Captions on Sound Engineer

“If somebody wants to work with me I’ll usually try to do it. I don’t have the luxury of turning down work for petty reasons.”
“When you’re recording, people usually are satisfied just hearing the sound come back from the monitor speakers, but when it comes to the mix it’s suddenly the real deal, and lots of people have opinions — artist, manager, A&R, label head and so on — so you get a lot of cooks in the kitchen, which can be frustrating. But it’s part of the whole mix thing. I find that I can learn a lot when people have comments. They may be hearing something that I don’t and even when the critique makes no sense, it may lead me to bring something out that I hadn’t heard before.”
“STOP OVERTHINKING I sit in sessions all the time where label execs, artists, and producers spend too much time overthinking everything. They sit there trying to make records for the CLUB or for the GIRLS or for the STREETS!!!!!!!!!! JUST MAKE GOOD RECORDS. The records will find their own way to the appropriate place. Everyone rushes to do a record with someone just based on if they are hot at the moment and totally forgetting about chemistry and vibe. I’ve seen people destroy their careers because they were overthinking what single should be first and founding their decision on all the wrong things.”
“Saying ‘Oh, give me two hours to recall that,’ does not exist in his world. You have to be prepared at all times.”
“I decided to lay the groundwork and be hands-on and find how I like things to sound. My formal training was me on the blogs trying to figure out how somebody did something […] Everybody doesn’t have the same ear you have. I’m not saying going to school for engineering is bad, but they teach you engineering by the book. I don’t understand how that’s possible because sound isn’t by the book. How can somebody tell you how something should sound? I was posting my mixes online and it was kinda dope because I could get feedback from people I didn’t know and people who weren’t biased.”
“I feel like the engineers’ role is to take the record to the next level. Add your two cents because you have the opportunity to. If you have a creative mind, use it.”
“I don’t separate the different categories of engineering – it’s all just the process of making the record.”
“if you have two hours available, the best use of your time is to listen to as many records as possible instead of just learning techniques. That time comes after immersing yourself in records you enjoy. Create a set of references. There’s an old myth that says whenever you buy an acoustic guitar, set it in front of your speakers and play the best music you know and let the guitar absorb it, and the wood will retain that sound. Mixers need that same sort of thing. Get your own taste and then study.”

“I’m very aware that my success will have cycles, like every business has. I am very lucky with the success I have and with the successful projects that I worked on, in the past and currently, and hopefully in the future. But my feeling has always been that music is a collaborative effort, and with a solid team around me I can be more creative, have more fun, and all the work does not sit just on my shoulders.”
“I would advise young engineers that the first thing you have to forget about in making serious records is the sales. My vocation is making artful records and hoping that they’ll sell, while some producers strive to sell records and hope that people will think that they’re art.”
“I always remember that the session is a dynamic human interaction. To me, that’s the most important part; engineering is almost secondary. Obviously, you have to be really good at it, but if people don’t like you, you’re not going to work.”
“Audiophiles don’t use their equipment to listen to your music. Audiophiles use your music to listen to their equipment.”
Audiophiles don’t use their equipment to listen to your music. Audiophiles use your music to listen to their equipment.
Those who danced were thought to be quite insane by those who could not hear the music.
Look for your windows. They’ll open for you and you’ve got to be ready to jump through. That means practice your art and study everything that enthralls you. If you do that, you’ll know which window is for you and which window to let close behind you.
My philosophy is to make records that have a unique sound. Too many records sound the same these days, because everyone is using the same gear. So part of what I’m doing at my mix room is to combine analogue gear from the ’50s onwards with the latest digital equipment you can buy today, and mold all that together in a collage to create a record that has its own sound and that stands out. If the record is faithful to the song and to the artist and also has a different aesthetic to what’s normally out there, you really hit a home run. I want records to leave an indelible mark on listeners and I want them to remember the record because it’s great, not because of what I have done. That’s an art.
No listener gives a damn what microphone preamp you used.
If it sounds right, it IS right.
Without music to decorate it, time is just a bunch of boring production deadlines or dates by which bills must be paid.
When you’re young, you’re not afraid of what comes next. You’re excited by it.

About Tokyo Chan

Tokyo Chan is a creative writer who enjoys writing captions for Instagram and inspiration quotes. She received her bachelor of art degree in English from San Jose State University, California. Tokyo aspires to be a published author and motivational speaker. She loves spending time with her family and friends, traveling, and exploring new cultures.

Captions on Sound Engineer

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