A Quote by M. Ward

I don't like the way recording to digital sounds. — © M. Ward
I don't like the way recording to digital sounds.
I don't like the way recording to digital sounds. Most of the time when I'm recording to 2-inch tape, I still have a romantic vision of how songs sounded coming out of the radio when I was younger, and how they sounded coming out of my little four-track cassette player.
I don't like the way recording to digital sounds. Most of the time, when I'm recording to two-inch tape, I still have a romantic vision of how songs sounded coming out of the radio when I was younger, and how they sounded coming out of my little four-track cassette player.
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.
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.
We live in the digital age and, unfortunately, it’s degrading our music, not improving it It’s not that digital is bad or inferior, it’s that the way it’s being used isn’t doing justice to the art. The MP3 only has 5 percent of the data present in the original recording. … The convenience of the digital age has forced people to choose between quality and convenience, but they shouldn’t have to make that choice.
Recorded engine sounds, however, are a deliberate deception. They're like going to a concert and listening to a recording. On the other hand, I wouldn't mind buying a BMW recording and installing it in my '96 Jeep Cherokee.
People are so into digital recording now they forgot how easy analog recording can be.
When you work this intensely on something, the recording process becomes a bit like cabin fever. I shut everything out and, for a while, I totally lost perspective. To an outsider, I imagine the whole recording process sounds like torture.
I don't do anything digital. Everything is analog, and that's a limitation for me. However, in my world, it's not a limitation at all because I don't create the type of music that would generally be created by musicians that work with digital recording studios, and/or digital equipment, as far as production is concerned.
The idea of letting a recording be a moment in time appealed to me. With digital recording, it's easy to create a perfect text of whatever song you have.
Studios are so used to digital now and there is a mythology that it's cheaper. But it's really not cheaper. For instance, digital is great for night exteriors, everybody knows it's a video tap, so it's very responsive to light. So you can go out at night, shoot with digital and it's gorgeous, beautiful to look at . Conversely, you go out and shoot day exterior, and it slams you, just like you know from your own video recording.
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.
When you're recording, if you're not really clean in your playing, it sounds like a mess.
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.
I'm thinking about recording everything to tape like it's 1991 and seeing how that sounds.
I'm pretty much fully digital. I've basically spent a few painstaking days putting sounds into my laptop, just banking them, because I love playing, and I love visually seeing it on my screen and being able to change the sounds more, with different plug-ins. I've created my own synth sounds.
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