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- “From that moment on I was completely in love with the whole world of recording. The studio manager allowed me to become an intern and I did everything from cleaning to changing lightbulbs”. (en)
- “I have been absorbing the way David produces. I admire what he does, so it is easy for me to put my feelings into the creative circumstance.” (en)
- “Hum is becoming a co-producer. It’s not even that he learned it from me; we’ve learned from each other. When Hum’s in the studio with me, he’s working with me, not for me.
As I’m about to reach to turn up the vocals just a little bit more, he does it. Or about to turn up the Rhodes a little bit more in the phones because the singer is singing a little out of tune, he does it… with no communications”. (en)
- “After the sound is set, I let go and completely disconnect myself from that aspect. After that, all I think about is the creative aspect, the feel, the arrangement, what the arrangement is doing to the melody, how it is affecting the vocal performance”. (en)
- “The first thing I do is work on the vocal. Everything has to sound good around the vocal. When I’ve gotten the vocal to sound right and the foundation is there, the mix becomes more fun and there is room to be creative and expressive .” (en)
- “Parts require a height, width and depth in order to take on a living quality. The longer the effect like echo, delay and reverb, the farther back the part goes. Height is controlled by the range of frequencies from low to high and width by the panning spread”. (en)
- “He has able to go beyond technology and practice magic. It’s a special talent, it’s generosity, a bit of magic, a lot of love and friendship. I honestly think that Humberto has been singing with me through all those years”. (en)
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