Top 505 Recording Quotes

I’m always freaking people out because I’ll be out somewhere and I’ll hear someone say something and then later on I’ll say it again word for word. It’s almost like recording it in your head.

My old man was a musician – that’s what he did for a living. And like most fathers, occasionally he’d let me visit where he worked. So I started going to his recording studio, and I really dug it.

When you’re recording live, really good vintage instruments onto two-inch tape, it’s the best fidelity you can get.

We just weren’t a hip band. I mean we recorded our second album in Bath at a time when everyone else was recording in New York or Los Angeles.

Recording with Meek Mill for me was like when Allen Iverson played with Michael Jordan for the first time.

When I started The Shins, it really was just me, alone, but it was still The Shins. I was totally recording stuff and writing songs as The Shins and all of that. So the beginning inception of the whole thing was some sort of a lie, I guess.

To me, the hook of the riff is what makes a great guitar recording. It’s the backbone of the whole song. When you have a strong riff, it’s the rocket fuel for the track.

Alex Tumay is a recording engineer who works a lot with Young Thug and a load of other rappers, like Quavo. I’m just a fan of his work.

I was recording stuff with my dad when I was like five, six years old. I played with him on tour. I’d gone with him to Japan in ’91, played some gigs, did a couple shows at the Albert Hall.

That’s what so great about making movies. It’s that you get to do stuff you never would be able to do in real life. You get to go to a recording studio, you get to go to Navy ships and fly all over the world for press. And it’s just a great job.

Once I’ve got something that I feel is strong, if I get long enough to think about it, it’ll turn into something. I’ll start thinking about the drums – what the drums are doing, what the bass is doing. Then, if I can remember it by the time I get to a recording device, it’ll turn into a song.

By the time 1997 had rolled around, I had been in the music business for all my life, from the age of 15. I started recording professionally when I was 18. I had seen how record companies work, how the business works, and truth be told, I was pretty disgusted by everything by that time.

Songs like the Buck Owens tune, for example, are very simple and straightforward, and recording it really gave me a chance to get into and get a sense of Buck’s personality, a feel for that whole Bakersfield sound.

I used almost every penny I ever made to build recording studios in every city I lived in. I don’t have much to show for all the TV money except a lot of musical gear and a lot of songs.

Well, I just can’t play the game anymore. I’m 63 years old, and I’ve been in the business for 40 years now. I take good advice and direction really well, but I don’t need somebody that finished college two years ago to come in and tell me what I should be recording.

Since his childhood, Bappa has observed me singing and practicing and is well aware of all sorts of recording and singing arrangements. I have a studio at my home, so whenever he needs my help I make sure I stand by him. I often sing for the tunes that he composes.

I’ve written a song for Prince. I never showed it to Prince, but just to see if I could do it. At the time, when I sort of knew him, he was recording a song a day. I wondered if I could do that. So I wrote it.

I have known Chithra long before I became a composer. Her growth has amazed me; she had not seemed extraordinary when I saw her singing at shows or recording tracks, for singers like S. Janaki and P. Susheela, at Tharangini Studio in Thiruvananthapuram.

The chemistry that you get from living with your band and creating music and recording with your band translates to the stage.

The recording industry has changed; they’re enjoying such incredible success in the pop field.

I just keep recording. You never know what you’ll come up with.

I think as long as people are around and can hear a record and hear people like Lester Young on a recording, there will always be a great inspiration for somebody to try to create jazz.

Yes, I would say I had quite a rough time from 1992 to 1996. After the highs of the Eighties, work became slow from around 1987 to around 1997. I was running a small recording studio in Shepherd’s Bush but wasn’t making a great deal from it.

I used to feel that musical knowledge and emotional truth-telling were antagonistic. But I was too curious about chords and instruments and recording to stay locked in that mentality.

I think what I always want whenever I’m recording is to have even just 2 percent of what the Alabama Shakes have, Brittany Howard.

It’s almost like, it’s often the bad recording quality of things which makes them interesting.

The record company started as an adjunct to that, to give young composers their first recorded performances; to give young musicians their first debut on a recording. These are all things that big record companies would never touch because there is no money in it!

You have high school photos and stuff, but to have a recording of your voice and your work from 20 years ago, it’s a kick in the head to hear how you’ve changed and what you were interested in at the time and how it’s either changed or stayed the same.

A MIDI file contains coded instructions to play a particular series of notes on an electronic music synthesizer. A MIDI file is more like a piano roll in a player piano than any type of sound recording.

It depends who your technician is as to how much fun the recording is.

My friend has a baby. I’m recording all the noises he makes so later I can ask him what he meant.

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 tend to think about so many different things on a recording. I’ll be trying to tune into what the drummer’s doing, trying to keep everyone playing the groove and other things like making sure the piano’s in a nice pocket.

I have a room dedicated to music and recording. I go there first thing in the morning and just before I go to bed. And it has a window to my street, so I can watch all the crazies walking by.

I may be on set acting, I may be in the studio recording, I might be teaching dance class all in the same day – so how can I manage all of those needs, prepare for all of those things, and still grow and train in all of them? The best you can do is, when you’re focusing on one, be there and be present.

Money definitely does not equal success in recording.

I’m happy to be recording and singing live. I have a great family, and a great bunch of people always come and see me sing. What more does a man need?

When Josh and I are recording a record, we’re very mindful of how the music will manifest itself live. That’s where we have to live every day. When we tour for the next record, I imagine there will be a new story to tell, and we’ll introduce new characters.

I don’t know, whenever someone was like, ‘Yeah, I’m going to the studio,’ I just went with them. And I started recording.

I would like to do one of Ilaiyaraaja’s songs. After all, I did play drums for him and have watched him closely while composing, recording and performing. I would like to do an album of Mohammed Rafi’s Hindi songs, too.

I accept recording with everybody, as long as it’s with a mariachi.

When you’re recording classic songs, you’ve got to kind of make them your own, and you can’t always worry about what people are going to think.

I have always thought of myself as a performer first and way down the line as a recording artist.

When you’re recording, if you’re not really clean in your playing, it sounds like a mess.

The act of song writing and recording became one and the same to me; because I essentially recorded everything I did from the day I began trying to write songs. I’ve always had a lot to say. I’d always written poems.

Tweets? That stuff kills conversation. And people taking pictures with their phone or recording you, sometimes surreptitiously, is creepy. They come up and just start talking to you, and you can see the red light on their phone.

I had a band before I did standup – I’ve always done music. I got known for being funny, and that’s how I make a living – and from acting – but I never stopped playing and producing and recording music.

I’m a keen musician. Me and my mates have a great times jamming and recording stuff. We have a great band behind us and have turned my nursery-rhyme songs into quite credible pieces of music.

There are other countries that if you had a preexisting condition, and let’s say the virus caused you to go to the ICU and then have a heart or kidney problem, some countries are recording as a heart issue or a kidney issue and not a COVID-19 death.

I began hearing rumors of apossible recording session with Neil Young. I was a huge fan of Neil’s.

I farm – there is something visceral about being attached to the land. I am a recording engineer. I do my own laundry most days, and I get on with the business of living.