Quotes About Recording

We're gonna release a studio album probably a year from now and we've got these recordings that we did with Coco Taylor and Johnny Johnson, who was Chuck Berry's piano player.

I remember telling my creative writing teacher that you never want to have a journal, because if you lose it, then someone's going to know all your secrets. And then she stopped using a journal, but I always write everything down... Anytime I travel, I try and fill up notepads.

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.

But Ram was mostly recorded in NYC, in a top-dollar studio during nine-to-five business hours, with two sidemen he'd never met before. It was a professional approach to music designed to sound unprofessional. It worked, too, with Hugh McCracken playing that great guitar break in "Too Many People." (My favorite McCracken solo, except maybe Steely Dan's "Hey Nineteen.") For Paul, country life meant stretching himself. He kept featuring

Although recordings were done in London, Winwood confessed he preferred the sound of the cottage: 'Every room has its own character, and the room in the cottage where we do rough takes of the songs has its own special quality, because it is an old house and you can tell what kind of room the sound was recorded in when you listen to the tape.'4 Instead of the airless precision of modern multitrack studios, artificially aged acoustics were the way to go.

On the whole, he seems to have used the notebook, and the quiet hours of recording, as a way of conversing with himself – a means of clarification of his own thoughts.

This meeting had only one real purpose, a simple and ancient ceremony of the Borderlands that had been recorded only seven times in all the years since the Breaking. A simple ceremony that would commit them beyond anything words could do, however strong.

Write what I tell you in your book of memory.

One of the songs we recorded for 'The Long Run' was called 'You're Really High, Aren't You?' Which never really made it onto a record, but later on, it became 'Heavy Metal.' I took that track that wasn't used, and when I was invited to write a song for that movie, I took that track and recorded that song for that movie.

I learned you were fearless about the weather. You wanted to walk around the city, come rain come snow come sleet, recording things. I bought a warmer coat with many ingenious pockets. You put your hands in all of them.

I think that technology has both introduced new sounds but also allowed an increasingly painterly approach to recording music as you can now paint over what you've done and more and more refine an existing performance.

I read somewhere that human beings are genetically predisposed to record history.

Performance capture is a technology, not a genre it's just another way of recording an actor's performance.

The very first Walnut Whales recording was recorded just a few weeks after I had started singing, out of the blue, started singing. And the voice, you can hear how uncomfortable I am with it, and how terrified I am with it.

My dad told me years ago, be sure you record what you love because the minute you record what you hate, that'll be your hit single and you'll have to sing it the rest of your life. So thank God I love 'Something in Red.'

You speak into it and everything is recorded, voice, tone, intonation, everything. You turn a little wheel, and forth it comes, and can be repeated ten thousand times. Only fancy what this suggests.

As a musician or composer, whenever I am recording a song I imagine myself sitting beside my piano and singing the song with a little fear that whether I will be able to perform or not.

Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.

In the 1960s when the recording studio suddenly really took off as a tool, it was the kids from art school who knew how to use it, not the kids from music school. Music students were all stuck in the notion of music as performance, ephemeral. Whereas for art students, music as painting? They knew how to do that.

Trent likes to record guitars direct, whereas I've always preferred playing through an amplifier.

On an animated television series, you pretty much read the script as written. Whereas on an animated feature, you'll sometimes record the same scene multiple times over the course of a year as the filmmakers continue to tweak that part of the movie.

I don't particularly like recording studios, they tend to be lifeless and without any natural light, so I wanted to record wherever we lived. We just don't want to be bound to a studio to who we'd have to pay untold sums to.

I like recording by myself wherever I can, just because then I feel like I have ultimate freedom, and I can just control whatever I want to put down. There's something about going into your own little world.

You live in a bubble, generally, when you're touring and recording - you're in confined - in alone space, wherever you are, in the dressing room or in the studio - so sometimes it's hard to grasp that bigger picture of things that are going on.