Quotes About Recording

When I started off in music, I started with a real innocence, a real love for the instrument, the writing the songs, the playing the songs and the sharing and the recording and experimenting. It was exciting. Then, this thing called success came, and something happened at some point where I became disenchanted, and I lost the innocence.

I don't do any special preparations before recording any number, nothing like deep breathing or meditation.

You have to always physicalize, when you do animation recording. Otherwise, you won't get the performance right.

I've just been recording mostly acoustic stuff, drums, and sax, and electric guitar. I'm just still writing songs and what not.

The friendship I had with Elvis began to take shape in 1968 when I was recording in Memphis. I'd record during the day, and Elvis would send one of his guys over to bring me to Graceland at night. Everything you've heard about Graceland during Elvis's glory days is true and then some.

Well, for the My Generation album, there was nothing to be nervous about in them days. We used to take every day as it came. Every day was just a gig and I think we did the recording between gigs literally.

The main reason he wanted to be a recording artist was because it gives you much more freedom in your writing. You only have to please the artist and the artist is you so you can be more daring and experimental.

I think we were probably playing live for about 12 months before we got a recording deal.

I began the process of recording myself seriously in the fall of 1999. If I could finish an album of my own music, I would. Five years later I am happy to say I have.

My first recording, a guy came down to Philadelphia and heard me play and he introduced me to Alfred Lion.

Today, with a recording, he can hear the thing enough times until he really gets acquainted with the language, and then he can begin to make an estimate of the intrinsic, aesthetic value of that piece of music.

I have always thought of myself as a performer first and way down the line as a recording artist.

I think as long as people are around and can hear a record and hear people like Lester Young on a recording, there will always be a great inspiration for somebody to try to create jazz.

Each one of us had a little story to tell and each recording was based on that. Lou played all of the music but we both sort of kicked around some cords during the writing phase.

When working with an orchestra, you never spend more than 20 minutes per recording session.

For my second record I had gotten ProTools (program) and started to familiar myself with hard disc recording.

I'm quite proud of my piano playing. Robin's never played a note on the piano at our recording sessions. I just wish I could be appreciated musically now.

I have been recording for five decades now.

Then I loved the fact that we were actually recording live.

I prefer recording drums in the analog format, but that does not mean I would only do it that way.

Generally, the best recording is the original cast, because that's the way the piece grew: integrally, with them.

When it comes to the recording and writing, it's still mostly Mickey and I. But now there's this whole live entity that's a whole different thing, and it seems to be where we're gaining the most popularity.

My intention when I came into this industry was to be a musician, not necessarily a recording artist, just a musician in general. And that's the reason I went to college and got my degree, which has been great for me. It's helped me a lot with my career.

Once I'd chosen the songs, it seemed like it would just be a question then of recording them. But it's a case of trying to re-invent the songs; taking them in different directions.