Quotes About Recording

I think a lot of musicians play for the playback. I mean, that's the joy of recording - you want to hear what you've done and what you've contributed - but never listening to that playback kind of removes the intellectual part of making music, and it removes the tendency to be revisionist.

Moving and motion tends to make things pop up. But things pop up for me, really, at just odd intervals or at random times that aren't really convenient, so I'm a big fan of the voice memo recorder on my phone. That's the only way I can remember things.

Most sessions come in on Pro Tools, which I transfer to the Sony 3348HR and then I mix them down to Nuendo at 88.2 kHz. I

We'll either record the multitrack at 44.1k or 48k and then we mix to 88.2, which is compatible with CDs because it's a multiple of 44.1

Alliance of Artists and Recording Companies (AARC), which is a nonprofit entity formed to distribute Audio Home Recording

48-track tape machines out there. Check out the Internet for used analog and digital tape machines made by Ampex, MCI, Otari, Revox, Sony, and Studer. Read the reviews and note the prices, and as soon as your budget allows, pick one up. It'll be a smart move.

It is not that I don't like contemporary country music because I do. I love it. I have recorded a lot and have had great success recording records that have not been very traditional country records.

The recording industry has changed; they're enjoying such incredible success in the pop field

Phonograph - An irritating toy that restores life to dead noises.

I didn't really even think of recording under my own name for a long time. I thought, 'I've got the rest of my life to do that.'

When you're young you don't think, 'This person is going to change your life.' But when you start recording your own songs, it comes back and reminds you.

'For Unlawful Carnal Knowledge' took a year to record that's why the playing on it might sound somewhat labored. 'Balance ' on the other hand, was written and recorded in only four months, so the whole process was quicker and more immediate.

Whenever he can, Werner records what the partisans say on magnetic tape. Everybody, he is learning, likes to hear themselves talk. Hubris, like the oldest stories. They raise the antenna too high, broadcast for too many minutes, assume the world offers safety and rationality when of course it does not.

If I hear a conversation and somebody says something intriguing, my first thought is, 'Is that a song?' I write all year long, and at the end of the year I pull these forty or fifty things out and say which of these things do I want to record.

I've often said that with Black Sabbath you ought to have put a lasso around the sound and pulled it in. That's the best way to record Black Sabbath.

When I went to record my first album, which should have been a punk album, there was a synthesiser in the control room. I'd never seen one before but they let me have a go on it and I loved it to bits.

My performing and my singing leave much to be desired, but having other people record my songs is the most flattering thing that can happen.

I feel like Turbo helped me grow. It's the way we just lock in. His mind is set to where he'll start making beats to my flow and my sound. He's not an engineer, but he knows how to record.

I fly to London or the U.S. to record my music nearly once a month.

I didn't have no college friends. All the artists the college folks were listening to were my homies. I was leaving class, literally, to record with them.

'Teenage Wildlife' is just epic. It's, like, five or six minutes long, and it kind of crescendos and builds into this insane vocal of Bowie wailing. I think I would pay $5,000 dollars to see footage of that recording session.

When I was growing up, I was so fascinated by Mel Blanc and all of the different voices that he did for 'Looney Tunes' and watching Robin Williams record voice-over for the genie in 'Aladdin.' It always seemed to be a major honor - something you have to earn. Like people trust you when they want to have you there without seeing you.

'An Audience With Kenneth Williams.' My wife and I went with him to the recording. He was paid £10,000, the largest fee he had ever received and was so nervous he was shaking. But his performance was matchless. He knew it was the best thing he'd ever done.

There are parts on 'Wind's Poem' that are literal recordings of wind. I had this old sound effects record that I got some wind from and then I figured out that distorted cymbals sound just like wind so I used that a lot.