Top 1200 Audio Recording Quotes & Sayings

The idea of letting a recording be a moment in time appealed to me. With digital recording, it's easy to create a perfect text of whatever song you have.

I work with digital audio, which is like sculpting, a form of chiseling down metal or wood. And I take audio and move it back and forth between the analog and digital realms and work with it almost like a plastic art until it takes forms in different shapes. And I use those figurines that come out of that type of work.

I have an audio stigmatism whereby I hear things wrong - I have audio illusions.

I don't really have any interest in recording at places that are institutionalized for recording.

I was a musician who began playing with computers, to see if they could make some tasks simpler. I developed some "tricks" or strategies for working with audio files, and then discovered that the same tricks could be applied to video files, or really, any type of data. Previously I made many different kinds of music. I did some work as a composer of film scores. In that role, my task was to create audio to match and deepen the visual. In my work now, the role is often reversed: I have to create images to match and deepen the audio.

We have so much access to video and audio recording equipment that it's kind of the new pen and paper.

My recording career has luckily run the gamut of recording environments.

It's harder to make real audio than special effects audio.

In fact, it's in my interest to love digital recording, and I just spent a ton on a new digital recording system, so I speak from a place of heavy investment in both sides.

This amazing breakthrough full-length revolutionary audio uses a powerful new combination of a subliminal hypnotic induction AND beautiful original music (created with a really cool ancient musical instrument) AND brand-new subliminal clearing commands ALL designed to begin to clear your unconscious blocks of anything and everything in the way of your attracting what you really want – and this incredible one-hour audio does it without any effort at all on your part!

I wish that I had re-edited 'Theft By Finding' after I did the audio. Because the audio took 40 hours in the studio, and I was standing on my feet. So toward the end of it I'd be looking at certain diary entries and I would think, "Is this really worth my time to read this out loud?" And I would think, "No, it is not." I would have cut out 75 pages, just because I was tired of standing up.

Sometimes, the best songs are the ones you write without any pen and paper or audio recording device or guitar in your hands. Because there's nothing between you and the melody; it's just a great lyric.

My filmmaking education consisted of finding out what filmmakers I liked were watching, then seeing those films. I learned the technical stuff from books and magazines, and with the new technology you can watch entire movies accompanied by audio commentary from the director. You can learn more from John Sturges' audio track on the 'Bad Day at Black Rock' laserdisc than you can in 20 years of film school. Film school is a complete con, because the information is there if you want it.

I am a camera with its shutter open, quite passive, recording, not thinking. Recording the man shaving at the window opposite and the woman in the kimono washing her hair. Some day, all this will have to be developed, carefully printed, fixed.

When digital recording came in about '84, everything started to follow into digital. Now, you've got the best recording media in the world, but it's not very pleasing to the ear.

I noticed a lot of bands always having a few people in the band being interested in recording and audio production, so I got the idea to create products that would appeal to them. Rather than create tools that only engineers could understand, I designed tools that any musician could use and get instant great sounding results.

Before that, an 8-bit recording was pixelated; it was really bad. It didn't serve what I was doing, which was recording live sound and delaying it and feeding it back. This is essentially what the EIS system is: a bunch of delays.

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 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.

Andy Kindler. Andy's set - somehow he slayed that night. But something weird about it that wasn't translating for the CD. I don't know what it was. But we listened to it and it wasn't the greatest audio recording - I mean, the quality of it was good. But we didn't want to put it on the record because it doesn't represent what Andy does.

I had a recording contract with Capitol Records. I loved recording and being in that studio. I made four albums.

I hate re-recording. I like singing, but I don't like recording a song over and over, making it too perfect.

If you hear that my soul mate still tells one or more of his exes he loves her, I want to know. Audio recording is preferable.

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.'

As a child, I would say that I wanted to become a dancer to honour music. For me, dancing is the physical translation of the audio recording.

The Audio Home Recording Act directly says that noncommercial copying by consumers is lawful.

If you're recording the song on your four-track in your kitchen, when you finished writing the song, you're recording, and it's cool, and honor that. And maybe that's the version that should be released. And if you're recording the song again, it shouldn't be because there's a version you love that you're chasing. It should be because "You know what? I made a recording, but I don't love it emotionally." So, okay, then record again. And be in it and take advantage of the buzz and energy of "I'm getting to record right now!" It's such a beautiful and cool privilege.

From a technical point of view, there seemed to me to be absolutely no reason why - with the existing technology - we couldn't do very high quality audio, because whereas the boom in digital graphics is ongoing, the boom in digital audio has already happened.

I love audio books, and when I paint I'm always listening to a book. I find that my imagination really takes flight in the painting process when I'm listening to audio books.

When you first start writing a song, it's fun, then when you start recording it, it's fun, but by the time you've finished recording it, you're sick of it.

If we have free will, by definition we cannot be granted it. We can't be given it. My [-audio-recording-distorted-] paradox states that 'Of course we have free will, we have no choice.' To say that it's a gift is to negate the whole concept of free will on its face. So, if that isn't self-evident, I can't think of anything that would meet the definition of being self-evident.

People are so into digital recording now they forgot how easy analog recording can be.

Through the years I've found that I prefer live playing to recording. I still do lots of recording - but I treasure the live shows.

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 keep recording and recording, but they always stay on the rack and never get out there.

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 don't have any particular goals in making a recording. In a way the recording is itself the goal. The music comes into my mind, and from there the main job is to give form to it.

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.

The recording companies are continuing to look at ways to buy short and sell long. So now they give recording deals to groups of people who we refer to as 'garage bands' - they are amateurs who are bought for nothing and it's really a shame.

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

The recording process [ for 'Dirty Work'] took longer than anticipated, because we kept going on tour in between the recording process to make sure that we were still pleasing all the fans across the world.

Yes, alas, I've been on some recording sessions where the music wasn't good. Not so many, really, considering how many I've done. It's a very awkward situation because to do a recording well you focus on the positive of what will make the piece better.

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.

I bought an audio technician mic and Pro Tools SE, the demo version and was recording in the basement.

There could be no filmmaking without industrywide agreement on frame rates, lenses, and audio recording equipment.

I'm a studio guy. That's really what I love the most. I'm so fascinated with audio gear and recording techniques and whatnot, it's pretty mesmerizing.

I never really work on just one CD - I'm recording, recording.

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.

The act of recording requires you to look at and handle and touch things, so yes - art is more than just looking and recording. It's messy and time consuming and people might fall in love and get hurt.

At the same time, one of the things I noticed was that the moment there was any kind of audio attached to virtual reality, it really improved the experience, even though the audio didn't feel like a sound engineer or composer had been anywhere near it.

You're either recording a hit song or you're not; you've either got something that's worth recording or you haven't.

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.

If you are recording, you are recording. I don't believe there is such a thing as a demo or a temporary vocal.

When I first started recording music, I was actually singing about microphones, equipment, recording.

And for me the only way to live life is to grab the bull by the horns and call up recording studios and set dates to go in recording studios. To try and accomplish something.

WARNING: The following is a transcript of a digital recording. In certain places, the audio quality was poor, so some words and phrases represent the author's best guesses. Where possible, illustrations of important symbols mentioned in the recording have been added. Background noises such as scuffling, hitting, and cursing by the two speakers have not been transcribed The author makes no claims for the authenticity of the recording. It seems impossible that the two young narrators are telling the truth, but you, the reader, must decide for yourself.

One thing that has happened is a revolution in digital consumer recording, and overall, that's a great thing for art, but parallel to that there's been a revolution in boutique audio companies making excellent gear.

T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.

Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.

Recording happiness made it last longer, we felt, and recording sorrow dramatized it and took away its bitterness; and often we settled some problem which beset us even while we wrote about it.