My brother and I spent a lot of time trying to figure out how to record heavy drums. For death metal, you gotta have a drum kit that can cut through a wall of guitars. So it was important to have good acoustic space and solid engineering technique. For a while there, we were doing wall-to-wall death-metal sessions.
- Tom Morris, founder of Morrisound Recording,

Scott knew what to do with fast and brutal bands, and not a lot of guys did at the time [...] It really drew people from the death metal scene down here. That was a big factor in Tampa becoming a haven here. They wanted to be close to the studio.
- Terrance Hobbs of Suffocation

With high-quality production that differentiated one band from another, artists in Tampa could carve and cultivate their own identities. Sure, there were similarities. The drummers often played blast beats — which used double-bass drumming and were considerably faster than thrash beats – and guitarists played rapid up and down strokes with few pauses (called tremolo picking). The rhythms flip-flopped from a high-octane burn to doomy, palm-muted chugs and often relied on irregular time signatures, and the leads were more cacophonous than Slayer’s. To the untrained ear, it was a mess, but that just made it a more exclusive form of music for those who could separate one cacophonic tone from another.
- Jon Wiederhorn of Loudwire

Quotes about Morrisound Recording

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