Recording Quotes
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It's the actual recording of the vocal that is the most boring thing you'll ever do in your life.
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Anyone who knows anything should know you cannot take a master track of a recording and write another song over the top of it. You just can't do that. You can call it a tribute or whatever you want to call it, but it's against the law. That's a problem with some of the younger generation, they don't understand the concept of intellectual property and copyright.
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She's been a smack addict, she's had big success in Europe in the '70s, and she's lost everything. She's been rediscovered in the '80s, and as we meet her she's just about to sign a new recording contract.
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Somebody at the record company suggested the idea, of recording an orchestral album of our older songs. A person from August Day asked if we would be interested. They contacted everyone from the band. We were actually never in the same studio together. It was recorded in different studios everywhere.
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I couldn't have asked for a greater grounding. I have never quite got used to the fact that I was one of those involved in recording a Beatles album.
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I love recording music.
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When you're recording to tape, you usually just settle for what you have. There's not a lot of options to manipulate the performance.
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I just get focused on whatever is in front of me. When I was filming Crossroads, it had all my focus. Now I'm all focused on finishing my recording so I can get that out. It's just day by day.
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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.
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I love Donna Summer, and I love ABBA. I love late '70s disco. I love the Bee Gees. I just love that period of recording.
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I was having a rare weekend back in Sheffield at my local pub and somebody asked me what we were going to call the new album. I said I wasn't sure yet. Somebody turned around and said, "Why don't you call it Halley's Comet? It comes around about as often.' In fact, Halley's Comet has already been out and we are still recording.
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The late '60s and the '70s, a lot of this really beautiful equipment was being made and installed into studios around the world and the Neve boards were considered like the Cadillacs of recording consoles. They're these really big, behemoth-looking recording desks; they kind of look like they're from the Enterprise in Star Trek or something like that. They're like a grayish color, sort of like an old Army tank with lots of knobs, and to any studio geek or gear enthusiast it's like the coolest toy in the world.
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When we first entered the music business, we didn't know very much about recording. Then, after working with Mutt Lange, we thought we knew everything there was about the studio. But just as we were getting cocky, along came video and we had whole new set of rules and regulations to learn about - it was a totally alien form to us. After all, we were just kids off the streets of Sheffield, what did we know about television except how to turn one on?
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I started recording in my sophomore year in high school. I recorded things on my cell phone in my basement.
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Every single year since they invented sound recording it gets better and better. We've always improved it. With MP3, which just sounds awful, it's the first time in the history of recorded music that it sounds worse. It's really - and it's everywhere, it's ubiquitous.
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On the PBS recording of 'The Light in the Piazza' backstage, you get to see me doing some sweet lunges down the hallway of the Vivian Beaumont.
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I mean there are tons of reasons. Well first of all. I write my own record. I don't take other people's materials. And I have a job which is being Willa Ford on top of getting back in the studio and writing and recording.
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When digital recording came in about '84, everything started to follow into digital. Now, you've got the best recording media in the world, but it's not very pleasing to the ear.
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I think we were probably playing live for about 12 months before we got a recording deal.
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These are songs that we were working on around the time of recording Futures, but that just didn't seem to fit on the record.
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Everyone always tells you about how amazing recording their first album was and how they'll always look back on the 'process' with fond memories. I will look back on it as an extremely stressful time that somehow also managed to be extremely boring.
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It's a different feeling; I like touring and playing on the road better, but recording has its good spots.
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You need 10,000 hours to figure out how to be good at something and I agree with that to a certain extent. It's like everything you do to lead up to a great recording or great performance is everything you've done in the past and you can't just, it's rare that someone wakes up in a void and goes and wakes up and makes the most brilliant recording or performance.
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It was more about getting together with other musicians and playing live. I needed to suss out a full set for the Last Summer tour, and I didn't want to play Fiery Furnaces material. So half of our set was new songs that we ended up recording for this album. And that made such a huge difference - going into the studio after playing a song for two years, knowing it inside-out and having sung it millions of times, and then recording it is a totally satisfying experience. You're suddenly in this controlled environment and you can make it sound exactly as you've been imagining it.
