A Quote by Mario Andretti

The banked oval tracks are obsolete tracks for Indy cars. — © Mario Andretti
The banked oval tracks are obsolete tracks for Indy cars.
It's my opinion tracks got too wide. You put 43 cars on the track, and if the turns are too wide like they are at some tracks, you sort of lose perspective of what's going on.
You are a 64-track recording - the tracks are always there, they're always with you. Sometimes the harsh tracks are cranked up and the rest are rolled down to zero. Other times the sweet tracks are high and the darkness is low. But it's all you.
I hate click tracks. A lot of people I know like to use click tracks. Like my son is perfect on the click tracks. It makes me to edgy.
Drums isn't my one thing anymore. I love to produce. I love to make tracks, write tracks, produce tracks, and I can't just sit back as a drummer anymore.
My music represents walking on train tracks in the middle of the woods, somewhere in the middle of nowhere. You walk down the tracks and you're walking every two tracks, and you've got your headphones on, and on both sides you've got forest, and in your rear is this long line of train tracks that's weaving through the woods. It's a very cool place, to walk along the train tracks because of the rhythm of walking every few feet through the woods. It's a good place to go dream.
I like getting my own thoughts out right now, I have fans to solidify, so that's why I don't do tracks with too many younger rappers or newer artists. People may consider me to be a music snob or whatever, but I like to preserve what's mine and I also don't just do tracks to do tracks, I make every song with a purpose.
I really like the really high banked tracks.
Back then, Pro Tools only had four or eight tracks, so we couldn't actually hear all the tracks. We could only hear eight at a time, so if a song had 25 or 30 tracks, we wouldn't be able to hear it until we went into the studio an put it all on tape. The process was a little bit backwards.
People forget that I have grown up playing on Indian tracks and have bowled huge number of overs on unresponsive Indian tracks.
For AERO, I wanted to revisit in 5.1 some existing tracks in order to give them that space I had imagined when I originally composed them, and also to compose some new tracks for this new technology. All of the existing tracks in AERO have been performed with the original instruments, re-recorded and spatially arranged/spatialised for this new dimensional sound experience without betraying their very essence.
When I made '1983,' there were a bunch of tracks that were in the early drafts that didn't make it because they just sounded like tracks for rappers, and that's not really the sound I look for when I produce my own albums.
I'm really anti-option, so computers have been my nightmare with recording. I don't want endless tracks; I want less tracks. I want decisions to be made.
'Shine On You Crazy Diamond' and 'Wish You Were Here' are standout tracks. 'Comfortably Numb' is another one. 'High Hopes' from 'The Division Bell' is one of my favorite all-time Pink Floyd tracks. 'The Great Gig in the Sky,' 'Echoes,' there's lot of them.
There's a couple of tracks on the new record which is sort of using similar sort of rhythms as the drum and bass tracks but playing it all live. It's a new approach to it.
Jesus, that ear. He should donate it to The Smithsonian. Brian Wilson, he made all his records with four tracks, but you couldn't make his records if you had a hundred tracks today.
I'm always on tour, so I'm always trying new tracks out live before they're released. That's more necessity than anything, because I don't get a proper chance to sit in a studio and work on tracks like other producers do.
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