A Quote by Tony Visconti
You could make some great sounds with technology. That's what recording is all about. What happens in the studio is very magical, and should be, in my opinion.
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It doesn't take a lot to get me motivated. I'm a studio rat. When I was in high school and I would walk into a recording studio, it felt like this magical place, this temple, this womb that I could escape into.
Recording at Compass Point was really fantastic. When you're in the studio, you could be anywhere: It could be snowing outside or whatever. But it's great fun when you come out of the studio and are greeted by nice weather and good bars.
Ideally, the music composed these days should sound much better because of the technology, right? But that's not the fact. The sounds that you hear out of technological recording are programmed sounds coming out of a computer.
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
But some great records are are being made with today's technology and there are still great artists among us. Likewise there are artists today who are so reliant on modern technology, they wouldn't have emerged when recording was more organic.
I'd do a demo recording by myself, layering instruments on top of one another, and while that's fun, it doesn't have the same impact as getting some great players together in a great studio with a great engineer and producer, then waiting for the magic.
Obviously, virtual reality is where I've placed my bet about the future and where the excitement is going. At this point, I could say it's almost a lock. It's going to be magical - it is magical - and great things are coming from that. Along the way, I was focused on the first-person shooters. I said we should go do something on mobile.
I believe a great performer is someone who sounds just as great live as they do in the studio and vice versa. They should know how to work the stage.
There's a lot of discussion about whether you should be a good live band or a good studio band. I think you can use the studio to make a great "studio record" and not necessarily have to reproduce exactly that on stage, but still be a great "live band." Having said that, if what you're going for is just the raw capture of your live sound, then that's cool, too - go for it! I enjoy working in the studio, though, and while I try to get near to an approximation of what's going on onstage, it's not my first priority usually.
You can alter movie singing so much because you go into the recording studio and, just technology for recording has gotten so good, you can hold out a note and they can combine a note from take 2 and a note from take 8.
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.
To me, finding sounds, or even recording, is a compositional process. The studio is kind of an instrument.
Everything has changed since I started recording in 1972. But the very things that have opened this industry, like the digital platforms to reach more people, have also killed things that were happening before in the recording studio. Now, most of the time, there are no real musicians in the studio; it's people with sequencers and things.
A friend and I were talking about how I don't like carnival rides that make me dizzy. I looked up from the conversation and thought, 'Dizzy - that sounds like a great title for a song.' The next day, I went into the studio with some co-writers, and we wrote that song.
I was in Australia in about 1996 when I played some acoustic guitar for some guys at a studio down there. They were pretty happy with it, and mentioned doing an album, so about a year later I met some people who were interested in recording.
To me, I took a militant attitude towards sounds. I wanted sounds to be a metaphor, that they could be as free as a human being might be free. That was my idea about sound. It still is, that they should breathe ... not to be used for the vested interest of an idea. I feel that music should have no vested interests, that you shouldn't know how it's made, that you shouldn't know if there's a system, that you shouldn't know anything about it ... except that it's some kind of life force that to some degree really changes your life ... if you're into it.
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