A Quote by Emmett Shear

Recording interviews is like magic. a) It stops you from taking notes in the middle and b) you can play that recording for people. — © Emmett Shear
Recording interviews is like magic. a) It stops you from taking notes in the middle and b) you can play that recording for people.
People are so into digital recording now they forgot how easy analog recording can be.
I'd say recording and playing on stage are two completely different things. Being up in front of all people is like jumping off a cliff into icy water. The recording process is a totally different energy.
But I'd say recording and playing on stage are two completely different things. Being up there in front of all those people is like jumping off a cliff into icy water. The recording process is a totally different energy.
I was recording my audiobook, and it's so weird. You write things, but then to have to say them out loud in front of people feels so different. So when I was recording my audiobook, I was telling an embarrassing story in front of, like, a room full of audio-tech people that I don't know, and I was like 'Oh my God, this is so cringe.'
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.
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
I used to record songs, like, play the beat from one phone and have another phone recording me and just rap. Moving from that to a studio was like, 'Damn, I never knew I could sound like this.' It was just magic.
I'm from the generation that's always been recording, from the very beginning. I learned to play the guitar on the four-track. I started listening to music at a time when people were doing recording at home, when the discussion about songwriting correlated to the discussion about producing and engineering. I think that's a description of my generation.
Recorded engine sounds, however, are a deliberate deception. They're like going to a concert and listening to a recording. On the other hand, I wouldn't mind buying a BMW recording and installing it in my '96 Jeep Cherokee.
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.
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.
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.
I hate re-recording. I like singing, but I don't like recording a song over and over, making it too perfect.
I keep recording and recording, but they always stay on the rack and never get out there.
When I first started recording music, I was actually singing about microphones, equipment, recording.
When you work this intensely on something, the recording process becomes a bit like cabin fever. I shut everything out and, for a while, I totally lost perspective. To an outsider, I imagine the whole recording process sounds like torture.
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