A Quote by Tony Randall

Well, I'm a tape-recording nut. I like to play my tapes. — © Tony Randall
Well, I'm a tape-recording nut. I like to play my tapes.
When digital technology started becoming the norm, you've got 50, 60, 70 years of recordings on tapes that are just deteriorating. Like, a two-inch reel of recording tape won't last forever. It dissolves. It will disappear.
Well, I did a harmonica instruction tape for Homespun tapes.
I couldn't afford to go to the record store to buy new tapes, so I'd tape everything off the radio. Just hit record when my song came on. I used to take my mom's tapes and tape over them. I had a nice little collection. Had my own Stephen Jackson mixtapes off the radio!
After years of begging, I got my parents to get me a little Craig tape recorder, a reel to reel. Then I started recording voices, or recording Jonathan Winters off television and stuff like that.
I put out tapes, but I always kept saying, 'Why am I putting all this energy into these tapes?' I was like, 'I'd rather make just an album because I have a vision; I know how I want to do my records.' I always felt like an artist as well.
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.
All the dialogue on tape, and we'd play the tape in performance. Then I thought it'd be interesting if the actor's repeated what they heard on the tape, but at a slower speed, so we'd get a web of language.
Tape machines are effects boxes as well because each tape machine has its own sound. You can over-load a tape machine or you can bump it a certain way so it compresses or makes a sound, tape saturation.
Recording interviews is like magic. a) It stops you from taking notes in the middle and b) you can play that recording for people.
I'm thinking about recording everything to tape like it's 1991 and seeing how that sounds.
DNA, like a tape recording, carries a message in which there are specific instructions for a job to be done.
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.
I tape every game I can get my hands on. Every game that's on TV, I tape it. My daughter, Terry Hill, lives in Eureka, and she has a satellite dish, so she tapes what I can't get. I try to keep up with what everybody is doing, so if the phone rings, I'll be ready.
We are well aware that he spent many hours recently tape recording various messages... we need to do a little more analysis of what was actually said to see if that indeed was in fact Saddam Hussein.
To me, recording with live instruments and tape takes things back to an older sound that I like but that's still fresh.
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