Mixing Techniques Quotes

In an interview, President Obama said he recently deejayed a small dance party at the White House. Obama has a lot in common with deejays. He takes requests and then completely ignores them.

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.

It's always shocking to people, because sometimes when I go on the road and I DJ, they think I'm just gonna perform, so to see me really DJing and playing their favorite song and really rockin', it's a shock to people, and definitely to DJs.

I am a D.J., I am what I play.

I definitely try to go above and beyond with live mixing and scratching.

I try to listen to a lot of music when I'm in the mixing process of a record, when I'm in post-production and trying to get everything to sound a certain way. During the writing process, I tend not to listen to too much music. I obviously wear a lot of influences on my sleeve, but if I was listening to too many records, I would turn into too much of a monkey.

A dry martini,' he said. 'One. In a deep champagne goblet.' ... Just a moment. Three measures of Gordon's, one of vodka, half a measure of Kina Lillet. Shake it very well until it's ice-cold, then add a large thin slice of lemon-peel. Got it?

My main objective with a home studio - I could get into doing full band demos - but my first objective is to cut things like guitar tracks and solos at home.

Even in the investigations into direct production of calcium peroxide in an alkali melt with highly compressed oxygen, it was found to be necessary to bring the high-pressure gas into contact with the suspension of lime in caustic alkali melt by agitation or some other means of mixing.

You are in a state of mixing, and you just live with it. There is not one musician who is completely happy with a mix.

Cut Chemist and DJ Shadow are going to blow your funky mind!

I've always recorded the same way. I put down as many ideas as I have, then strip them away at the mixdown. It's better to have too much music than not enough.

The Police could get away with doing an entire record with really no audible reverb, which I have always admired and thought would be a lot of fun to try to re-create.

But with The Dark Crystal, instead of puppetry we're trying to go toward a sense of realism - toward a reality of creatures that are actually alive and we're mixing up puppetry and all kinds of other techniques.

I'm a studio guy. That's really what I love the most. I'm so fascinated with audio gear and recording techniques and whatnot, it's pretty mesmerizing.

The instruments that bleed into each other are what creates the ambience. Once you start cleaning everything up, you lose it. You lose that sort of halo that bleeding creates. Then if you eliminate the halo, you have to go back and put in some artificial reverb, which is never as good.

Anyone can be a DJ but it's understanding how to read a crowd and keeping them on the floor is what takes years of experience.

I've never gone to school for recording. I wish I understood it more. School's been hard, learning things has been hard, because of the A.D.H.D., or dyslexia, or whatever you want to call it, but I know how to come up with stuff to bring it together.

I use the echo effect a lot when I DJ because it allows for smooth transitions, especially at different BPMs. It also adds a studio quality to live DJ performances.

A lot of our tracks have sounded a lot better than I thought they would because of recording, mixing, and because I probably didn't hear it that way. I'm not a songwriter.

Sometimes when you cut your bed tracks right off the bat, you don't really know where the vocal is landing and where the background vocals are, and other loops and stuff that are going on.

I'm not the most technical producer, so the weird mixes and blown-out sound happen naturally.

When you listen deeply to a song, you find all the little sounds they use and subconsciously learn how to produce and mix.

I've watched and learnt from DJs and remixers and paid way more attention to how I want my voice to sound. Before, as long as it was loud and in tune it was fine. I've discovered the difference made by various microphones and effects, so each track has a different vocal sound, my voice is woven into everything and it's above everything.

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.