A Quote by Finneas

I don't really have any interest in recording at places that are institutionalized for recording. — © Finneas
I don't really have any interest in recording at places that are institutionalized for recording.
In fact, it's in my interest to love digital recording, and I just spent a ton on a new digital recording system, so I speak from a place of heavy investment in both sides.
I never really work on just one CD - I'm recording, 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.
WARNING: The following is a transcript of a digital recording. In certain places, the audio quality was poor, so some words and phrases represent the author's best guesses. Where possible, illustrations of important symbols mentioned in the recording have been added. Background noises such as scuffling, hitting, and cursing by the two speakers have not been transcribed The author makes no claims for the authenticity of the recording. It seems impossible that the two young narrators are telling the truth, but you, the reader, must decide for yourself.
Before that, an 8-bit recording was pixelated; it was really bad. It didn't serve what I was doing, which was recording live sound and delaying it and feeding it back. This is essentially what the EIS system is: a bunch of delays.
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.
The recording companies are continuing to look at ways to buy short and sell long. So now they give recording deals to groups of people who we refer to as 'garage bands' - they are amateurs who are bought for nothing and it's really a shame.
People are so into digital recording now they forgot how easy analog recording can be.
I keep recording and recording, but they always stay on the rack and never get out there.
When I first started recording music, I was actually singing about microphones, equipment, recording.
Recording interviews is like magic. a) It stops you from taking notes in the middle and b) you can play that recording for people.
My recording career has luckily run the gamut of recording environments.
If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal.
I had a recording contract with Capitol Records. I loved recording and being in that studio. I made four albums.
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.
I saw Damien Rice in Dublin when I was 13, and that inspired me to want to pursue being a songwriter... I practised relentlessly and started recording my own EPs. At 16 I moved to London and played any gigs I could, selling CDs from my rucksack to fund recording the next, and it snowballed from there.
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