Recording Quotes
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I was kind of thrown into - I didn't expect to do this for a living, being a recording artist. I was just playing music for the fun of it and writing songs. That was kind of my escape, you know, from the humdrum of the world.
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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'.
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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.
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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.
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I look at writing and recording like going to the toilet.
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My 22nd birthday, live at the Philadelphia Spectrum with Dio. Tobruk was recording and invited us over for a very wild party.
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I've had a lot of fans come up to me and say, 'I love the video song.' It's like it's a soundtrack recording or something. We'll never forget that the music comes first. I sometimes find video a little distasteful for that reason. People associate a band with their video images rather than with the music they produce, that's a little scary.
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We did spend a great deal of time together while making this album (Pyromania). We spent a month in Ireland during preproduction without anyone or anything except our instruments and our amps. And believe me, a situation like that can really test your friendship. It's even tougher than being on the road where you have plenty of diversions to occupy your time. When you're thrown together in close quarters with only each other to deal with, your really find out what everyone's like. We came through that with flying colours, and that cohesiveness carried over to the recording session as well.
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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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When you're recording to analog tape, it captures performance and you can't necessarily manipulate that in different ways. It is what it is.
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People are so into digital recording now they forgot how easy analog recording can be.
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We were all kind of freaked out recording the first album because we didn't know what it would be like.
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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.
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When I am not recording, I do live shows or am at home catching up on shows which I regularly watch. But there will always be some music around me.
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I just keep recording. You never know what you'll come up with.
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We were telling everybody we weren't getting back together when we were in the studio actually recording. We wanted to try it on, to see how it would fit.
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Realism is a philosophy as opposed to a style. For me, painting is about observing and recording my existence as accurately as I can, it's my way of understanding the world around me and staying constantly engaged with it, the more carefully and patiently I look at what interests me in the world the more faithfully and honestly I can document it. It is only through intense, subtly nuanced observation that we develop an understanding of the psychology of the subject.
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Utilizing a unique acoustic blend never heard previously, the Aaron O’Rourke Trio has made a fine debut recording that is sure to please old and new grass fans alike.
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I've pushed myself to push toward things that disturb me. I've developed a habit of recording these things because these things often disappear.
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With technology being the way that it is right now with Pro Tools and all that other stuff, more and more people are recording stuff at home and just utilizing Youtube and Facebook.
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I usually know the general emotion of a song, or the general feeling of it, and then I think I just get so excited by the act of recording. I love that process so much that I feel like if I knew exactly what I wanted I'd arrive at something too soon. Part of the reason I work on stuff for so long is just because I love working on it. It's not that I'm haunted by some ghost sound. I just have nothing else to do with my life. Some people like to obsessively shop online. I like to obsessively rack up studio bills.
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It's tricky when you're doing a recording, because the only weapon you have is your voice and the delivery of that voice. You don't have a gesture or a facial expression, there are no costumes or set pieces. Everything needs to be present in the voice.
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When you're recording a TV show, you really feel like you're in a bubble.
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When we first started recording, it was before rock, so people thought we were hillbilly hicks. That was something we had to deal with; the girls didn't think we were cool, although they did a few years later. We had ducktails and wore peg-leg pants. We looked like rock n' rollers.
