A Quote by Alex Ebert

Recording music is not really the healthiest thing for the body. — © Alex Ebert
Recording music is not really the healthiest thing for the body.
I am devoting some time to music. I'm finding a balance in my life right now so that when I'm not acting I'm really working on the music side of things... producing and writing and recording and also getting to do some live shows. It's a really exciting thing.
If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal. The drama around even sitting in the car and singing into a tape recorder that's as big as your hand - waiting until it's very quiet, doing your thing, and then playing it back and hoping you like it - is the same basic anatomy as when you're in the recording studio, really. Sometimes it's better that way because some of the pressure is off and you can pretend it's throwaway.
We don't really worry about... what the audience might think. When we make a piece of music we don't worry whether they will like it or not; we are really trying to create the music that we want to listen to as individuals. We think it's the healthiest way.
The thing is that I have a really intense, almost compulsive need to record. But it doesn't end there, because what I record is somehow transformed into a creative thing. There is a continuity. Recording is the beginning of a conceptual production. I am somehow collapsing the two - recording and producing - into a single event.
Yes, alas, I've been on some recording sessions where the music wasn't good. Not so many, really, considering how many I've done. It's a very awkward situation because to do a recording well you focus on the positive of what will make the piece better.
Today, with a recording, he can hear the thing enough times until he really gets acquainted with the language, and then he can begin to make an estimate of the intrinsic, aesthetic value of that piece of music.
All my life, I've really enjoyed music: making music, playing it, and recording it. It's such a relief and a joy to do what I do for a living.
I'm always writing my own music, recording my own music, even if I am 9/10 of the time recording stuff for other people. I'm still working on my own creative endeavors.
When I first started recording music, I was actually singing about microphones, equipment, recording.
I don't have any particular goals in making a recording. In a way the recording is itself the goal. The music comes into my mind, and from there the main job is to give form to it.
I have learned that collaboration are everything to me. Music is a social thing. If there are no ears to hear it, it has no value. I have really loved getting input from other great musicians- like recording strings with my family or making weird synth sounds with tore nissen.
Nirvana really touched me as a teenager and started making me pay attention to music as a participatory thing that I could do. Music that you want to throw your body into it - that's a feeling that I'm not quite satisfied with having made yet.
If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal.
Because I'm pushing my body so hard already, the last thing I want to do is have music that's really too strong, in my head.
There was a period when STP and I weren't making music - we weren't getting along very good at all. But I had my studio, so I was writing and recording a lot of music. But something told me not to put it out. It was all stream of consciousness; it was clever, but it didn't really have substance.
Big band music, to me, it really has three key elements. First is the lyrics are really sweet, and they're just really family-friendly. The second thing is the music is jazz music, so the music is complicated enough to hold your attention for 5 or 6 million plays. That makes the songs interesting. The last part is the fact that it's danceable.
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