't necessarily mainstream.
When I was in the recording studio, I needed to concentrate on what my voice was doing, which is rather difficult if you can't actually see what you are supposed to be singing.
The lowest stress environment is the radio show. I am not on camera and I can let the music do the talking. The rest is more highly pressurized or in the case of writing, time intensive task. I say yes to all of it and like all of it but the radio show, by nature of what it is, is the least hassle.
I make more than a handsome living doing voices for commercials; I hear myself all day on the tube.
Madlib isn't a beatmaker, he's a producer.
I have been dubbing since 2006.
In terms of creativity, both are equally satisfying. Music album is for yourself, where you compose songs and stuff like that, and in films, you have a story, characters, and songs penned by someone else.
There's so many people doing interesting things with the Internet and technology, there could be so many ways of making music and listening to it.
I don't watch TV. In my spare time, if I have any, I want to make music.
However now we can create a sound that can truly startle someone and in terms of sound effects I think the environment that we are in now has improved dramatically.
The big thing on the horizon for me is video. I feel like it's the closest thing to a perfect mix between music and design, because it has the motion and it has the dynamics of music, while at the same time having the aesthetic components of design. It's a nice mix.
Engineering and mixing are absolutely key. Once a song is done, for me personally, it's usually two or three days to get the mix down.
Stevie didn't use the technology to drive the song. He used it to enhance. I use the tools to further my work, I don't use my work to further the tools.
Producing is getting the performances, tracking it, making sure all the parts are there. Mixing is when you take the finished work, and you make sure all the levels are right. It's putting all the parts together.
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 started in radio.
You probably know me as a producer for 'This American Life', a top podcast in iTunes.
From a technical point of view, there seemed to me to be absolutely no reason why - with the existing technology - we couldn't do very high quality audio, because whereas the boom in digital graphics is ongoing, the boom in digital audio has already happened.
The secret to the sound is to drop the bass on the floor!
Voice acting is very creative, especially 'Star Wars' voice acting, because there's so much you have to imagine.
It feels so satisfying to hear a song I wrote come out of the radio.
In between that time, I've done book narrating, you know, books on tape for Dove Audio.
