Quotes About Recording

I usually make records very quickly. I usually go in and record them and mix them, and I'm done within a couple of weeks.

I was just writing songs in my spare time, and recording because it's fun to do, and Sub Pop called me and said they wanted to put some stuff out. I had to weigh whether I wanted to put the time into it because it's a commitment. But, in the end, it seemed too good to pass up.

After I changed the string we picked up right where we left off - and punched back in at the same time. I don't know if this has ever been done before. The engineer sort of looked at us weird, but we got it on the first take.

I do most of my vocals - aside from a couple of little one-shot vocal samples. I record everything into the Saffire with an SM58 then scratch it with loads of plug-ins. I don't do much vocoding to be honest. All my vocals are usually done with Melodyne and a ton of other plug-ins to make it sound weird.

There's this weird game called 'Blueberry Garden.' For that game an artist recorded some piano music, but evidently he only had a really terrible microphone on top of the piano, and I really liked it and wanted to experiment with that. So, I made piano recording and really mangled it, and kept experimenting with the technique.

I'm not a singer. I double-track my vocals. I'm just not secure in my voice. I can't do single-track - I sound weird.

Hey bands, you're all welcome to fly me to some exotic location and I'll record you there, Y'know that right? You don't have to come to this God forsaken place. Hope I can visit you all in Australia one of these days that would be hot! We'll talk again soon.

When I was five, my uncle bought us a tape recorder and my dad tried to record us kids talking and singing, stuff like that. There's really quite a lot of me in a really Welsh accent going, 'Can I tell a joke? Can I sing a song?' - really annoying and brattish.

I got to meet Kanye West because we were shopping my artist deal, and I was interested in his label. When I met him, I played him all the records I had. He introduced me to Rihanna, and she recorded and cut some of those records.

I was in California the first time I heard Michael Jackson wanted to record with me. I was, like, 'Nah, no way, he's too big, it can't be true.' Then I got a call from Michael's people at my hotel telling me he was interested. But I still wasn't believing it - I thought they were setting me up for a TV practical jokes show.

I was born in the overdub years. I wish there wasn't such a thing as a multitrack tape player, because what you heard would be the record.

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.

I can't get that live and I don't have the time to take the tape, after I've finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound.

I thought it was magic to be able to catch something identically on tape and then be able to play around with it, run it backwards; I thought that was great for years.

I don't even watch my own show: I tape it, I'm out.

I had one of those tape players with a strap on it and the orange button - the old-school recorder - and I'd record songs by Roxanne Shante, Run-D.M.C. and Biz, Markie. I'd try and learn the words. I've been rhyming since I was a young fella. I used to win talent shows by break dancing and rapping.

It's very clean. With tape, you get noise.

In the past 3-4 years I've developed a habit of keeping numerous small cassette recorders in my house and in a bag with me so that I'm able to commit to tape memory song ideas on a constant basis.

You put a song on the record or on tape and you stop singing it. You just don't sit around and sing it anymore unless you're performing. That's kind of sad.

I'm thinking about recording everything to tape like it's 1991 and seeing how that sounds.

I love tape. It's another member of the band, the way it settles and blankets everything.

I have a very limited knowledge of recording, but the miracle of being able to capture sounds on magnetic tape and the miracle of electricity, and these little magnetic particles, is amazing to me.

The number of times that anything is overdubbed on 'Frampton Comes Alive!'... the rule was, if it didn't make it to the tape, then we can redo it because it needs to be done. If it made it to the tape, and it sounds good, we leave it. So nothing was overdubbed on that album at all that wasn't absolutely necessary.

If I had any advice to give to anybody, it would be record your parents talking so that, when you're longing to hear that voice, you can play the tape. But for me, it's a little often. You don't always need to be reminded that he isn't here anymore.