I’m portable. I carry a laptop and a little recording studio on my back.
Quite often, when I am recording a song or getting ready for a concert, I pray.
Definitely later on in the ‘Life is Strange’ season one recording, we were all pretty tuned into who these characters were. There wasn’t a whole lot of finagling that needed to be done, I don’t think.
When I started my recording career, I hoped that someday the Grammy committee would notice something.
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.
My history is really playing live – not writing or recording.
I’ve not really spent much time in proper studios. The room itself where you’re recording, and how you live while you’re there is what appeals to me.
Gaslight has a specific way of playing and recording that’s sort of become the way now.
I definitely use ‘smiling while rapping’ as a tool in the booth. I want to have fun while recording.
It’s so hard to listen to an album you created and without remembering where you were when you wrote it or referencing the the recording experience.
My whole life was writing, recording and touring over and over again. At some point I realised I wasn’t enjoying myself any more.
A development deal is where they’re giving you recording time and money to record, but not promising that they’ll put an album out.
I need quiet when I’m recording because I don’t want any noise in the background.
Texture is very important. Just the feel of everything. It’s not always about recording everything in pristine quality and having everything mixed where it’s absolutely perfect. It’s more about a vibe.
A studio recording is perfection, but emotion and passion come only when you turn on the machine and go for the groove. If you do that with no mistakes, it sounds beautiful.
Performing live is not my favourite. I am more of a recording person; I prefer to be private. I didn’t mind doing videos, even if they came very close with the camera. I can take that, but walking on stage in concert and singing live, that is a bit difficult.
Dropping the news to my parents that I was skipping my ‘dream education’ at Chalmers to sit at home recording videos while playing video games was not easy.
I just felt something was missing from my vision of what Tycho should eventually be. It took several years of learning new recording and production techniques to get to a point where I felt I could make a record like ‘Awake.’
I basically wake up at five in the morning and grab coffee and just get to the studio. And I have a list of things I need to get done every day. Sometimes it’s just mixing, sometimes it’s actually writing, sometimes it’s writing, recording, and mixing. It all depends on what is necessary that day.
When working with an orchestra, you never spend more than 20 minutes per recording session.
We’ve never performed the song live outside of recording it in the studio. That was a dream come true because Whitney, she’s an icon and she’s been one of my main mentors in this business.
My feet never touched the ground. Lots of good groups with crazy and unique images. It was wild. I spent all of my time doing gigs, TV appearances, interviews, or recording. I could write a book – and probably will.
In the account book of the Great War the page recording the Russian losses has been ripped out. The figures are unknown. Five millions, or eight? We ourselves know not.
Touring and promoting and recording take a lot of time, it’s just getting the right balance that’s important.
My favorite song as a boy was definitely ‘Downtown’ recorded by Petula Clark. I still love it! And the original cast recording of ‘Gypsy’; I played my mother’s cast recordings until there was no vinyl left.
I never thought I would be recording on any professional level, so to be doing a rockabilly, Motown, pop soundtrack in a L.A. studio was completely bizarre and amazing.
Recording and performing ‘Replay’ was a learning process throughout, as we focused on the details.
If I’m recording a song, and it’s kind of fuzzed out, but I’ve got this super candy melody, I feel nothing but freedom that I can just sing over the top, and it will be appreciated. It won’t be like, ‘What is he doing?’
I always wanted to be a full-time musician. Every television job I had was a means to buy a grand piano, or to put in a recording studio, or something like that.
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.
Harmonies come really naturally to me. I don’t have to labor too hard over them. I’ll sing a lead vocal, and then I will immediately have all of these other ideas for vocal harmonies. I think that some of the most fun parts of recording, for me, are the vocal harmonies.
I began my career as a recording artist, and eventually I started directing my own music videos.
I prefer ensemble casts, but with games like ‘Resident Evil 6,’ where there’s just so much dialogue and recording mo-cap, or with ‘Resident Evil: Damnation,’ where the story pace is already set by a previous set of mo-cap actors, it makes more sense to do it individually.
‘Hairdresser Blues’ was written when I was deep in a ten-year depression that I escaped shortly after recording that album. I don’t like that album.
I’ve been in a recording studio enough times to know that it is not the best place to multitask. Doing a couple of takes of a song and running out to check your email to talk to someone about video production really is not good.
I love Donna Summer, and I love ABBA. I love late ’70s disco. I love the Bee Gees. I just love that period of recording.
Recording a scene with paint rather than film sinks you more deeply into your surroundings. You have to look a little harder and a little longer. And you end up with a memento.
A lot of people think that I grew up in recording studios and knew the whole process, but that was never the case.
When we were making Speaking in Tongues and Remain in Light, we were jamming. From that we were taking the best bits and then recording and improvising on top of those.
Pro Tools was invented to quicken the recording process.
Little things can make such a big difference during recording.
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?
The band projects just took natural priority. I didn’t really have a solo career, just wanted to share the music in another way and to learn more about writing, recording, etcetera.
Recording a Hindi song takes me around 40 minutes whereas a Kannada song takes me about two hours. The music isn’t a problem, since the notes used are universal. The language is the problem. I try my best to get it right, as I’m sensitive about respecting every language, since all of them are sacred in my heart.
I don’t like recording studios – except my own, which is just a little room above the garage.
I’ve always loved the recording studio.
When digital technology started becoming the norm, you’ve got 50, 60, 70 years of recordings on tapes that are just deteriorating. Like, a two-inch reel of recording tape won’t last forever. It dissolves. It will disappear.
I wanted to go back to writing for myself and my fans. I built my own recording studio, started my own label, and decided to use the Internet to sell my records.
I don’t have a formal home recording studio, but I can record tracks on my computer upstairs in my office.
I remember the first time hearing a recording from Minton’s Playhouse; it was Charlie Christian and a young Dizzy Gillespie, and he was just the best musician in the room.
I did my thing with Jive. I was a national recording artist, but I had run into a wall.
I love Monk’s song, ‘Just a Gigolo.’ It’s probably a minor song for him, but whenever I hear a recording of him playing it, I’m mesmerized because Monk clearly loved pop music. He took it very seriously and made an amazing thing out of it.
I think we were probably playing live for about 12 months before we got a recording deal.
When the Beatles cut old rock n’ roll, they were recording music still in their performing repertoire, and besides, they never thought of the music as old.
I am a camera with its shutter open, quite passive, recording, not thinking.
I love recording music.
My first recording, a guy came down to Philadelphia and heard me play and he introduced me to Alfred Lion.
When you’re recording to analog tape, it captures performance and you can’t necessarily manipulate that in different ways. It is what it is.
I’m a perfectionist to a default. I will drive you crazy sometimes. When I’m recording, I will try something a trillion times to get it right.
I am financing the recording myself. So I have no big names to drop.
If I got dropped tomorrow or every single I released from now on tanked, I’d be devastated, but I’d also still be doing this. I’d still be writing songs. I’d still be recording them. I was doing that for four years in Nashville. This is just on a larger stage.
Sometimes when I do an overdub solo, they’ll keep four or five of my attempts and then mix the bits that they like to make a solo up out of them. It’s not against the rules, really – I can learn my own solos, then. But that’s the whole beauty of multi-track recording, isn’t it?
