A Quote by Rory Gallagher
I didn't grow up working on 24-track - the first two Taste albums were eight-track and we always had tracks left over - we couldn't believe it, either!
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US policy toward Cuba [at the time] had two tracks. Track 1 was to assassinate Fidel Castro. Track 2 was to subvert the regime through people-to-people contact.
My dad used to do a lot of music when he was young, so he had an 8-track MiniDisc recorder, and when he realized that I was getting on with it, he brought it upstairs to my room and showed me how to record and how, once you finished eight tracks, you can cut it down to two and have another six tracks to play with.
Those who are experts in the fields of surveillance, privacy, and technology say that there need to be two tracks: a policy track and a technology track. The technology track is encryption. It works and if you want privacy, then you should use it.
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 got my first laptop, what I learned to do everything on, when I was 17 or 18, and I had no idea what I was doing. I'd only ever produced on an 8-track before. When I was about 13 and writing songs, I would write on that. It would literally be eight tracks, and that's all I had.
The tracks on 'Sleep' were recorded live to 2-track. I did a fadeout or two of them, but that's really it.
I've been in the studio when you go through a track and you run down a track and you know even before the singer starts singing, you know the track is swinging... you know you have a multimillion-seller hit - and what you're working on suddenly has magic.
I've been in the studio when you go through a track and you run down a track and you know even before the singer starts singing, you know the track is swinging ... you know you have a multimillion-seller hit - and what you're working on suddenly has magic.
Growing up in the sport, I've been able to separate what happens on the track with what happens away from the track. That track is totally different. I'm not the same person when I put that helmet one.
I grew up an athlete. Track and field and dance. In track, I actually went to the Junior Olympics. I've always been very athletic.
If you listen to the left track on their album, if you get The Best of the Mamas and Papas, you listen to the left track, you can still hear a little bit of my voice. My son discovered that once.
That's such a wonderful thing about the mixing process is when you write the demo or the track, [and] it sort of goes through a couple of different changes and you don't really know what tracks are going to end up working out.
Now with Pro Tools, you can play with layers and 100s and 100s of tracks. When we used to do it back in the day, you had one shot, or you would have to wipe it and carry on over that track.
I'm always making tracks. I find that when you make tons of tracks, you stumble upon genius. You can't always turn the drum machine on and right away there's a hot track. Sometimes you luck out. But it can take a lot of time between thinking about the artist, listening to music for inspiration or going to clubs.
I love short track. I competed in short track, I was a world champion in 1986 but at that point in time it wasn't in the Olympic Games so I moved into long track. Short track is a blast to skate and it's a blast to watch.
First of all, I've been having a wonderful run of luck with cover albums, songs I didn't write. I had five pop cover albums and two Christmas albums, and they were all very successful.
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