Quotes About Recording

I write my songs many times to chord progressions on a piano. Unfortunately, I can't keep playing the piano, so I just record it into the software.

There's a lot of good musicians who are unheard of. Get it down before they pass away.

Modern recording has made it so that people can spend forever taking shortcuts and making everything uniform, but that strips music of what makes it exciting.

There was segregated unions, which was a real problem for me because - especially as I was working in the recording scene, I had flack from the white union for hiring black musicians. I had flack from the black musician by hiring white musicians.

Myself, I would love to record and film every performance I make, as each concert is special and unique.

When I think back now to the recording sessions, there is more improvisation than one hears. It's an ideal combination of arrangements and improvisation. Only a few people are able to listen and say what is composed and what is improvised. It's a unit.

'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.

In some of the greatest recordings ever made, the performance is a part of the recording. Dylan's 'Rainy Day Women No. 12 and 35' is all about the esthetic of that performance. You can hear the room.

There are some movie stars in Hollywood that are so scared, they also tell the reporter that they are recording them, in case there is something wrong with what they wrote about them in the papers.

I saw Damien Rice in Dublin when I was 13, and that inspired me to want to pursue being a songwriter... I practised relentlessly and started recording my own EPs. At 16, I moved to London and played any gigs I could, selling CDs from my rucksack to fund recording the next, and it snowballed from there.

I tell my grandchildren - I've got seven of them - to go to college and get that degree first. I could have stayed in college and still recorded. Isn't that something? The kids of today are doing it.

I'm in Atlanta all the time shooting and recording. That's why I stayed.

We had a simple 8-track studio set up in the record store where I worked. And just staying after work and experimenting, realizing what was possible with recording - that's why my project was called The Microphones at first. Because it wasn't even songs really. It was just sound.

That's what Joe Don Rooney and I do. He plays guitar and I play bass - and there's no reason to call it a band if you're not gonna have the guys in the band playing on the records.

There are reasons that bands and musicians make demos and outtakes - because they are not good enough to make the record. A lot of people forget that.

I use my phone to record notes or hum melodies. That's how I remember them.

I flew back to England with Julian, who was happy and full of stories about John—he'd recorded Julian playing drums in the studio, then used the result on one of the tracks for his new album, Walls and Bridges. When it came out a few months later, Julian was credited, which thrilled him.

Leonardo was not content merely to measure every aspect of every body part. In addition, he felt compelled to record what occurs when each of these parts moves.

ON PLAYING back the 911 recording, it'd seem that Mrs. Stegman was more concerned that the man outside her apartment door was naked than that he had a big shotgun.

We were a band without a radio format but not without a following. As always, our concerts were our bread and butter. We continued crisscrossing the country, playing our music and entertaining hundreds of thousands of concertgoers each year. I decided that as far as my recording career was concerned, from then on I would record whatever struck my fancy, without being concerned about it having to fit mainstream radio formats, whatever genre, whatever style.

My manager came up with the idea of our own independent label. We had a recording studio that I had seriously upgraded and was capable of handling any kind of project we wanted to attempt. We had a distribution network. We could hire independent promotion people if we felt the need. Most importantly, we could record anything we danged well pleased, with no interference from outside interests. So, why not? Enter Blue Hat Records.

The first time I ever recorded the songs of the humpback whales at night was off Bermuda. It was also the first time I had ever heard the abyss. Normally you don't hear the size of the ocean when you are listening, but I heard it that night . . . That's what whales do; they give the ocean its voice, and the voice they give is ethereal and unearthly."44

In my cranky old age, I actually prefer recording alone now, on 'The Simpsons ' for example, because I find that the director can just focus on what I'm doing and I can do a lot of variations. A lot of times, when I record with a group, I'll stay after class for another hour or two.

I've done a lot of albums and I kinda know when I'm onto something that was inspirational for me to record and create, and this was one of those projects where I really enjoyed making the album.