Quotes About Recording

About two months into the Whisky, I borrowed some money and rented a remote recording truck.

When I was still in the Yardbirds, our producer, Mickie Most, would always try to get us to record all these horrible songs. During one session, we recorded 'Ten Little Indians,' an extremely silly song that featured a truly awful brass arrangement.

The beauty of recording in L.A. is that most of the musicians that are on the record live here, so it was easy to get world class artists like Rick Braun to swing by and play a little trumpet, Everette Harp on sax, guitarist Paul Jackson.

I tried to play some trumpet and stuff, so I had to figure that out. I record everything in my house.

I insist on a Steinway for my recordings, my concerts and my home. It is the only piano I want to hear my music played on.

People ask me to record their answering machines all the time. I love it. It's a miracle to me that people want to hear back those characters.

I hope my recordings of my own works won't inhibit other people's performances. The brutal fact is that one doesn't always get the exact tempo one wants, although one improves with experience.

What made me want to become a recording artist; I was the first artist that was repeatedly asked by a label to record with them. That label was Def Jam Records.

I'm very proud of all the bluegrass-oriented albums. It just reminded me and my fans that I should always record acoustic music and country records, along with anything else that I might want to do.

My friend has a baby. I'm recording all the noises he makes so later I can ask him what he meant.

Narcissism has existed for a long time; social media is just a new outlet to express it. Anybody who is going to record themselves and put that on the Internet, hoping people will watch, there is a degree to which that exists, yeah. I don't know if I would call myself a narcissist. I don't necessarily identify with that label.

When I first started recording music, we would record in the closet with socks on the mic.

I wanted to get my recording and become a musician again, work; with other people, do that kind of thing because I kind of got away from that for a while once we started happening, you know, selling records, sold out concerts.

The band projects just took natural priority. I didn't really have a solo career, just wanted to share the music in another way and to learn more about writing, recording, etcetera.

When I was recording my first solo album 'Imaginaryland,' I was listening to a lot of movie scores.

Because we recorded in the studio, basically live, when we went to rehearse, we kind of already knew how to play the songs. But I also will take liberties with the Dirty Knobs. If I want a solo to go on longer or if I want to throw in a song thats not in the setlist, we can do it.

Sometimes when I do an overdub solo, they'll keep four or five of my attempts and then mix the bits that they like to make a solo up out of them. It's not against the rules, really - I can learn my own solos, then. But that's the whole beauty of multi-track recording, isn't it?

I'm not a businessman, so I don't know how to solve the problems of the recording industry.

There's a guy at the record company who's 30, and he says, I would not listen to these songs except in this context. Somehow the recording process, the arrangements, make it more accessible.

I never did albums fully at DFA; I always would go someplace else so I wasn't making a record in my office, basically.

I still love recording and still love the stage, but like my dad, I have the most fun when I am in front of that glorious orchestra or that kick-butt big band.

A celestial camera recorded my every movement, impartially, without judgement or pity. I was marked; I was of interest; I would survive.

I worked with Chris Squire on a Greg Lake record in the early '80s, worked with Alan White.

I record into my phone as soon as I hear a track. Melody comes first for me, and then my gibberish usually forms into lyrics and a concept from there.