Quotes of All Topics . Occasions . Authors
I used to record songs, like, play the beat from one phone and have another phone recording me and just rap. Moving from that to a studio was like, 'Damn, I never knew I could sound like this.' It was just magic.
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.
The podcast 'A History of Jazz' began telling its story in February - 100 years after the recording of 'Livery Stable Blues' by the Original Dixieland Jazz Band, the start of jazz as a legitimate branch of music.
All broadcasts on Periscope need to be archived for playback permanently, unless the broadcaster chooses to delete the recording. So many treasured moments have been shared on Periscope only to vanish a day later.
I remember recording with Johnny Sandlin at his place right outside Muscle Shoals and he turned me on to a lot of those musicians at an early age, like Roger Hawkins and David Hood and just a ton of great players.
After school, my mom would pick me up and I would just go to visit my dad in the recording studio, and I would see him working with Mark Hamill or hear him doing the 'Transformers' or a 'G.I. Joe' or the 'Rugrats.'
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 started recording in '67. In the first part of '68, my first single was 'Backup Train.' That was success to a degree. Four years have passed by since then, and I have managed to come up with a few measly sellers.
Songs like the Buck Owens tune, for example, are very simple and straightforward, and recording it really gave me a chance to get into and get a sense of Buck's personality, a feel for that whole Bakersfield sound.
Working as a teaboy may have helped my confidence, but not everyone else was so pleased. I could never remember who had milk or how many sugars, and I had an unusual talent for spilling tea on the recording console.
My feet never touched the ground. Lots of good groups with crazy and unique images. It was wild. I spent all of my time doing gigs, TV appearances, interviews, or recording. I could write a book - and probably will.
I met the Colonel when Elvis was recording some song I'd written for one of his movies. Elvis was just having fun with the gang and all the Memphis boys and Colonel Parker was sitting over here in like a theater seat.
Commanded by God dozens of times in the Hebrew Bible to remember their past, Jews historically obeyed not by recording events but by ritually re-enacting them: by understanding the present through the lens of the past.
I always kind of think if The Beatles were still around now, people would've lost interest quite a long time ago. Seven years of recording - it's there forever. I think not outstaying your welcome is a vital ingredient.
When Philip Glass asked me if I would be interested in doing a new recording of Jesus' Blood he assumed that I would do something similar to the first version and wanted to know what other pieces would be on the same CD.
Classical musicians do this all the time. They want perfection. So they piece things together. Eight bars of this and six bars of that. Glenn Gould said that with a recording he wanted to make perfect versions of pieces.
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.
I think people, just because of digital recording and how computers have become such an important part of our lives, I think the means to record music now is in more people's hands. It's a lot cheaper than it used to be.
There was a recording studio in my school, and I knew this kid who had a key, so I'd write lyrics in school while I was in class, and then, in a 10-minute break, I recorded the song 'Hurt' in one go at the school studio.
When I left politics in the early Eighties and started writing and recording, my idea was that I could have an influence further down into other generations. That Natives could come into the culture through arts and music.
We want to be able to make our own songs and write our own arrangements. We want to incorporate the live sound so we can be free onstage and in the studio recording. That way we can come up with original and creative stuff.
Distortion pedals are just fantastic for not only rehearsing quietly but also for all those moments when you are going to play in highly compressed environments like radio, television, or recording against compressed loops.
I now have a home recording studio, which I can operate entirely on my own, as well as a portable version of the same which allows me to record anywhere I like and simply swap out the hard drives for use in the home studio.
I tend to think about so many different things on a recording. I'll be trying to tune into what the drummer's doing, trying to keep everyone playing the groove and other things like making sure the piano's in a nice pocket.
When digital technology started becoming the norm, you've got 50, 60, 70 years of recordings on tapes that are just deteriorating. Like, a two-inch reel of recording tape won't last forever. It dissolves. It will disappear.
I'm no diva but I can be annoying in a recording studio. Of course I try to be a diva in terms of confidence of performance and owning a song but I've never behaved like one in terms of the negative connotations of the word.
'Teenage Wildlife' is just epic. It's, like, five or six minutes long, and it kind of crescendos and builds into this insane vocal of Bowie wailing. I think I would pay $5,000 dollars to see footage of that recording session.
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.
Ideally, the music composed these days should sound much better because of the technology, right? But that's not the fact. The sounds that you hear out of technological recording are programmed sounds coming out of a computer.
I wanted to get my recording and become a musician again, work; with other people, do that kind of thing because I kind of got away from that for a while once we started happening, you know, selling records, sold out concerts.
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.
I do some kind of work, whether writing or painting or recording, on a daily basis. And it's so essential that when I'm involved in the actual process, my so-called 'real life' becomes almost incidental, which becomes worrying.
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.
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.
At the end of the day I'm not just sending beats in. I'm mixing the song. I'm recording the song. I'm engineering the song. I'm in the studio helping with the songwriting. I'm doing the whole beat - every single piece of it is me.
In the late 1960s, English artists like the Rolling Stones and Joe Cocker began recording in the States, and at that point, they realised, 'We can get real African-American voices on our records; we don't have to pretend any more.'
I actually think I'm more of a turtle than Verne is. Where Verne is up on two legs and moving at full speed and doesn't pull his head into the shell very often, I in reality was five or ten minutes later to every recording session.
I've always wanted to collaborate with Shawn Mendes, he's an amazing artist, but the thing with Shawn is that I won't collaborate... me just sending some beats. It has to be in the studio where we'd both be there recording together.
One of my earliest memories is being inside the recording studio and I see the shadow of a figure that looks an awful lot like Walt Disney. Then the door opened and Mr. Disney walked in and said, 'Hi Clint.' I won't ever forget that.
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.
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 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.
I think when you sign a recording deal, you think, 'I'm going to put out a song and have a hit right away. I'll be a giant superstar. I can take over the world now.' But I put out a song, and it did OK. It wasn't like leaps and bounds.
HBO was a big thing for stand-up, and when you're a broke kid with absolutely nothing to do on the weekend, there was always video recording your HBO specials. I would just rewind those specials and watch them like they were new again.
No one is making extraordinary things alone. They might be alone in their bedroom while they're recording or writing, but they didn't actually conjure that thing out of nothing - without influence - without assistance - without anything.
When I broke 20, I said to myself, 'I will give concerts until I'm approximately 30.' And I made it a year and a half late, but, nevertheless, that's what I did. When I broke 30, I said, 'I think I should be recording until I'm about 50.'
I don't particularly enjoy standing alone and recording my own voice or my own stuff. It's sometimes fun to do for demos and stuff, but I really enjoy the social act of recording records, because writing it is so lonely. And it has to be.
For a movie, you have to make sure the lyrics are consistent with the rhythm that is given to you. But, at times, during the song's recording, you find out that your words are not appropriate for the track, and so you have to change them.
Mitt Romney speaking to a $50,000-a-plate Republican fundraiser says he doesn't have to worry about the 47 per cent of Americans who don't pay tax. He was not counting on the smart phone recording his speech and then posting it on YouTube.
When you work this intensely on something, the recording process becomes a bit like cabin fever. I shut everything out and, for a while, I totally lost perspective. To an outsider, I imagine the whole recording process sounds like torture.