Top 1200 Recording Quotes & Sayings

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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 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.

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.

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.

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.

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.

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

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

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

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

Recording interviews is like magic. a) It stops you from taking notes in the middle and b) you can play that recording for people.

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

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

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.

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 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.

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.

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.

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 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.

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

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

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.

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.

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 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.