A Quote by Roger McGuinn

I'm a huge fan of home recording. I think it levels the playing field. You don't need $100,000 to record a studio CD. — © Roger McGuinn
I'm a huge fan of home recording. I think it levels the playing field. You don't need $100,000 to record a studio CD.
Now, you can just get a laptop, get some software, put a microphone on it and make a record. You have to know how to do it. It does help if you've had 35 or 40 years of experience in the studio. But, it still levels the playing field so artists can record their own stuff.
I now have a home recording studio, which I can operate entirely on my own, as well as a portable version of the same which allows me to record anywhere I like and simply swap out the hard drives for use in the home studio.
That's my favorite subject because it really levels the playing field for artists these days. You don't have to sell out to the record company. You don't have to get a five hundred thousand dollars, or whatever, and pay them back for the rest of your life to record a record.
I don't have a formal home recording studio, but I can record tracks on my computer upstairs in my office.
I am a big fan of A.R. Rahman and Mani Sharma, and I went to a shop to buy these music directors' CD. But I had only Rs 100, and Rahman's CD cost more, so I couldn't buy both. So I bought Rahman's CD and stole Mani Sharma's CD.
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
A record for us that sells 50,000 is a good record, and 100,000 is a serious hit.
We honestly felt a bit more at home in the TV studio than we did in the recording studio.
Normally, you go into the recording studio, make a record and then take it on the road and you think... wow... I could have done THIS to it, or something.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
It was more about getting together with other musicians and playing live. I needed to suss out a full set [for the Last Summer tour], and I didn't want to play Fiery Furnaces material. So half of our set was new songs that we ended up recording for this album. And that made such a huge difference - going into the studio after playing a song for two years, knowing it inside-out and having sung it millions of times, and then recording it is a totally satisfying experience. You're suddenly in this controlled environment and you can make it sound exactly as you've been imagining it.
Jordan Ruddes does [have a home studio], but it's all self-contained. I'll be the only guy with a fully built recording studio. So they'll have to come to me.
I don't really regret anything I've done, even if it's bad. I mean, I have a $100,000 Chopard watch. I don't need a $100,000 watch, but I like it. It's all diamonds. That's a little extreme, but I don't care.
By the time I'm in the studio recording my parody, 10,000 parodies of that song are on YouTube.
The thing is that I have a really intense, almost compulsive need to record. But it doesn't end there, because what I record is somehow transformed into a creative thing. There is a continuity. Recording is the beginning of a conceptual production. I am somehow collapsing the two - recording and producing - into a single event.
A lot of my friends loved Pearl Jam, so whenever I'd hang out with them, that was usually what CD - not album - back then, it was what CD, maybe even tape, but what CD was playing.
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