Quotes About Recording

People don't realize how much it means to your music to record on tape, whether it be for new music or old music. People don't realize how much or how imperative it is to use actual hardware when making drums because those are actual percussion samplers. They're hardware instruments that are made to have the drum hit.

The measure of success was writing a song, recording it and for it being in the hit parade in England. Success was about the postman walking up the garden whistling my song. I wasn't trying to conquer the world.

The first rap I recorded was on Jeezy's 'White Girl' beat. One of my partners invited me to his studio, so I go. I wasn't planning on recording, we were just messing around. And I started recording a song, just a freestyle. Back then, Jeezy was going so hard, that's what everyone was on. That's what me and my partners in the trap would listen to.

I really didn't have any plans to record prior to doing My Own Best Enemy.

Producers like to record all the drums first, then they do the bass, then all the guitars, so you're constantly moving from one song to another.

We'd dub the one that came off best into the final transcription. It gave us a chance to ad lib as much as we wanted, knowing that excess ad libbing could be sliced from the final product.

I'm sure I'll go back again and record in the digital process.

My father filmed me all the time as a kid, and that's how I was first exposed to a camera.

When I've had to edit my albums, I'll listen to it one time through, and I'll make edits. I want to remember to set up a camera to record myself listening to my set, because I don't even slightly crack a smile, I am just listening for technical details, and I look like somebody that has absolutely no sense of humor. I look insane.

A lot of times, when you record something, the album becomes less about the music and more technical.

Lyrics mean a lot to me, and I won't record a song unless I can feel it. That's something I learned from Carter Stanley. Even when he wasn't perfect technically, he got inside a song and sold it emotionally.

It depends who your technician is as to how much fun the recording is.

Recording sessions were stimulating to photograph, because everything was in motion: the subject, the musicians, the technicians and the photographer. You needed fast reflexes to keep up with moving targets, and sensitivity and skill to get the pictures while keeping out of the performers' eyeline so as not to break their concentration.

My music sounds different because the techniques are archaic, seeing as most people only record digitally.

I tend to use different microphones, different mic techniques, and different recording mediums - like analogue tape - that evoke multiple eras of recorded music at the same time.

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.

You can alter movie singing so much because you go into the recording studio and, just technology for recording has gotten so good, you can hold out a note and they can combine a note from take 2 and a note from take 8.

It's easier to record because technology is advanced. That's why there is a spurt in the number of new singers.

I am sorry, but recording an album is just hard work; tedious, repetitive, and not very fun at all. Mixing is a bit better, but still pretty boring.

I met Gerhard Richter and Alighiero Boetti when I was a teenager, and I was really inspired by them. When Boetti died, I realized I only vaguely remembered so many things he told me. It was such a pity. Had I only recorded his voice, he would still be with me, and I could listen to it from time to time.

The first songs I made brought me to the Grammys. I was a five-times nominated teenager off voice memos and songs that were clearly recorded off different mics.

Recording 'Tusk' was quite absurd. The studio contract rider for refreshments was like a telephone directory.

The podcast 'A History of Jazz' began telling its story in February - 100 years after the recording of 'Livery Stable Blues' by the Original Dixieland Jazz Band, the start of jazz as a legitimate branch of music.

Arkhip learned early in his career that a tape recorder was a crutch. Investigators depended on the recording and failed to listen to a witness's answers. Without listening, there was no hearing; without hearing, one could not ask intelligent follow-up questions. Opportunities not taken were opportunities lost. Arkhip took notes and maximized his intuitive abilities. With years of practice, he could recall almost verbatim what a witness had said.