Top 1200 Audio Recording Quotes & Sayings - Page 2

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.

Soundgarden signing to a major, then Mother Love Bone, and seeing the same happen to Alice in Chains. We were all suddenly making music and recording at the same time, and we had money to do it. It wasn't like a $2,000 recording that you do over a weekend. It's like, 'Wow, maybe this will be our job.'

I don't particularly enjoy standing alone and recording my own voice or my own stuff. It's sometimes fun to do for demos and stuff, but I really enjoy the social act of recording records, because writing it is so lonely. And it has to be.

The 'PBS NewsHour' podcast is the audio version of the nightly TV broadcast.

Audio is the only medium you can consume while you're multitasking.

I'm always writing my own music, recording my own music, even if I am 9/10 of the time recording stuff for other people. I'm still working on my own creative endeavors.

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.

Ground zero for me is audio.

Sour Patch, Swedish Fish. I love candy, man. I can't go without candy. And when I'm recording, I always have a TV on with cartoons - on mute, though. When I'm recording, I like to look at the TV now and then and see some crazy, wacky stuff. When you're thinking creative, it just keeps you creative. Everybody got their way of making music.

I guess my guilty pleasure would be listening to the British audio versions of the 'Harry Potter' books.

I think that it's much easier for a recording artist to become an actor than for an actor to become a recording artist.

There is only one thing a writer can write about: what is in front of his senses at the moment of writing... I am a recording instrument... I do not presume to impose "story" "plot" "continuity"... Insofar as I succeed in Direct recording of certain areas of psychic process I may have limited function... I am not an entertainer.

N.W.A. were the first great rap audio documentarians of the problems in our inner cities.

Well, whether it's on film or on TV, you don't want to throw too many curves at your audio and video guys.

The first rap I recorded was on Jeezy's 'White Girl' beat. One of my partners invited me to his studio, so I go. I wasn't planning on recording, we were just messing around. And I started recording a song, just a freestyle. Back then, Jeezy was going so hard, that's what everyone was on. That's what me and my partners in the trap would listen to.

I read in all forms: paper, computer, phone, audio.

I love songwriting ! It's my Number One passion other than performing. Well, actually it's like wearing three different hats: songwriting, recording and performing. They're all completely different and draw on different types of skills. With recording, there are so many different phases of production, and you have to be very careful because you can polish it until it doesn't shine.

If you could make telly as good as radio, it would be amazing - audio can do things so easily that television can't.

If LPs were replaced by cassettes and then audio cds and now digital media... That is inevitable. No point in lamenting.

Hey, I wasn’t a weirdo. I was in the audio-visual club.

The modern recording studio, with its well-trained engineers, 24-track machines and shiny new recording consoles, encourages the artist to get involved with sound. And there have always been artists who could make the equipment serve their needs in a highly personal way - I would single out the Beatles, Phil Spector, the Beach Boys and Thom Bell.

We want PC makers to have better audio because these things are used as home stereos by a lot of people, and that makes it suck.

What’s happened is that, almost overnight, we’ve switched from democracy in real-property recording to oligarchy in real-property recording. There was no court case behind this, no statute from Congress or the state legislatures. It was accomplished in a private corporate decision. The banks just did it.

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.

I saw Damien Rice in Dublin when I was 13, and that inspired me to want to pursue being a songwriter... I practised relentlessly and started recording my own EPs. At 16 I moved to London and played any gigs I could, selling CDs from my rucksack to fund recording the next, and it snowballed from there.

The whole thing with recording is you have to know when to turn off the tape machine and just stop recording because you want to keep fixing, fixing, fixing, you know?

I'm not a visual guy. I'm audio. I'm a musician. I know what I do. I play guitar, and in my category I'm doing O.K.

Lovers of audio books learn to live with compromise.

The thing is that I have a really intense, almost compulsive need to record. But it doesn't end there, because what I record is somehow transformed into a creative thing. There is a continuity. Recording is the beginning of a conceptual production. I am somehow collapsing the two - recording and producing - into a single event.

You have to make rough decisions with sequencing and work within the limitations of having good audio for 15 minutes on a vinyl side.

One of the things that I think audio is best at is creating empathy.

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.

People aren't going to support an artist just because they have an audio file. They have to feel a real connection.

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.

Artists should re-emphasize performance and de-emphasize recording. You always make more money if you have a healthy performing life than you will if you have even a moderately healthy recording life. Don't make recording the most important thing you do. Make performing the most important thing you do, and then you can make recordings and sell them at your shows, because record labels aren't going to be around to help you get on the radio stations, and the radio stations probably aren't going to play you anyway.

I want to see the guitar in a non-linear sense that encompasses tones, arrangements, songwriting, audio production, and everything else - you have to do it all.

Recording studios are filled with technology. They are set in their ways. And to update them means you'd have to change them back. That would be my idea of upgrading. And this will never happen. As far as I know, recording studios are booked all the time. So obviously people like all the improvements. The more technically advanced they are, the more in demand they become.

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.

Being from Philadelphia, 'Parents Just Don't Understand' was a big deal - I have audio of my brother and me singing that song.

Their brilliant audio expert, who is a marine biologist, should really be looking after Flipper

I studied audio engineering at university. The background I am from, music was never seen as a viable career; it was always a hobby.

It's a natural thing for us to be working on content and finding ways to implement, whether it's visuals or the partnerships to go along with the audio.

I'm a big fan of David Sedaris; I love all his books and have them all on audio and e-reader, in addition to hard copies.

With a 660-page book, you don't read every sentence aloud. I am terrified for the poor guy doing the audio book. But I do because I think we hear them aloud even if it's not an audio book. The other goofy thing I do is I examine the shape of the words but not the words themselves. Then I ask myself, "Does it look like what it is?" If it's a sequence where I want to grab the reader and not let the reader go then it needs to look dense. But at times I want the reader to focus on a certain word or a certain image and pause there.

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.

I saw Damien Rice in Dublin when I was 13, and that inspired me to want to pursue being a songwriter... I practised relentlessly and started recording my own EPs. At 16, I moved to London and played any gigs I could, selling CDs from my rucksack to fund recording the next, and it snowballed from there.

You're only as good as your weakest link in the ecosystem of sound, of audio.

Yes, for me audio-visual performance has its roots in my experience working as an improvising musician and composer.

I do remember seeing Audio Adrenaline and The Newsboys, basically Christian rock, because that was what I was allowed to see by my parents.

I like to record with people. I don't particularly enjoy standing alone and recording my own voice or my own stuff. It's sometimes fun to do for demos and stuff, but I really enjoy the social act of recording records, because writing it is so lonely. And it has to be.

My books are offered through Podiobooks.com and the iTunes Music Store as free audio downloads. I don't sell them.

In between that time, I've done book narrating, you know, books on tape for Dove Audio.

I hope many people can indulge themselves in the power of audio cinema.

When you're listening to a recording, you're supposedly listening to some aspect of the past in the present as you travel slowly into the future, but you also know there's a very strong likelihood that the future of that recording, whether you made it or whether you're listening to a Led Zeppelin record, is going to continue probably far beyond where you are.

We with Michael Jackson were in the studio recording some work on "Man in the Mirror" or the duet. I can't remember which it was. We did the duet in three languages: English, French and Spanish. So, I spent like a week with him in the studio doing the three songs in different languages. It was just an awesome experience recording with him.

I was working two landscaping jobs; I was recording songs in the spare bedroom. I would get up at 4 A.M., go to work, get back at 6 P.M., have nap, then start recording, just go until I fell asleep.

I sequence during the entire recording process. The sequencing changes as I'm recording and as I'm listening. From when I'm, like, four songs in, I start trying to figure out which song should come after which. Which is important, and it changes as the album goes.

I hate when there's a deleted scene on a DVD with no explanation, or you have to go out of your way to find an alternate audio track.

I was in the recording studio when Pink was recording for a part of the gay rights anthem. It was just amazing to watch her perform. She's just such an incredible singer. She so funny, and so smart, yet she's doing it for this silly, silly song.

I loved the idea of recording. The idea of sound-on-sound-recording captured me as a young kid, and once I realized what it was I had an epiphany. Before I was even playing the guitar, I would create these lists of how I would record things and overdub them, like Led Zeppelin song, 'I could put this guitar on this track...' and so on.