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?
I started recording in my sophomore year in high school. I recorded things on my cell phone in my basement.
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.
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.
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.
I think we were probably playing live for about 12 months before we got a recording deal.
Electric Light Orchestra
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.
It's a different feeling; I like touring and playing on the road better, but recording has its good spots.
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.
Jimmy Eat World
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.
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.
What I normally do with recording, performing, and touring is my name. It's all on my shoulders. If it's a great show, I'm great. If it's not a great show, I'm not great.
I wouldn't have known when I was a teenager that when I was coming up to being a sixty-year-old woman that I'd be making music, I'd be recording music, talking about music, and incorporating my views on the world into the music-making. So it's a very rarefied place to be, and I'm very grateful for that.
When I'm recording, which is synonymous with writing, I'll play things over and over again until it sounds like I've got the right guitar part. Whereas I think, as the much younger player I tended to do things much more consciously. I didn't wait for the moment where inspiration might strike. That's what I do now. I wait for it to naturally start to replay itself in my mind. As I say, I don't force it. So I like to think of myself as a receiver. I'm a telephone line to who knows where, but until I hear it through that receiver, I don't usually do it. It's got to start writing itself somehow.
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'.
J. R. R. Tolkien
My 22nd birthday, live at the Philadelphia Spectrum with Dio. Tobruk was recording and invited us over for a very wild party.