A Quote by Frank Sinatra Jr.
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.
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Allowing short selling is allowing people to sell - instead of having to buy the stock and then sell it, which doesn't do much; allow them to sell it, and then buy it. In which case they can express that information and the idea is that you would get more accurate valuation of companies by letting people express both their positive information and their negative information through either long or short selling.
People are so into digital recording now they forgot how easy analog recording can be.
I think it's great that people now have access to Pro Tools and other recording software at home. I've never understood how anyone could be comfortable in a recording studio
The act of recording requires you to look at and handle and touch things, so yes - art is more than just looking and recording. It's messy and time consuming and people might fall in love and get hurt.
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 never really work on just one CD - I'm recording, recording.
I don't really have any interest in recording at places that are institutionalized for recording.
Nowadays, it's like two different arenas, recording and touring. When I started way back in the day, doing both was nothing, you didn't have to think about it, the road and recording.
After discovering the Ramones, I discovered really crude ways to multi-track by taking another cassette recorder and plugging that into the eight-track, playing it back, so that as I was recording with the mic in my guitar, I could have another cassette player I had recorded on feeding into the 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.
If you're recording the song on your four-track in your kitchen, when you finished writing the song, you're recording, and it's cool, and honor that. And maybe that's the version that should be released. And if you're recording the song again, it shouldn't be because there's a version you love that you're chasing. It should be because "You know what? I made a recording, but I don't love it emotionally." So, okay, then record again. And be in it and take advantage of the buzz and energy of "I'm getting to record right now!" It's such a beautiful and cool privilege.
When digital recording came in about '84, everything started to follow into digital. Now, you've got the best recording media in the world, but it's not very pleasing to the ear.
Companies are bought not sold, an investment banker told me that once and it is very true. Basically what it means is you can't control selling your company, you can only sell it if somebody wants to buy it, and you need someone to want to buy it.
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.
Recording studios are filled with technology. They are set in their ways. And to update them means you'd have to change them back. That would be my idea of upgrading. And this will never happen. As far as I know, recording studios are booked all the time. So obviously people like all the improvements. The more technically advanced they are, the more in demand they become.
Everything has changed since I started recording in 1972. But the very things that have opened this industry, like the digital platforms to reach more people, have also killed things that were happening before in the recording studio. Now, most of the time, there are no real musicians in the studio; it's people with sequencers and things.
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