A Quote by Cuco

I'm not a singer. I double-track my vocals. I'm just not secure in my voice. I can't do single-track - I sound weird. — © Cuco
I'm not a singer. I double-track my vocals. I'm just not secure in my voice. I can't do single-track - I sound weird.
I think I'm a vocal genius, not a musical genius. I like background vocals. I consider myself a voice, not a singer. A voice is a sound, and singing is what you do with that sound.
I've been in the studio when you go through a track and you run down a track and you know even before the singer starts singing, you know the track is swinging ... you know you have a multimillion-seller hit - and what you're working on suddenly has magic.
I've been in the studio when you go through a track and you run down a track and you know even before the singer starts singing, you know the track is swinging... you know you have a multimillion-seller hit - and what you're working on suddenly has magic.
When the Black Lips sent a track over to me, I thought it sounded like a Beastie Boys track, the way the singer was singing and flowing on it. He was right in the pocket.
I did sing a track for Dhanush's '3,' but that's because the track required a voice like mine.
As a child singer, I never sang a single track for my father or uncle.
When I opened my mouth to sing as a kid, I kind of randomly had a really good singing voice. And so that put me on the actor track and the musicals track.
I love short track. I competed in short track, I was a world champion in 1986 but at that point in time it wasn't in the Olympic Games so I moved into long track. Short track is a blast to skate and it's a blast to watch.
Every Bass Communion track is based on a single sound source. Increasingly I find that I'm really interested in taking a particular sound and it's almost like solving a problem. If I have a sound, the problem is how can I create a piece of music from this one sound source?
As soon as they say I don't sound as good as my old stuff, I tell them, "I would never sound as good as I first sounded, because you guys didn't know who I was. Being that I'm in rotation, you guys are getting used to the sound, so now you expect another track and another track, but it never happens again, no matter how hard I try."
I've watched and learnt from DJs and remixers and paid way more attention to how I want my voice to sound. Before, as long as it was loud and in tune it was fine. I've discovered the difference made by various microphones and effects, so each track has a different vocal sound, my voice is woven into everything and it's above everything.
I always go for that live, honest feel when I'm going for that first rhythm track. I'll never hold back on a part just so it'll be easier for me to double it later on - to my ears, it sounds sterile if you do that. I always want to get that initial track kicking and full of slurs, squeals and feel. I'll worry about doubling it later!
Growing up in the sport, I've been able to separate what happens on the track with what happens away from the track. That track is totally different. I'm not the same person when I put that helmet one.
I train with track athletes, which is weird for bobsledders. I love training with track athletes because they help me work on my speed, and they give me something to cheer for during the Summer Olympics.
In track years... track is not like other sports. You do have track athletes that stay in this sport until, like, 35, 36, but I think when you get to 28, it's really difficult.
I'm measuring my actions against that inner voice that for me at least is audible, is active, it tells me where I think I'm on track and where I think I'm off track.
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