A Quote by Joe Perry
The Beatles had some juice when it came to distortion, but Clapton was finally able to break through those early studio engineers' fear of overloading. He defined the sound that guitarists spend the rest of their lives trying to get.
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We spend so much of our early lives trying to figure out who we really are. And we spend the rest of our lives preparing ourselves to let it go.
Basically, men are afraid of women and can’t handle the fact that they came out of the same thing they spend the rest of their lives trying to get back into.
I love the balls-to-the-walls rule-breaking approach the Beatles had in the studio (which I emulate), although I don't try to make my songs "sound" like their songs. But every time I crank a knob of some piece of equipment, or plug an instrument into the "wrong" amp/effect, I am channeling the Beatles.
We like the ambiance and atmosphere, and we felt really early that... I mean, of course, Air is an electronic band, but we are doing so many real recordings and the studio is so important for the sound. The acoustics create atmosphere and emotion. Also we want to be independent, we don't want to be obliged to go into a commercial studio and only stay one week because it's really expensive. We want to be able to give a chance to a song, and to spend a lot of time in the studio.
The modern recording studio, with its well-trained engineers, 24-track machines and shiny new recording consoles, encourages the artist to get involved with sound. And there have always been artists who could make the equipment serve their needs in a highly personal way - I would single out the Beatles, Phil Spector, the Beach Boys and Thom Bell.
I grew up on a lot of early Beatles, DC5, Cream, Clapton, Page, Beck and Hendrix.
There's two or three kids out there trying to make good music, and the rest of them sound like it's been strained through some kind of white toast or something. It all sounds just too neat and perfect, with no surprise to it at all. No story, no nothing. It's like building cars, like an assembly line. It doesn't sound like anything that came from a guitar.
I love the sound of Elmore James, the sound early guitarists like him got just by using minimal means.
We spend our life until we’re twenty deciding what parts of ourself to put into the bag, and we spend the rest of our lives trying to get them out again.
Plays are frequently infected with ideas that came from actors or even sound engineers. Some Shakespeare scholars wonder whether some of the Bard's lines came from onstage improvisations by actors.
Coming up, a lot of people I looked up to had a signature sound, but I came up, and I was always in search of one, trying to find it, trying to create one. I was never really able to have a creative signature sound, you know?
For the first two years of a child's life, we spend every waking hour tryibg to get the child to communicate. Then we spend the rest of our lives trying to figure out how we can reverse the process.
We tune differently, and we use some tricks. There's just the two of us for much of a concert, so we want a big sound. We do use some guitar effects, distortion and delay. Playing cello with distortion sounds so good.
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.
And I don't regret the rain
Or the nights I felt the pain
Or the tears I had to cry
Some of those times along the way.
Every road I had to take,
Every time my heart would break,
It was just something that I had to get through,
To get me to you.
It struck me that Steve Jobs, known to be such a brilliant speaker, had a very difficult time explaining things when he was younger. He was describing technology that didn't exist. He had MIT engineers, and he was trying to tell them what he wanted; but there were no terms for what he wanted yet. I think a lot of his early frustration was trying to quickly get his vision to the finish line.
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