A Quote by Wayne Static
Sometimes things get too layered and compressed or there's too many effects and they turn into mush on record. I strive to keep it raw and live-sounding, like you are in the room watching the band play.
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we live in a world of excess: too many kinds of coffee, too many magazines, too many types of bread, too many digital recordings of Beethoven's Ninth, too many choices of rearview mirrors on the latest Renault. Sometimes you say to yourself: It's too much, it's all too much.
It doesn't matter if you record with a microphone on a laptop or at a friend's house. Now it's more of a danger of things sounding too high-fi than sounding too low-fi.
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.
Football today is far too much a sport for the few who can play it well; the rest of us, and too many of our children, get out exercise from climbing up the seats in stadiums, or from walking across the room to turn on our television sets.
I am guilty of buying way too many gadgets - way too many! And though I try to keep things nice and orderly, sometimes I get distracted and stick saucepans where the stockpots should go.
When I formed the band and created the Wildabouts with my friends, we decided we wanted to make a band-sounding album, a rock-sounding album. I made two solo albums before that were more experimental albums, and I think that they didn't really resonate with my fan base because they were too out-there, too artsy.
I do not want and will not take a royalty on any record I record. I think paying a royalty to a producer or engineer is ethically indefensible. The band write the songs. The band play the music. It's the band's fans who buy the records. The band is responsible for whether it's a great record or a horrible record. Royalties belong to the band. I would like to be paid like a plumber. I do the job and you pay me what it's worth.
If I don't get enough sleep, my brain gets fatigued, and the voice suffers. If I'm doing some retail work and trying to read and record legal copy, I start sounding like I had a few too many the night before.
You put too many songs on your record, and it ends up like a family with too many kids: some of them get neglected.
If I dont get enough sleep, my brain gets fatigued, and the voice suffers. If Im doing some retail work and trying to read and record legal copy, I start sounding like I had a few too many the night before.
I live in Virginia alone, and sometimes there's too much time to think. So you turn on the TV, but sometimes that don't do, so you turn the music on, and sometimes that don't do, and so you try and write a song, and sometimes that don't do... So you just take it as it comes.
I think it's stripped down as far as electronics go, but we just wanted to write a record that we felt better represented how we sound live with more of a rock feel, which is the direction we've been heading. It's just an evolution of the band throughout the years. We worked on this record longer than any other record, so I don't know if "stripped down" is how I would put it; I think it is a little bit more raw sounding.
I was always told that I was too strange or that I was too cheesy by different groups of people, like the record companies said I was way too weird and the indie people wouldn't even let me in their band.
I really like to think of each record as its own thing. So, for sure, but I hate the idea of being stuck in anything. Like I want to do a Hawkwind-style record too, or a noise rock record or a hardcore record. Why not, you know? I would just not want to keep heading too far in one direction, without pulling off and going the other way.
The topic is too big, there's too many people who live with it, and too many moving pieces for anyone to do a definitive statement on what depression is like for everyone. 'Depression Quest's' goal was to be a basic introduction to the concept and to get the conversation started.
In many ways, I've chosen to be plain, almost too plain, too self-effacing. Like, if I record a vocal and I don't like the way it sounds, I would have them turn it up and take the reverb off it to make it as plain as possible.
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