Very few guitarists play nylon-string. They don't know how to get the sound out of them. That's something I've spent a lot of time on.
There's a couple of fills on the 'Head Job' album. The title track sounds huge, I love it, and there's a few fills in there.
I remember rehearsing it, and it was the one that we were really excited about and thought would sound the best, and once it was down on tape, it was like, This doesn't actually sound that good.
The scary thing is when I did my set in Texas everyone was excited. The show was great. I was done and the next DJ put something on vinyl and the difference! The quality!!
Doing the acoustic at Carnegie is basically advised because electric music tends to get, let's just say, acoustically unsound.
Technology will need to make many more huge leaps before one can ever view films with the level of picture and sound quality many film lovers demand without having to slide a disc into a player, especially with the technical requirements of today's 3D movies.
Theaters are great. They're designed to sound good, not for basketball.
Kenny Burrell that's the sound I'm looking for.
At the same time, one of the things I noticed was that the moment there was any kind of audio attached to virtual reality, it really improved the experience, even though the audio didn't feel like a sound engineer or composer had been anywhere near it.
I just want people to hear the music the way it's suppose to sound, the way we meant for them to hear it. You sit in the studio all this time and make the music, tweak it, try to get it perfect. They should be able to hear it that way.
I am very honored and excited to have 'Devotion' released as the first DVD Audio disc... surround sound is amazing... The music comes alive and is so vibrant - it's unlike anything you've ever heard before!
You finally have to learn to pull all the different kinds of teaching and training and coaching together on you own, so that your voice and body and technique for a sound that is consistent and solid.
I'm an audiophile and have been collecting records for as long as I can remember.
In fact, I had to make an enormous adjustment to this, not only in listening to it but in playing with it. It's a full sound. In some instances, you must have the volume to get the effect.
I'm a guy who doesn't know the name of the chord, but I know that it sounds good.
I actually think in music, learning technical stuff doesn't matter. You can be as technical as you like, but still sound awful.
As it enters the ear, does it come in like broken glass or does it come in like honey?
Did you play? It sounded very good.
At one time they've been the most important thing to me. So I can't hear our records on the radio, I can't stand it, because they sound so out of what everyone else is doing.
I know that if I went to other studios, like in Vancouver, that those are set up to be as professional and as true, so it's just a different flavour, it's a different sound, but I think both have their place.
The darned thing about mandolins is they're really hard to turn up as loud as you would need to be to play with a drum set. They cease to sound like mandolins.
We're so used to everything being properly manicured, like you can hear every footstep in a movie, you can hear every bit of dialogue, and everything is in its place.
I like noise. It's always puzzled me why one of the goals of contemporary recording is to get rid of noise and to eliminate any element of a performance.
A lot of times, when you record something, the album becomes less about the music and more technical.
I get off on hearing other people's voices. I like voices: they're my favourite things on records.
