We stuck the record head so it kept on recording over and over on top of itself and played keyboard notes into it to create this ghost repetition melody.
I met Jack Bruce, one of my heroes, in a studio while doing some recording. England had just beat Scotland in a big football match and I saw Jack trying to break into this refrigerator in the lounge, drunk out of his brain, and I didn’t know what to say.
I always knew that we were going to be successful and accomplish and succeed at our dreams. There was never a doubt in my mind. When we were recording ‘Appetite For Destruction’, we all knew.
Even on our days off, we’re basically at the studio recording.
But some great records are are being made with today’s technology and there are still great artists among us. Likewise there are artists today who are so reliant on modern technology, they wouldn’t have emerged when recording was more organic.
After I wrote ‘Sweet Summer Day,’ Jihyo did the guide recording. We did that in our apartment, revising the lyrics together, allocating parts to members and discussing the song together.
Once I’d chosen the songs, it seemed like it would just be a question then of recording them. But it’s a case of trying to re-invent the songs; taking them in different directions.
When Philip Glass asked me if I would be interested in doing a new recording of Jesus’ Blood he assumed that I would do something similar to the first version and wanted to know what other pieces would be on the same CD.
Choosing an acoustic guitar for a live setting can be different from picking out one for recording. One doesn’t always work for the other. The sonic properties can be vastly different.
There’s only been a very few times when I’m recording something and I get shivers.
I enjoy touring. I enjoy recording the music, I enjoy dreaming it and I enjoy performing it. I also definitely enjoy selling it, because I like to eat.
The only album that I listen to upon recording a new one is my ‘Cry’ album, because sonically, I think it’s my best album to date. But other than that, I’ve never listened to my records, ever.
All my life, I’ve really enjoyed music: making music, playing it, and recording it. It’s such a relief and a joy to do what I do for a living.
No one likes to work for free. To copy an artist’s work and download it free is stealing. It’s hard work writing and recording music, and it’s morally wrong to steal it.
When I was, like, 16 or 17, I was just finding out about this YouTube thing. Then I saved a bit and asked my parents for some help to get the recording software and equipment.
It’s the actual recording of the vocal that is the most boring thing you’ll ever do in your life.
The lyrics are always the last thing I do. I always have a recording of basic tracks and maybe some of the lead work. I’ll sit back and listen to it, and I’ll just concentrate on what kind of feeling it gives me. My goal writing the lyrics is to not disrupt that feeling.
I can’t get that live and I don’t have the time to take the tape, after I’ve finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound.
As for my stuff, I’m just doing guest verses for other people’s records. I try to stay recording, because if I don’t, I get rusty.
I like recording by myself wherever I can, just because then I feel like I have ultimate freedom, and I can just control whatever I want to put down. There’s something about going into your own little world.
You live in a bubble, generally, when you’re touring and recording – you’re in confined – in alone space, wherever you are, in the dressing room or in the studio – so sometimes it’s hard to grasp that bigger picture of things that are going on.
Musical recording history is full of multi-racial collaborations and it is this cross-pollination that has created the magic of Ellington, Sinatra and the Beatles. I am merely a part of that tradition.
If I have a song that I feel is really one of my best songs, I like it to have a formal studio recording because I believe that something being officially released on a studio record gives it a certain authority that it doesn’t quite have if it comes out on a live album or is just a part of your show, you know.
I see no reason for recording the obvious.
I did recording sessions as a musician as well as a background vocalist and enjoyed every minute of it. I remember singing harmony with Waylon Jennings on a few songs that were hits. Chet Atkins always put me up so high that I strained to hit every note. It was a lot of fun.
If a singer wants to improvise while recording a song, he has to get the permission of the composer.
I started out as musician and recording artist but quite soon started to do my own videos. One thing led to another, and soon I was making videos for a living.
It might sound glib, but in a sense, as an actor I’m a journalist and a psychologist recording life and truth.
The reality of recording, it’s one of the most intimate things that an artist ever does because if you do it right, you’re exposing yourself, and you’re expressing your emotions, and those are the key attributes to a big record that really connect with people.
Each one of us had a little story to tell and each recording was based on that. Lou played all of the music but we both sort of kicked around some cords during the writing phase.
I don’t think I want to transition into being a recording artist for the rest of my life or anything like that, but it’s something I’d like to try.
I was successful with mediocre material because of a good recording voice that people really liked at that time.
I’ve been thinking of trying my hand at rap. I’ve been recording snippets on my BlackBerry.
Of all liars the most arrogant are biographers: those who would have us believe, having surveyed a few boxes full of letters, diaries, bank statements and photographs, that they can play at the recording angel and tell the whole truth about another human life.
Our healthcare system has seen some of the greatest achievements of the human intellect since we started recording history: We’re developing incredible devices and implantables to improve the quantity and quality of people’s lives.
Idol has pretty much taken me out of my recording and out of my choreography. I have managed to slip in some choreography jobs. And I’ve been writing songs for other artists.
Well, especially now I come to realize – and then – I would do my schooling which was three hours with a tutor and right after that I would go to the recording studio and record, and I’d record for hours and hours until it’s time to go to sleep.
Billie doesn’t actually like recording sessions at all. We like making music together. She doesn’t like going to some big studio and having them pretend to be a therapist for a couple hours. So by default, we always make the good stuff together.
Anytime you put yourself in a creative box, it’s going to stifle you; it’s not conducive to the writing or recording process.
I’ve never been ambitious about recording.
I started training with singing and dance lessons at the same time. Also, I was taking Japanese lessons too, when I was eleven or twelve. After school, I went to the recording studio.
When I first started recording music, I was actually singing about microphones, equipment, recording.
I’d do a demo recording by myself, layering instruments on top of one another, and while that’s fun, it doesn’t have the same impact as getting some great players together in a great studio with a great engineer and producer, then waiting for the magic.
The very first thing I ever did, I was doing some work for the French Cultural Center. They wanted a little recording set up. And I got wire. A wire recorder. The wire came off spools, and to cut and edit, you tied it together in little square knots. Can you imagine?
I love the idea of Pro Tools, but it doesn’t seem as attractive to me in terms of the music-making side. It’s great for recording, but with Logic you get the best of both worlds, the ability to do great tracking and producing something that sounds great as well.
I came into my own, you might say, in terms of putting out my first record quite late in life. And yet there’s some authors and photographers and even probably recording artists that didn’t really hit their stride until their mid-50s.
I hate re-recording. I like singing, but I don’t like recording a song over and over, making it too perfect.
The media and the rest of popular culture weren’t recording people’s reactions to 9/11; they were forcing made-up reactions down people’s throats.
Our robots are signing up for online learning. After decades of attempts to program robots to perform complex tasks like flying helicopters or surgical suturing, the new approach is based on observing and recording the motions of human experts as they perform these feats.
To be honest, I think I have a nice voice. A good voice… and I loved recording.
When I’m on the microphone and I’m recording, or onstage, or shooting a video, I’m doing my job. When I’m not, I’m being myself.
At some point, I went to the studio and nothing happened. It can be really depressing to sit there and wait for the inspiration that doesn’t come. I had to start recording rough song ideas before going to the studio. I did that at home whenever I had a good idea.
I’m one of those pianists who tends to ignore every existing recording and lots of traditions about playing pieces when I start.
