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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I love recording music.
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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 started recording in my sophomore year in high school. I recorded things on my cell phone in my basement.
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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 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 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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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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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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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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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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I just keep recording. You never know what you'll come up with.
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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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People would be surprised if they knew how shitty my recording situation has been over the years. It took a lot of work to make the music sound ok. Having space where you can't be heard is more important than not being able to hear. If you can't be heard you feel more free when you work.
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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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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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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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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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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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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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They arose in my mind as 'given' things, and as they came, separately, so too the links grew. An absorbing, though continually interrupted labour (especially, even apart from the necessities of life, since the mind would wing to the other pole and spread itself on the linguistics): yet always I had the sense of recording what was already 'there', somewhere: not of 'inventing'.
