Quotes About Recording

People wanted to know where I was and what I was doing. Was I still recording? Was I touring? Was I putting a band together? Was I writing songs? Was I even still singing?

I think I've done more recording in the past 10 years than most people, but it's all been directed toward film composing and soundtracks. Just the same, it's been great.

Throughout 'Doris,' and while I was recording it, you could hear I was apprehensive towards everything. I can't explain it. It wasn't fun; it was like I had to do it.

I always say that when I was recording with Phil Spector, he would not let me really sing, you know? And even to make me sound younger, he would speed the track up. He still wanted that real nice, little, quiet, sweet little sound.

To me, the hook of the riff is what makes a great guitar recording. It's the backbone of the whole song. When you have a strong riff, it's the rocket fuel for the track.

It's a miracle was the last track recorded for the album, we based it on the rhythm from the middle of 'Late Home Tonight, where there's Graham Broad playing lots and lots of drums with me shouting in the background, pretending to be a mad Arab leader.

As far as arrangements after the basic track is cut, if I'm writing a horn arrangement or playing strings, I might arrange that, plan that out. Other times, I'll just sit and roll tape.

When we recorded our first album sixteen track machines were the thing.

Nothing had been attempted like that, to lift Dad's voice, literally, off of that track and put it on a brand-new one, and then line it up, match it up, get the phrasing right. I remember listening - everyone listening at the end, and we were just enthralled. It was really wonderful.

For a movie, you have to make sure the lyrics are consistent with the rhythm that is given to you. But, at times, during the song's recording, you find out that your words are not appropriate for the track, and so you have to change them.

I journal at the end of every day and just keep track of how things are going.

A lot of our tracks have sounded a lot better than I thought they would because of recording, mixing, and because I probably didn't hear it that way. I'm not a songwriter.

I didn't grow up working on 24-track - the first two Taste albums were eight-track and we always had tracks left over - we couldn't believe it, either!

The second album of Black Mages is currently in the process of recording and the basic tracks have already been completed. Hopefully sometime in the future we will be able to have a concert.

When I was recording from '70 to '82, I always played piano and laid the tracks down. But I used to talk to the other musicians while the track was playing.

The lyrics are always the last thing I do. I always have a recording of basic tracks and maybe some of the lead work. I'll sit back and listen to it, and I'll just concentrate on what kind of feeling it gives me. My goal writing the lyrics is to not disrupt that feeling.

I used to link up boom boxes, record one take, play it into another boom box then play all that back into the other one until I had six tracks. It was unlistenable!

When I recorded 'Cooler Than Me', I had been singing for like, three months at the most. I was just a producer experimenting with my voice on tracks, and now I'm, like, a really good singer in a legit way.

The bottom line is what we record is what we use. Once we feel we've got a good album, we stop at that. That's usually around 12 tracks.

I have known Chithra long before I became a composer. Her growth has amazed me; she had not seemed extraordinary when I saw her singing at shows or recording tracks, for singers like S. Janaki and P. Susheela, at Tharangini Studio in Thiruvananthapuram.

I record a lot of stuff on my phone when I'm out and about and regularly use the recordings in my tracks.

I was recording dance tracks when the auditions for 'Popstars: The Rivals' came along.

One of the more surreal days I've ever had in the recording studio was Martin Fry teaching Hugh Grant his old dance moves. Showing him how to do the hair-flip and the point, and all these sort of trademark moves of his.

If a piece requires some specific inflection, I'll record it. I take a lot of notes, and later categorize them, combining them alongside existing ideas, and eventually put a piece together.