A Quote by Jimmy Page
You shouldn't really have to use EQ in the studio if the instruments sound good. It should all be done with microphones and microphone placement.
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There's a very old recording maxim that goes, 'Distance makes depth.' I've used that a hell of a lot-whether it's tracking guitars or the whole band. People are used to close-miking amps, but I'd have a mic out around the back, as well, and then balance the two. Also, you shouldn't have to use EQ in the studio if the instruments sound right. You should be able to get the right tones simply with the science of microphone placement.
More than any other instrument, the relationship between an acoustic guitar and a microphone is super-important. The kind of mics that you use and your placement of the mics to the guitar can radically alter your sound.
I hate the sound of my own voice. It's just up there, sort of naked and exposed. Live is hard, because on my records, I play almost everything on a lot of stuff. In a live situation, I can't control everything. I use two different microphones. One is just clean, traditional sound, and the other one is basically a cheap cassette-recorder microphone that goes through a distortion box to emulate my voice on the record. That helps some.
There's a lot of discussion about whether you should be a good live band or a good studio band. I think you can use the studio to make a great "studio record" and not necessarily have to reproduce exactly that on stage, but still be a great "live band." Having said that, if what you're going for is just the raw capture of your live sound, then that's cool, too - go for it! I enjoy working in the studio, though, and while I try to get near to an approximation of what's going on onstage, it's not my first priority usually.
I mostly used the studio devices, because I knew what they had. Generally I find I'm happy to use whatever's around. If there's nothing there I'll make something. For example, one of the things I tried doing was getting a tiny loudspeaker and feeding the instruments off the tape through this tiny speaker and then through this huge long plastic tube - about 50 feet long - that they used to clean out the swimming pool in the place where I was staying. You get this really hollow, cavernous, weird sound, a very nice sound. We didn't use it finally, but nonetheless we well could have.
We had a simple 8-track studio set up in the record store where I worked. And just staying after work and experimenting, realizing what was possible with recording - that's why my project was called The Microphones at first. Because it wasn't even songs really. It was just sound.
I use all types of instruments, really depending on the film. Instrument choices are very much tied to lighting, colors, art direction, as well as the narrative elements. I have a great collection of vintage synths, and of course I do like to write for acoustic instruments. I find the depth and intricacy of sound and emotion you can get with acoustic ensembles extremely versatile and effective in the overall sound environment. Also, the human aspect of performance is such an important part of the music score to character connection.
I came from an era when we didn't use electronic instruments. The bass wasn't even amplified. The sound was the sound you got.
I wanted to use the studio like a microscope for sound, which is what good engineers do.
The only thing I'd ever done with news was to read copy sitting at the microphone in the studio.
The idea to do the album only on keyboards kind of happened by accident. I was quite happy with the sound and felt it really didn't need more instruments, so I didn't use them.
Piano is one of those instruments you don't have to be good at to sound good - you just have to know where to put three little fingers, which is really pretty easy to figure out.
Wardruna is a combination of old and new. I use historical instruments and new and electronic instruments and tools. I use drones and samples to build these huge sounds. Sometimes just a sound can trigger words or melodies. I don't have a romantic notion about the past; with Wardruna I wanted to create something new using something old.
When I record in a studio I don't use an amp. I go directly into the board, so I can get that very fat, full sound - which is my favorite sound.
I started using contact microphones that you can place on common, ordinary objects, like a rake. I put a microphone on it and it picked up the tines vibrating and turned it into a horrible din. What attracted me to it was the horrible din - that's what I really liked.
I'm a huge fan of voice memos. I put down many ideas there and sometimes I even use some of those audio files in my actual recordings. You get this really raw energy from voice memos that you can't get when you sit down in a studio with a microphone. There's this sense of immediacy, which I'm really drawn to.
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