Quotes of All Topics . Occasions . Authors
Recording an album and doing it live are like two different animals. There are some people that are great singers live, horrible in the studio.
I'm recording freely, and if I make a song, I release it immediately, so I'm more likely to believe in one song at a time as opposed to albums.
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.
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.
'Hairdresser Blues' was written when I was deep in a ten-year depression that I escaped shortly after recording that album. I don't like that album.
I am sorry, but recording an album is just hard work; tedious, repetitive, and not very fun at all. Mixing is a bit better, but still pretty boring.
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.
I've not really spent much time in proper studios. The room itself where you're recording, and how you live while you're there is what appeals to me.
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.
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.
I made many studio albums and I think the danger of studio recording is that if you do not watch out, you come out with a perfectly sterile performance.
I like noise. It's always puzzled me why one of the goals of contemporary recording is to get rid of noise and to eliminate any element of a performance.
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.
When I was recording from '70 to '82, I always played piano and laid the tracks down. But I used to talk to the other musicians while the track was playing.
In fact, I'd just like to own something. Everyone thinks I'm glamorous, rich and famous but all I've got is some recording equipment and a battered old BMW.
I went to college to find myself. That's where I really realized I wanted to be a recording artist and started on the process of figuring out how to do that.
As a young girl, I loved having stories read to me. There is something magical about narration and voiceovers. Recording a voiceover is an art form in itself.
I still love recording and still love the stage, but like my dad, I have the most fun when I am in front of that glorious orchestra or that kick-butt big band.
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.
In addition, I'm finishing a track for the movie 'Waking Up In Reno', but there are numerous other singers I look forward to recording with in the near future.
I want to be a recording artist for my whole entire life. But Broadway is something I would come back to at any given moment. I love, love, love doing theater.
When I'm finished with a film, I've been living with it, we've been dubbing it, recording to it, and so on. You walk out of the studio and, 'Ah, it's finished.'
Actually, recording the Suite Chic album was so much fun and while working on this new album, people that I've worked with from Suite Chic has lend their voice.
But here I am today recording this and I'm in the studio with all the others on a clean mic. It's extraordinary, the actor's found a way of doing it for himself.
I love the idea of a record containing an entire universe; where the sounds span decades of recording from all over the world and all sorts of different sources.
I'll always leave the same set of strings on my guitars when I'm recording. If I break one I'll just replace it instead of putting on a whole new set of strings.
I always wanted to be a full-time musician. Every television job I had was a means to buy a grand piano, or to put in a recording studio, or something like that.
Recording studios are interesting; a lot of people say - and I agree - that you should have a lot of wood in a recording studio. It gets a kind of a sweeter sound.
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 dunno - it's like, again, Juice was super big for me in terms of inspiration, and I learned a lot from him in terms of his recording process and stuff like that.
I really just like making music. People call that 'work.' Like, 'Oh, you're going to the studio to work?' No, that's even what I do in my off day. I love recording.
I began the process of recording myself seriously in the fall of 1999. If I could finish an album of my own music, I would. Five years later I am happy to say I have.
Throughout 'Doris,' and while I was recording it, you could hear I was apprehensive towards everything. I can't explain it. It wasn't fun; it was like I had to do it.
The whole thing with recording is you have to know when to turn off the tape machine and just stop recording because you want to keep fixing, fixing, fixing, you know?
Due to my work as a musician, songwriter, recording artist and author, hundreds of people stream in and out of my basement studio to help me with my creative projects.
I never thought I would be recording on any professional level, so to be doing a rockabilly, Motown, pop soundtrack in a L.A. studio was completely bizarre and amazing.
The White House tapes, recording Nixon's nefarious doings from Watergate to the bombing of Vietnam, made frightening reading once made public on the orders of Congress.
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.
I think I've done more recording in the past 10 years than most people, but it's all been directed toward film composing and soundtracks. Just the same, it's been great.
To me, the hook of the riff is what makes a great guitar recording. It's the backbone of the whole song. When you have a strong riff, it's the rocket fuel for the track.
When Prince and James Brown were doing live sessions... recording a band is not easy. It's all delicate, important stuff you want to make sure you're doing the right way.
I am not a natural singer, but I can sing, and probably the way I sing is more imitative than from myself, which is why I am never going to be an amazing recording artist.
I use Auto-Tune but it's not to mask anything. If you come to see me live, I can sing on the spot. Auto-tune is just for the recording. It keeps everything really precise.
A lot of our tracks have sounded a lot better than I thought they would because of recording, mixing, and because I probably didn't hear it that way. I'm not a songwriter.
The thing is, I was more blues-oriented, more of a purist than in the pop world. That led me into a folk rock trio and to Ginger Baker before I started recording on my own.
I'm involved with Recording Artists and Actors Against Drunk Driving. I'm also involved with most children's causes, because children can't help the environment they're in.
Garth Fundis is a song guy. He is in it for the right reasons; he's about the music. He doesn't ever try to talk you into recording something that you shouldn't. He gets it.
A studio recording is perfection, but emotion and passion come only when you turn on the machine and go for the groove. If you do that with no mistakes, it sounds beautiful.
Next time we need to be on drugs and have lots of suffering and alcohol abuse going on while recording, I'm kinda picturing a Jerry Lee Lewis session from the mid Seventies.
Being in a recording studio is a very different feel from performing onstage. I mean, obviously, you can't just go in and do what you would do onstage. It reads differently.