Recording Quotations

I think the intelligent thing about it is that you have to carefully listen to it all to grasp it, and because I'm not in every scene - colossal disappointment to everybody that it may be - I'm not getting the full picture here today while recording it.

The magic can happen in a studio. Special things can happen in a recording studio, even though it may seem like a clinical environment from the outside looking in.

I'd do a demo recording by myself, layering instruments on top of one another, and while that's fun, it doesn't have the same impact as getting some great players together in a great studio with a great engineer and producer, then waiting for the magic.

For a long time, I was shy about recording gospel music, because I didn't necessarily want to show the inside of my soul, Milsap revealed. But now, the spiritual side of me is really shining through.

You control your future, your destiny. What you think about comes about. By recording your dreams and goals on paper, you set in motion the process of becoming the person you most want to be. Put your future in good hands - your own.

I am opposed to the laying down of rules or conditions to be observed in the construction of bridges lest the progress of improvement tomorrow might be embarrassed or shackled by recording or registering as law the prejudices or errors of today.

Before recording my 'Homeland' audition on my iPhone in my bedroom in Streatham, I hadn't worked or had an audition in the U.K. for nine months.

When I started off in music, I started with a real innocence, a real love for the instrument, the writing the songs, the playing the songs and the sharing and the recording and experimenting. It was exciting. Then, this thing called success came, and something happened at some point where I became disenchanted, and I lost the innocence.

Long before the arrival of reality TV - before speed cameras, before recording angels on buses and lampposts - I felt I was living in a country that already knew how to watch itself. It was journalism that held the responsibility for seeing who we were and noticing what we did.

Recorded engine sounds, however, are a deliberate deception. They're like going to a concert and listening to a recording. On the other hand, I wouldn't mind buying a BMW recording and installing it in my '96 Jeep Cherokee.

My son Wesley has just turned 13. He was 12 during the recording of this record and he is quite a drummer already and has been studying drums since he was four, but he's also very interested in African percussion and studies percussion.

I wear a lot of different hats - from writer to producer and artist. We all do 5 or 6 jobs, everything from creating our own graphic design to actually recording and the whole bit.

I'm quite proud of my piano playing. Robin's never played a note on the piano at our recording sessions. I just wish I could be appreciated musically now.

Music was definitely a way out. Instead of playing basketball, I was going to recording studios.

It's almost like, it's often the bad recording quality of things which makes them interesting.

I was always more interested in the ultimate live performance rather than the recording for its own sake. And, for the audience too, that thrill of - just being there.

I'm always working on new songs. With the technology these days, any idiot can record on Pro Tools on your laptop. All you have to do is plug a microphone into the input jack and anybody can have their own recording studio. So I'm always down in my basement, singing along to riffs or whoever I'm collaborating with.

Our robots are signing up for online learning. After decades of attempts to program robots to perform complex tasks like flying helicopters or surgical suturing, the new approach is based on observing and recording the motions of human experts as they perform these feats.

I think of all the things that I've gotten to do, all the wonderful people that I've played with, being in the recording studio with Phil Spector tops them all. And of course, now he is in prison. I hope to visit him, I still consider him a friend, and what can you say? A terrible way for a guy like that to be remembered.

The group-effort sound in recording of 'Sea Lion' is like, you really hear all the people in the room and hear them interlocking. There's a real freight-train energy of all these people at the same time playing.

Nothing could be recorded in those days except by aiming a movie camera at the television screen. It was at least another 10 years before they had any kind of recording medium.

I've been recording audiobooks for more than 30 years. I've recorded over 500 titles on all sort of things. I'm a sort of genre-free recording artist - classics and romances, I just finished a sci-fi book, self help... just all kinds of things.

T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.

I'm very proud of my records, but my most natural creative tendencies have been in live performing. There's a beautiful element to recording and making records, but I've always felt a little shy with it.

I also have a recording studio that I use to produce bands.

I write all the time, even if it means recording in the hotel room. I write on the plane, anywhere, anytime I'm inspired or have ideas.

They wanted to start recording rock 'n roll, and thought I had the right voice.

What we do sometimes when we're in the sessions recording the dialogue is we'll set up a video camera and we'll video the whole session. So then the animator, if he wants, can draw upon those tapes to pull expressions, mouth shapes, maybe some gesturing that happens.

Whenever people talk about Don and I recording again, which almost everybody usually mentions, I always say 'Well, there's plenty of things that you haven't heard! Plenty of things out there to discover!'

A band like Depeche Mode would go out and record them hitting a trash can with a steel rod or something and recording it. And that would be one of their sounds of the drums. I love the creativeness of that kind of really raw sampling.

I'm recording an album. It's sort of techno mixed with garbage - you, know, intense in-your-face music.

It varies from song to song, although Buck Owens and I recently collaborated on writing a duet together and am looking forward with a great deal of anticipation to recording that track for the new studio album.

The main reason he wanted to be a recording artist was because it gives you much more freedom in your writing. You only have to please the artist and the artist is you so you can be more daring and experimental.

Many composers use software to write music - programs like Finale or Sibelius. There are also recording programs. I should say I'm still very old-fashioned, I still use pencil and paper. But almost every composer I know does it the 'new way.'

Adaptability is crucial to working on Glee because every day is adapting to something. Because we're doing a different genre of music, doing a different type of scene with a different scene partner, recording and dance rehearsals... no day is like another.

I met the guys through a friend of a friend, and their former drummer had quit. I wasn't too familiar with the Chili Peppers before that, so I joined at the end of 88' and we finished recording Mother's Milk at the end of 89', next thing I know I'm in Spin with a sock.

There are so many ingredients that are contained in 'The Wall' that were not necessarily contained in other Pink Floyd records, particularly following on from 'Animals,' which was very spare and sparse. Production on it was much more massive, the complexity of the recording was much more intense.

I always feel like there's something magic in recording studios. There's a reason good music continues to be made in them. It's just some mojo element.

Our studio is kind of built into our home, so it's a place you can ramble, and we can do a pretty good recording here. The band is really comfortable her.

When we were making Speaking in Tongues and Remain in Light, we were jamming. From that we were taking the best bits and then recording and improvising on top of those.

It might sound glib, but in a sense, as an actor I'm a journalist and a psychologist recording life and truth.

When I was in the recording studio, I needed to concentrate on what my voice was doing, which is rather difficult if you can't actually see what you are supposed to be singing.

Recording a song for a film doesn't take much time; it's hardly an hour's job, but concerts are constant, and so is travelling, so I've to take time out to work on my albums because I'm passionate about creating my own music. When you love something dearly, you set your priorities accordingly.

Orchestras are not used to playing the kind of stuff jazz musicians like to play. It requires a lot of rehearsal and recording time, so it's much easier to do on a synth or sampler. So, we came up with that idea.

When I first heard Wallace Stevens' voice, it was by chance: a friend wanted to listen to the recording he had made for the Harvard Vocarium Series.

When I was recording music, I'd record all the parts myself, and I wouldn't let other people in; that's essentially what Blood Orange is the result of; me trying to find the most comfortable I can be with everything.

Certain songs are almost like folk songs, which I love. I love folk music, and if you listen to 'Live Bullet,' there's 'Jody Girl,' which is almost a folk song, and I've always loved folk music. Quiet music, I don't try to do that with - I try to set a mood. But most of the stuff I do enjoy recording is up-tempo, and yes, I try to recreate that.

For some artists the live performance is the chicken before the egg of writing or recording of repertoire. For other artists the writing or recording of repertoire is the chicken before the egg of live performance.

I think when you're just counting on your voice, you actually need double the energy. I find myself acting out the scenes and being very physical while I'm recording because I think you can tell when someone is just sitting on a stool.

In the 1960s when the recording studio suddenly really took off as a tool, it was the kids from art school who knew how to use it, not the kids from music school. Music students were all stuck in the notion of music as performance, ephemeral. Whereas for art students, music as painting? They knew how to do that.

There's a guy at the record company who's 30, and he says, I would not listen to these songs except in this context. Somehow the recording process, the arrangements, make it more accessible.

I enjoy touring. I enjoy recording the music, I enjoy dreaming it and I enjoy performing it. I also definitely enjoy selling it, because I like to eat.

I'm very motivated by the occasional creative payoff that comes when something goes really well, be it a song, a recording or performance. The payoff is enormous - when you get it. Most of the time, though, I'm filled with self-loathing and general frustration at the limitations I have as a musician.

Throughout the evening I would be recording these long saxophone delays and about four hours into the concert, if I wanted to take a break I would just play back the saxophone.

I can't get that live and I don't have the time to take the tape, after I've finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound.

Tweets? That stuff kills conversation. And people taking pictures with their phone or recording you, sometimes surreptitiously, is creepy. They come up and just start talking to you, and you can see the red light on their phone.

It's kind of odd when you think of Loretta Lynn, when she was first traveling and recording country music. It was all built through word of mouth. If you pleased the fans, they would pass it around to their friends and family.

As a recording engineer - someone who is deeply embroiled in the process of making records every day - you see trends and fads run through the social organization of the population of musicians in the same way that they would run through a high school.

We stuck the record head so it kept on recording over and over on top of itself and played keyboard notes into it to create this ghost repetition melody.

I'm a multi-platinum recording artist; my passion is food.

Being able to walk out of the studio after a week of intense recording and jump into a cold sea and sit in a hot spring and soak for a few hours completely resets the whole system. Really refreshing. For me, it's all about stepping out of the ordinary. Even psychically.

But the approach to recording this album was kind of an organized, chaotic approach where I wanted to maintain and preserve that wild abandon to creating.

Being a recording artist, selling music, selling concerts out, having a reality show, starting film; it's great, it's beautiful.

I am taking a break, but not a huge break because the Maiden record is actually happening right now, and I am recording it as we speak, well not right as we speak, but close.

Each song is a small universe to me. Each song has a story of its own. Each has a full life to express in order to be complete, so it often happens that the building to a big crescendo feels right in the recording or writing process.

I'm always in that mode - whenever I have a little free time, I'm always recording songs, writing, whatever I gotta do. It's like my job is my vacation.

My goal has always been to make classic records, classic albums. Sometimes the recording process and the era it was recorded in means the production leans in a particular way, but to me they are all part of the same process.

When it comes to the recording and writing, it's still mostly Mickey and I. But now there's this whole live entity that's a whole different thing, and it seems to be where we're gaining the most popularity.

Of course we had the best possible classical education, which gave us a very strong foundation and tradition. But we also learned a lot by collaborating with different pop/rock artists and especially by recording and working in the studio.

Dropping the news to my parents that I was skipping my 'dream education' at Chalmers to sit at home recording videos while playing video games was not easy.

I had to go into a studio and compose and write and press up 12 songs in 14 hours. When you're recording a song from scratch it takes you 14 hours to do just one song.

My mom is a very religious woman. So when I began recording music, I was afraid she wouldn't accept it. But when I played her a song, she loved it.

My favorite song as a boy was definitely 'Downtown' recorded by Petula Clark. I still love it! And the original cast recording of 'Gypsy'; I played my mother's cast recordings until there was no vinyl left.

I don't think I want to transition into being a recording artist for the rest of my life or anything like that, but it's something I'd like to try.

Art is basically communication, and I think everyone who's a music lover has had that experience where a record or a recording has kept you company when no one else is around. And I think that is what I'm hoping that people get out of my music.

I've been doing a lot of studying singing, and I'm thinking of recording an album containing all my old war horses and putting out a songbook at the same time.

I don't really like meetings, I like recording and performing music. I need to set myself up for when the time does come that I need better distribution or just a bigger team behind me.

Well, for the My Generation album, there was nothing to be nervous about in them days. We used to take every day as it came. Every day was just a gig and I think we did the recording between gigs literally.

An album is a whole universe, and the recording studio is a three-dimensional kind of art space that I can fill with sound. Just as the album art and videos are ways of adding more dimensions to the words and music. I like to be involved in all of it because it's all of a piece.

Performing live is not my favourite. I am more of a recording person; I prefer to be private. I didn't mind doing videos, even if they came very close with the camera. I can take that, but walking on stage in concert and singing live, that is a bit difficult.

I've been in a recording studio enough times to know that it is not the best place to multitask. Doing a couple of takes of a song and running out to check your email to talk to someone about video production really is not good.

I started out in a professional choir at 13 years old. We traveled to different places, and I had a close relationship with the leaders of our choir. We were recording when I was 15, so it wasn't like I had to wait until 25 to find out certain things.

Each album takes two or two-and-a-half years to finish between recording and touring. It's like being with an old boyfriend every single night watching the same things on TV. There is a world out there going on that I'm missing.

I don't think you can cover a song unless you love it and have a relationship with it. With 'Golden Heart' I felt a sense of responsibility. And when we were recording it in the studio, it felt almost dream-like. Something you might hear if you were in Senegal, with someone singing from the mosque in the morning just as the sun's coming up.

When I was in seventh grade, I asked my parents for a mobile recording system for Christmas, and I got it. I didn't come out of my room for years after that. I'd get invited to the movies and I'd say, 'I'm gonna finish a couple of demos.'

Since the beginning of my recording career in 1975, I have had a little difficulty because the pop stations think I'm a jazzer who doesn't have a feeling for pop, so it's hard to get my records played. Similarly, black urban radio doesn't understand that with my R&B roots, I am more than a jazz singer. So I get pigeonholed.

I hope someone thinks I sing good. I'm always working hard to sing better. I sound the way I sound, but I can always be better. I work hard at singing and being a better recording artist.

The 'Aladdin' thing - that's not work; that's just fun. Three days in the recording studio going mad, then the animators do all the work. Not a bad way to cash a large check, my friend.

I want a hit. I don't think anybody spends 12 months writing and recording an album, making something cool, and says, 'Great, I hope this doesn't sell.' I don't understand that mind-set. I want hits: a big bunch of them.

Before recording technology existed, you could not separate music from its social context.

When I was young, I was offered my first recording contract in 1971 and was offered quite a bit of money if I would change my character and be a '70s version of Cher.

What he did with this particular recording was almost, in a sense, to pre-date the guitar synthesizer by recording the guitar at different speeds with different-tone pedals ... any way he could to create the sound that he heard in his head

When I was a kid, my favorite show was Happy Days . If I could have heard a recording of the cast of Happy Days ' just sitting around having fun, talking about the show in a party atmosphere, I'd have lost my mind.

We want people to see us live before we continue on and call ourselves recording artists.

The crazy thing is that, if you add up the actual recording time, it was less than two weeks. But Mark was so busy that I got the tracks he mixed two at a time over a period of years. It was frustrating, because I had rough mixes of all these great songs, and he'd be like: 'Don't play them to a soul until they're finished!' I was a good girl scout, though.

There is a whole aspect of freedom to recording at home that you don't get in a studio. The possibilities are infinite, and there is no reason not to explore them.

When I met him, he was in full shackles and manacles. There was a camera there recording our meeting. He was a little teary-eyed, shaken.

When it was released, it felt like rebirth. What was fun was that no one was paying attention. It made it like recording the first record.

The production and recording is a big step up.

The producer had to stop recording and wait for me to compose myself, ... There are quite a few places in my memoir that I don't read again and don't read out loud at appearances. It's interesting. You can write it down and even work with it in writing, but speaking your words out into the world has a different kind of power.