A Quote by Duncan Sheik
For my second record I had gotten ProTools (program) and started to familiar myself with hard disc recording.
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For my second record I had gotten ProTools and started to familiar myself with hard disc recording.
All my vocals were recorded at home, which was great for me. You can actually have a studio in a computer program called ProTools. I did half the record with ProTools.
With the second record (2012's Anxiety), I was quite jaded, and exhausted, and tired. With this third record, I feel that I've come full circle. I had gotten to the absolute pinnacle of how bad someone could feel.
I'm not one of those artists who doubts that they made dope-ass records. From the first record to now, each record has gotten better. I started dope, so I've just gotten doper and doper and dopest and super dope.
My mind started wandering. I started playing carefully, instead of playing the way that had gotten me to that point. I had to force myself to keep driving the ball.
ThinThread was not the program of record of my predecessor, Ken Minihan, OK. I did not make ThinThread the program of record while I was director. After I left in 2005, Keith Alexander also chose not to make ThinThread the program of record.
I could wake up six in the morning, go downstairs and record. I learned how to use ProTools and everything. Whenever I felt it, I could record.
So, think about how you use a disc that you own of an Xbox 360 game. If I buy the disc from a store, I use that disc in my machine, I can give that disc to my son and he can play it on his 360 in his room. We both can't play at the same time, but the disc is the key to playing. I can go round to your house and give you that disc and you can play on that game as well.
What really changed my life was watching the movie Juice and the opening scene - just hearing that record rotate. When I heard that I started getting serious about DJing and making beats and recording myself on the four-track.
The first record was basically a quick, fast record. The second record, we were going for more of a poppier sound - like a heavy pop sound. For 'Rocket to Russia,' we'd sort of reached our pinnacle. We'd gotten really good at what we were doing, so that's like my favorite record - that's a really good record. It's just great from beginning to end.
I most definitely wanted to make a record out of it. Due to the fact of the negativity and things that transitioned over the years, I just wanted to give [Chris Rivers] his space. I had this record "Danger" which Free Smith produced the beat. It was one of the first beats I got when I started recording again and one of the first I sang to.
When I started working on my own music, I didn't have the chance to record in a big music studio, so I had to record everything myself.
People started recording my songs. Later, I was offered songwriter contracts. And then, finally, I could take the time to work on my own project. I worked hard for this all by myself.
You don't have the judgment after you've had the drink. If something truly catastrophic had happened that evening, I don't know how I could have lived with myself. I feel like I've gotten a second chance.
By the time 1997 had rolled around, I had been in the music business for all my life, from the age of 15. I started recording professionally when I was 18. I had seen how record companies work, how the business works, and truth be told, I was pretty disgusted by everything by that time.
After my second-to-last record, 'The Greatest', I had gone on tour for a while, and I didn't play an instrument for about five years. And I got kind of - it's not self-esteem or whatever, or anger toward myself - but disappointed in myself that I hadn't been challenging myself to learn musically.
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