A Quote by Matt Squire
Traditionally, an engineer is responsible for capturing sound - microphone choice, gear, etc. A producer can have a number of different responsibilities - anything from songwriting to judging performances - setting mood, and (perhaps most importantly) choosing which songs to work on!
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I'm a gear head. I love gear. If I have the choice, of course I'd rather use a great microphone, a Neumann microphone and a vintage Neve board.
All moods have a cause. If you change the root cause, then your mood will follow suit. Furthermore, mood is a choice. It may not be a completely free choice, but you can choose which mood you spend the most time in.
Accuse American businessmen of being responsible for radicalism and they would indignantly deny the accusation. Yet, in one fundamental sense, they are responsible. They are responsible in the sense that they have utterly neglected to take part in the work and the organization which precede the choosing of candidates for political office. Local political organizations all over the land are conducted and controlled, as a rule, by politicians.... Businessmen have shirked such responsibilities, leaving an untrammeled field to others less capable of carrying on the administration of government.
A short story is confined to one mood, to which everything in the story pertains. Characters, setting, time, events, are all subject to the mood. And you can try more ephemeral, more fleeting things in a story - you can work more by suggestion - than in a novel. Less is resolved, more is suggested, perhaps.
Sound continues to be a mystery to me, in that one could create infinite songs focusing on the same subject, but depending on the melody, instrument choice, minor or major key, time signature, etc., each song could elicit an entirely different response.
Every time we go into the studio and use a different engineer or producer I try to look, listen and learn their approach. That has helped with the gear I look for to use live and in the studio.
I wrote, in total, about 50 or so songs (finished and unfinished) in the 2 and a half years leading up until this moment, and trying to decide what songs to include on the Mini-Album was super difficult, because there were so many different sound/mood roads I could have gone down. But, after going through everything, these tracks seemed to fit together and communicate a similar sentiment and mood the best.
Choosing an acoustic guitar for a live setting can be different from picking out one for recording. One doesn't always work for the other. The sonic properties can be vastly different.
I didn't know anything about film when I first started - I was a painter - but I [always] felt that sound was just as important as the picture. The sound, picture, and ideas have to marry. If an idea carries with it a mood, sound is critical to making that mood.
We were fortunate at that time we were working with Virgin, and with Flood, probably more well-known as Brian Eno's engineer now and U2's producer, etc. Even though we weren't working in a strictly popular music area, which was great, we were lucky enough to work with people who were on the cusp of those sort of things.
Everybody has their own approach to songwriting. When you're an electronic musician, the whole writing process just depends. Some people have a very live way of writing electronic music, very improvisational. They set up a lot of gear and do live takes. I'm concerned with having a specific kind of sound. There's not one second that I haven't put thought into. I put almost as much time into my live shows as I do into writing music, but they're two completely different processes. Some people think the way I perform live is how I write songs, which isn't true at all.
I love songwriting ! It's my Number One passion other than performing. Well, actually it's like wearing three different hats: songwriting, recording and performing. They're all completely different and draw on different types of skills. With recording, there are so many different phases of production, and you have to be very careful because you can polish it until it doesn't shine.
Songwriting is a craft. Writing good songs on a a consistent basis doesn not happen spontaneously. In fact, most of our best songwriters learned to write good songs by writing a lot of not so good ones. Education matters in songwriting, just as it matters for physicists, chemists, doctors, lawyers and MBAs. Education lays the foundataion on which to build experience.
No matter how unreasonable others may seem, I am responsible for not reacting negatively. Regardless of what is happening around me I will always have the prerogative, and the responsibility, of choosing what happens within me. I am the creator of my own reality. When I [review my day], I know that I must stop judging others. If I judge others, I am probably judging myself. Whoever is upsetting me most is my best teacher. I have much to learn from him or her, and in my hearts, I should thank that person.
I guess drag queens, by nature, have to do everything. When you start being a drag queen, you're grabbing the microphone, hosting the shows. Then, you're setting the microphone down and doing the number. You're spending the day before doing your wigs and sewing your costumes. You're doing everything.
The other songs [of Billie Holiday] - "Body and Soul" is like the standard - I also wanted some songs that I knew I would sound good on, as a producer. It's been the same nine songs since I debuted it back in 2012.
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