Discover the most popular and inspiring quotes and sayings on the topic of Equalizer. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Equalizer Quotes And Sayings by 92 Authors including John Scofield,Aphex Twin,Bryan Adams,Rita Ora,Bill Wyman for you to enjoy and share.
I guess I got lucky with my sound.
Forget all the equipment, forget the music, at the end of the day it's just literally frequencies and their effects on your brain. That's what's everyone's essentially after.
Focus on your music and not technology.
When it comes down to the music, it's just you and the microphone. It's not you and the record execs.
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.
The first quality that is needed is audacity.
What I'm dealing with is sound. I don't pretend to be dealing with music. I'm just dealing with sound elements, textures and sounds.
I'll add another return track for compression. This will be used for Parallel, or New York compression, which is basically mixing the fully compressed sound with the original. This has the advantage of adding punch and fatness without losing the transients.
It's all about sound. It's that simple.
First you harmonize, then you customize.
I use my music to tune myself.
One son appears in stereo - a transistor in one ear and the phone in the other..
I had redesigned my entire amplifier system for this tour because airlines are very strict now.
You wanted to wear the second amplifier. You have it. You want to go to Os Alta? Fine, we'll go. You say you need the firebird. I'll find a way to get it for you. But when all this is over, Alina, I wonder if you'll still want me.
Shrink, shrink variation, to reduce the loss.
If I didn't have the reverb I'd be an unhappy camper. So I want reverb in my monitor mix. Reverb and a good level in my monitor and I'm all set.
Because you know I'm
All about that bass
'Bout that bass, no treble.
In radio, you have two tools. Sound and silence.
I'm using Fender Twin Reverbs and Fender Blues Devilles on stage.
I don't wanna be equal with anybody. I wanna be above equal. I don't think most people are equal to me. I'd like to communicate with everybody; I'd like to do something universal, I'd like to have the hit record of the world. But that's not the same as being equal.
Suffice to say that the TG2, Germ pre and EQ, and TG1 are there anytime I track drums, TG2 for guitars and the LTD-1 is there whenever I do vocals!
If you must err, do so on the side of audacity.
They solved the problem of coexistence through the use of individual stereo headphones.
On 'Honeybabysweetiedoll' I used a Whammy, a Boss OC-3 octave box, a Sustainer and a Line 6 DL4 Delay Modeler. That's only on the intro, where all those weird noises are happening.
I'm very lazy when it comes to making the original sound. I don't go through amplifiers and different compressors and signal parts. I just grab something, whether its an old guitar or a children's toy that happens to be lying around, and record it straight into the computer.
The whole idea is that if you turn your amp up to 10, you should still be able to play at a whisper - you've got to learn to control your hands
You still get the sheer quality coming through but you're covered.
The voices on the record, that was trying to treat my voice like guitar players treat guitar tones.
Reverb does that thing where you make one sound and it grows to 20 times its original size and fills everything up.
One of the most confusing issues in channeling is that of accuracy.
I understand loud and clearly, with my sound mind
Audacity, always audacity - soundest principal of strategy.
I used Coldplay's mixer, Michael H. Brauer, on 'Roadsinger'; he's brilliant. He won a Grammy for their record.
Filter all negative voices. But retain the positive.
So first you isolate each side, then you effectuate a crossover effect from side to side.
But, when we started our product portfolio, we focused the mixed signal requirements first for image processing devices and then in audio applications, targeting our technology into the growing use of digital technology in consumer markets.
It's interesting to be a front person who is controlling the majority of the sound.
A microphone fiend; I make beats do back flips.
Are you trying to tell all of us we have a bad signal-to-noise ratio?
It's the place you would go if you wanted to buy a stereo system for under thirty-five dollars and didn't care if it sounded like the band was playing in a mailbox under water in a distant lake.
It means basically I'm using the synthesizer more to change the sounds of other things rather than to use it as the source of the sound.
I wanted to use the studio like a microscope for sound, which is what good engineers do.
My part in AC/DC is just adding the color on top.
You have to make rough decisions with sequencing and work within the limitations of having good audio for 15 minutes on a vinyl side.
I function as a channel from which music emerges from the chaos of noise.
When the Grateful Dead needed a quality sound system to deliver our sonic payload, I learned electronics and speaker design.
Every time I went into the studio some engineer tried to impress me with how they're going to capture my sound with all kinds of tricks. But they limited the sound and never allowed me to play how I felt.
With this CD technology, you can just remix a record right there on the spot.
I've discovered this new electronic technique that creates new speech out of stuff that's already there.
Fidelity is for phonographs
Surf music is played through a Showman amp with a Stratocaster guitar.
Audiophiles don't use their equipment to listen to your music. Audiophiles use your music to listen to their equipment.
Learning the rules that govern intelligible speech is an inculcation into normalized language, where the price of not conforming is the loss of intelligibility itself.
Everybody knows there is no fineness or accuracy of suppression; if you hold down one thing you hold down the adjoining.
earpiece in his ear.
You are a 64-track recording - the tracks are always there, they're always with you. Sometimes the harsh tracks are cranked up and the rest are rolled down to zero. Other times the sweet tracks are high and the darkness is low. But it's all you.
I have always felt this
And I, I could never hear it
So I turned it up
And turned it on
And turned it down
Always the volume always the words
The voices were muffled; the din of a
I remixed a remix, it was back to normal.
Often, equipment can as easily function as a security blanket for musicians unwilling or unable to risk anything personal in the studio. Whether one catches the feeling on a record is a subjective matter. How can you be sure? The machinery can hold out the promise of at least mechanical perfection.
We have all this digital equipment, and sometimes this analog stuff comes back and people say "Oh my god!" It makes a different sounding music.
Our job as producers is to make the music sound as good as possible.
I think my sound is post-Internet.
I don't need sound to talk to me,
It's easy to get sidetracked with technology, and that is the danger, but ultimately you have to see what works with the music and what doesn't. In a lot of cases, less is more. In most cases, less is more.
The Pigtronix Envelope Phaser pedal is a definite 'must have' for your Funk recipe cookbook ... it adds definite Funkaliciousness to your WOO stew.
It's really cool what you can do with a guitar and a Fender Twin and a space echo.
Listen deeper than the music before you put it in the box.
Get rid of the shitty sound. Life's too short.
I like to use effects, but a lot of the time I just can't deal with these tracks with all these artificial sounds.
So for my studio purposes, I know that I'm in my studio with technicians who've done amazing things to my board and to my power amps and I know what I can deliver out of my studio.
A lot of the stuff I listen to is glitchy electronic stuff and stuff with beats.
Amplifying acoustic instruments more than a little is really cheating, and everything becomes a compromise.
When things feel murky and unsure, fine tuning our hearing so as to distinguish the voice of our Innermost Self brings clarity.
When something is coming off of a Neve board and being laid down on tape, it's like a warm blanket for the brain. When you're working in a digital form, it's so harsh; it's almost painful. Your ears get more fatigued if you're mixing all day.
There's been a progression in my sound.
LINEAR IS FOR OTHER PEOPLE.
When you're recording to analog tape, it captures performance and you can't necessarily manipulate that in different ways. It is what it is.
If all the elements are in place, you should get 80 percent of what a song has to offer no matter how you hear it, whether on headphones or on the radio.
I just play intuitively and work the same way in the studio. I don't have any magical effects or anything that helps me to get my particular sound.
Sometimes my songs wander off a bit and are not always coherent.
I agree with the rest of the band, that a truly synthesized sound isn't really what I would want to go for.
Grace was pouring out everywhere, from hidden sounds, into Els's damaged auditory cortex. And all that secret, worldwide composition said the same thing: listen closer, listen smaller, listen lighter, to any noise at all, and hear what the world will still sound like, long after your concert ends.
The reason I use ed is that I don't want to lose what's on the screen.
The acoustics seem to get louder
I'm a stereo & she's just so monotone
When you hear my records today hear a vanilla sounding artist with no black inflection, although I was trying to imitate what I heard.
As so much music is listened to via MP3 download, many will never experience the joy of analog playback, and for them, I feel sorry. They are missing out.
I sought Morozova amplifiers for you Alina, so that we can rule as equals
Register is very important. Music sounds best in a certain register.
All I know is that when I mix to digital and when I mix to tape I compare them and the tape always wins out.
Surrounded by noises from televisions, airplanes, subways and automobiles, most of us 'tune out' for self-protection.
Casually mount the sounds
and straddle the colors
while you transcend listening
and surpass watching.
Eazy, Dre, Cube. Conceptualizer, musicalizer, lyricizer. Father, son, and holy ghost. The trinity behind N.W.A.
You look like You with the volume turned up
You've got to capture as much of the room sound as possible. That's the very essence of it.
A lot of times you'll hear bands and it's a different sound coming out than what's on stage. Because you can clean it up through a PA and make it sound completely different than what they really sound like.
You have to be very focused about the music that you have inside.
Quiet is turning down the volume knob on life.
Audacity made kings, and it was time to reclaim his crown.