Sound Balance Quotes

Music is all about training in harmony, training to understand and use musical energy for our greater pleasure by attuning to the natural laws of the universe.

Don't play too loud! Bleed-through on stage can be brutal to front-of-house sound.

You're only as good as your weakest link in the ecosystem of sound, of audio.

I really wanted to get that dynamic on the record onto people and let them know it wasn't just a simple strumming along the guitar type of thing without ramming it down their throats so I kind of went the opposite way and sang some of the songs more quietly which allowed for the louder parts to sound as though there were more. It was the only way singing those songs made sense to me.

They don't bother too much with the balance and things on blues records.

I like music more balanced between the voice and the guitar and the percussion. I don't like heavy metal.

You are a 64-track recording - the tracks are always there, they're always with you. Sometimes the harsh tracks are cranked up and the rest are rolled down to zero. Other times the sweet tracks are high and the darkness is low. But it's all you.

Nothing is more annoying than a great singer getting drowned out by a loud guitar.

Dolby was in the driver's seat. "Surround Sound" was added. Now we had three speakers behind the screen, two more on the left side of the theater, and two on the right. A closely guarded secret about all this is that you hear the correct balance only if you're sitting in the center of the theater. On the left or right side, those speakers tend to dominate.

It's quite fun to mess with the human voice. It's quite special in the sense that the voice is the #1 instrument that we can connect with; it doesn't sound too alien. I think that's the key is to find the line between sounding human and sounding robotic. That's an area that I like to explore a lot.

My live sound does not work in the studio, which is a completely different animal. Every little thing is detrimental to the sound. And if someone moves a mic, you've lost it. It's pretty much a case of 'lock the door and set up a police line.'

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.

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.

I do a long sound check. I get there at noon on the day of a show and sit behind the piano and then walk around with the microphone. Then I feel like I have done my homework.

Oftentimes, when music is just blasting out it seems like it's overcompensating for something missing in the song's structure. When I think of the music that I listen to constantly, it's never like an assault.

The only time it dominates is during a solo, or when we play a low blues and I put figures in behind Eric's vocals. There's never any real problem fitting guitar and organ together.

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.

But to me the actual sound of the words is all important; I feel always that the words complete the music and must never be swallowed up in it.

When you've got insane drums and a lot of guitar, it's really hard to mix the vocals, to mix it all well.