A Quote by Nigel Rees

I was broadcast-struck from an early age; I had saved up for a tape recorder and started making programmes. — © Nigel Rees
I was broadcast-struck from an early age; I had saved up for a tape recorder and started making programmes.
In the '60s my friends were interested and we were hearing electronic music coming in on community radio from Europe, so that's where it started. And I had a tape recorder and started making things with it.
Maybe I'll start from the initial idea, what motivated me to do that. In 1953, I had access to a tape recorder. Tape recorders were not widely available. There was no cassette tape back then. It was a Sears Roebuck tape machine. I put a microphone in the window and recorded the ambience.
I started playing guitar at the age of 8 or 9 years. Very early, and I was like already into pop music and was just trying to copy what I heard on the radio. And at a very early age I started experimenting with old tape recorders from my parents. I was 11 or 12 at that time and then when I was like 14 or 15 I had a punk band. I made all the classic rock musician's evolutions and then in the early nineties I bought my first sampler and that is how I got into electronic music, because I was able to produce it on my own. That was quite a relief.
My first songs, I would just record them on this little tape recorder, and then I didn't start recording songs I really liked until my friend gave me a 4-track (recorder) and that's when my ideas really started coming together.
I wanted to be a broadcaster, sportscaster, or gameshow host from a very early age. I did my first broadcasting when I was 10 or 11 - into a tape recorder for my brother's football game, and for local events. A local radio station was experimenting with high school disc jockeys for rock and roll shifts - I applied - and got the job.
I had no experience with broadcasting basketball games, so I took a tape recorder and went to a playground where there was a summer league, and I stood up in the top of the stands and I called the game.
I started performing at two or three on a tape recorder, one of those little flat recorders where you just push play and record.
... And we talk it out. Lately, I've had Roy Thomas come in, and he sits and makes notes while we discuss it. Then he types them up, which gives us a written synopsis. Originally - I have a little tape recorder - I had tried taping it, but then I found no one on staff has time to listen to the tape again later. But this way he makes notes, types it quickly, I get a carbon, the artist gets a carbon ... so we don't have to worry that we'll forget what we've said.
My mom played the recorder. But not having electricity, we had minimal exposure to music. As I got a little older, we had Walkmans and things that were battery-powered, but it would have been nice to be growing up in the iPod era. A tape only has six songs on a side.
I was 4 and dictating stories into a tape recorder, and my mom typed them up.
I would be content if I had nothing but a tape-recorder. I could still write songs and record them
I would be content if I had nothing but a tape-recorder. I could still write songs and record them.
Often I had to imagine the things I needed. I learned very early to read amidst noise. And so I started writing and drawing at an early age.
I first started doing some somewhat technology-based shows in the '80s. If you wanted to get real technical about it, back in the '70s I used to open up with Utopia with just me on the stage with a four-track tape recorder. So, technically, I've been using the help of various devices pretty much throughout my career.
From a very early age, I started to get really interested in how songs were put to tape. Not just listening to the songs, but the way the songs were recorded.
I had wanted a tape recorder since I was tiny. I thought it was a magic thing. I never got one until just before I went to art school.
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