A Quote by Pauline Oliveros
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.
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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.
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.
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.
Sometimes I think elements of 'Open Eye Signal' are better live. I do this really crazy stuff at the end, but I don't know if it'd translate well into recording. It would probably sound a bit too extreme.
I loved the idea of recording. The idea of sound-on-sound-recording captured me as a young kid, and once I realized what it was I had an epiphany. Before I was even playing the guitar, I would create these lists of how I would record things and overdub them, like Led Zeppelin song, 'I could put this guitar on this track...' and so on.
The modern recording studio, with its well-trained engineers, 24-track machines and shiny new recording consoles, encourages the artist to get involved with sound. And there have always been artists who could make the equipment serve their needs in a highly personal way - I would single out the Beatles, Phil Spector, the Beach Boys and Thom Bell.
Through the years I've found that I prefer live playing to recording. I still do lots of recording - but I treasure the live shows.
I didn't really think about the sound of my songs before I started recording things in the studio.
To me, recording with live instruments and tape takes things back to an older sound that I like but that's still fresh.
Recording studios are interesting; a lot of people say - and I agree - that you should have a lot of wood in a recording studio. It gets a kind of a sweeter sound.
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 don't really have any interest in recording at places that are institutionalized for recording.
I never really work on just one CD - I'm recording, recording.
Performing live is not my favourite. I am more of a recording person; I prefer to be private. I didn't mind doing videos, even if they came very close with the camera. I can take that, but walking on stage in concert and singing live, that is a bit difficult.
I sequence during the entire recording process. The sequencing changes as I'm recording and as I'm listening. From when I'm, like, four songs in, I start trying to figure out which song should come after which. Which is important, and it changes as the album goes.
And for me the only way to live life is to grab the bull by the horns and call up recording studios and set dates to go in recording studios. To try and accomplish something.
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