There are certain records that you love because the songs are great, but you don't go to them as an example of great production.
You just want to go back to those 70s albums. Even a lot of the 90s indie records were still done on tape, and you hear the difference.
For the records I've work on over the last 10 years, I get sent the really compressed version and the non-compressed version, and oftentimes you end up going with the more compressed one because it's what people's ears are attuned to. I think the bigger problem is saturation and people being desensitized.
There are people who've prepared their whole lives for real heavy success and bask in it. They're so good at it and they obviously love it. I'm just happy to be making a record.
I never willfully want to write the same record twice, which is probably why I jump from project to project. But I can't ignore that there are things that inspire me, and I love celebrating those.
I can really only can record at home.
Learning how to record has been super empowering for me, because I spent so many years going into the studio and watching other people do it. I guess a lot of musicians have gone through this because now recording is really available for everybody.
If you look at our records, I stood up to corporate America time and time again. I went to Mexico. I saw the lives of people who were working in American factories and making $0.25 an hour.
What excites me is the idea of doing a record that's pretty clean and focused on songs. I've rushed a lot with previous albums and there's not a rush now - it's not a race.
I was sick of fast, aggressive music; I felt like I needed to make a poppy thing. But, right now, I feel like I need to make a Hawkwind/Sabbath record. It gets boring if you just do the same thing all the time.
There's nothing harder than making a mellow, clean record. It's really scary. I can see why people would never want to do it.
Everyone uses noise as a crutch sometimes - I've totally done it. But when you make a good-sounding record there's nothing there but you.
Some of the best records are the ones that really affect you the most - they're pure emotion and energy, and it's like you're in that person's brain. It's pretty cool.
It is cool to have a label head that is also a songwriter, in a band, and produces records.
I'm training myself to go back to the way I used to record before electronic programs.
I think it's safe to say that 50% of the record buying metal community is people between the ages of 16 and 25 - people still in their teenage-angsty, early young-adult years.
I didn't want to make a record that's just drones or completely experimental. A lot of the time bands that make this psychedelic style of music are just a bunch of dudes hanging out together and jamming.
I'm always working on my own music, too. I've been working on a record for a few years.
Demos are something you do in the early stages of your career, but when you get going, you just go in and record the song.
I'm 45 and I don't have time to spend two years of my life bringing in producers and dragging the record around the planet.
Trying to cope with the balance between home life and road life has been a theme in my music since early Red House Painters records.
It seems like the record industry made so much crazy money in the 1960s that everyone wanted to get in on it. Now it's just become very corporate. So all of these people who despise music end up being in charge.
It never really interested me in the past but, for the first time, I wanted to make a pop record. I thought a good way of doing it would be to make songs that didn't really make sense to me as songs; songs that I couldn't just sit down and play in front of someone and then get them to play over it.
Star Wars film is breaking all previous box office records. (Why might we want to revisit those characters, that narrative, those jokes and tropes again, in this way, right now? I wonder what it will turn out to reveal about the economics and politics of this moment.)
I had a period after touring the first record where I didn't agree with the way things worked in the music industry as far as how you release music, demand, the pace of everything. You don't know who's talking to you. Who's Spotify? Who's iTunes? Who are all those bloggers? Who says I have to do this? Why do you have to do all this press? Why do I have to do so many shows? Why do I have to do a regular album right now? I don't understand it.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: