Quotes About Recording

One of the challenges obviously with doing an accent from a time period early in history is that there aren't recordings. You would never really get the opportunity to hear exactly what you were shooting for.

Bacharach has such a brilliant ear for melody and his music has a completely timeless feel to it; I thought it would be great to do a whole album of his music and to record with a full orchestra and big band which is something I hadn't done before.

I usually just write a song and record it that day, and then that's kind of it. I'm not very good at going back and editing and tinkering it. It's pretty immediate.

In a certain way, novelists become unacknowledged historians, because we talk about small, tiny, little anonymous moments that won't necessarily make it into the history books.

I've loved Alfred Cortot's playing from an early age, and I never tire of hearing his recordings, particularly Chopin and Schumann from the 1920s and '30s.

I'm never tired of going to the studio. I enjoy recording and documenting everything and trying new things.

One thing I'm doing on the new Titanic recording is actually bringing in different acoustic spaces.

There's a bootleg album that was recorded when I was 14 or 15, a compilation of things live at different clubs. Songs like Girl from Ipanema and Cry Me A River. I don't know what the title of it is.

To be honest, neither 'Satta' nor 'Stumped' needed songs and music. But when we recorded a good soundtrack album, everyone suggested we create credible situations for songs.

I wouldn't mind working with Queens of the Stone Age, doing some guitar stuff on that. Even Arctic Monkeys. I'd like to do be a bit of guitar with them guys. I'll play on anyone's record to be honest with you.

To be honest, I think I have a nice voice. A good voice... and I loved recording.

I decided to build a studio in my house. We built it in my basement kitchen. I had the drummer up by the fish tank. I was in the toilet singing. The bass player was out by the shelves in the living room, and the guitarist was on the couch by the telly.

I tried to record each moment, but time isn't made of moments; it contains moments. There is more to it than moments.

More power added to a recording of poor poetry simply resulted in louder poor poetry.

My process is to be by myself when I record. It's quite an emotional performance to pull off when someone else is in the room. I prefer to go away and have my own time with it, bring it in later.

For me, the Internet is the opposite of memory; the Internet is amnesia, it's about today and tomorrow is another day. Printed issues are about recording time, leaving a trace and making it relevant.

By the time I'm in the studio recording my parody, 10,000 parodies of that song are on YouTube.

I sing all the time but I'd never gotten what it felt like to be in the recording studio, so it was definitely a learning process.

The idea of letting a recording be a moment in time appealed to me. With digital recording, it's easy to create a perfect text of whatever song you have.

Back in the day, I used to be in the studio recording 20 hours a day. And that was all of the time. I still record a lot of hours, but I don't go as long as I used to.

I found the recording sessions very freeing because you can really try things. When you're filming something, if you're improvising a film and you're wasting film and wasting a cameraman's time.

I have Pro Tools on my computer, and I make CDs all the time.

If all the actors are in the recording session at the same time, you can record all voices for one episode in an hour. Of course, the animation takes longer but the voice acting is done very quickly.

There are so many songs I've recorded, only to hear other people singing them. It happens all the time.