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.
A band like Depeche Mode would go out and record them hitting a trash can with a steel rod or something and recording it. And that would be one of their sounds of the drums. I love the creativeness of that kind of really raw sampling.
There are so little outtakes from the Joy Division era. We didn't have much money. You couldn't be very generous in recording, so we were very thrifty in how we recorded. Everything was very, very well looked after financially because we just couldn't afford it.
As long as you're recording and they pay the fee, it's like a lottery ticket. You never stop trying.
When I first started writing songs, I never intended on singing. I didn't really consider myself a singer at all. I was just kind of recording the demo vocals as a holding place until someone else came and sang.
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.
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.
I always feel like there's something magic in recording studios. There's a reason good music continues to be made in them. It's just some mojo element.
'Teenage Wildlife' is just epic. It's, like, five or six minutes long, and it kind of crescendos and builds into this insane vocal of Bowie wailing. I think I would pay $5,000 dollars to see footage of that recording session.
I definitely use 'smiling while rapping' as a tool in the booth. I want to have fun while recording.
For some artists the live performance is the chicken before the egg of writing or recording of repertoire. For other artists the writing or recording of repertoire is the chicken before the egg of live performance.
An album is a whole universe, and the recording studio is a three-dimensional kind of art space that I can fill with sound. Just as the album art and videos are ways of adding more dimensions to the words and music. I like to be involved in all of it because it's all of a piece.
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.
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.
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.
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.
When you're young you don't think, 'This person is going to change your life.' But when you start recording your own songs, it comes back and reminds you.
TiVo and other digital recording devices have confounded advertisers. The ad industry sees the technology as a threat to their product.
The recording industry has changed; they're enjoying such incredible success in the pop field.
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.
When I think back now to the recording sessions, there is more improvisation than one hears. It's an ideal combination of arrangements and improvisation. Only a few people are able to listen and say what is composed and what is improvised. It's a unit.
The Shins is, in a way, a recording project that turned into a live band. So I don't really keep myself beholden to any rules when I'm in the studio for Shins. I just gotta get it done as best I can.
There is a whole aspect of freedom to recording at home that you don't get in a studio. The possibilities are infinite, and there is no reason not to explore them.
When I was recording music, I'd record all the parts myself, and I wouldn't let other people in; that's essentially what Blood Orange is the result of; me trying to find the most comfortable I can be with everything.
I love working with a cast and a group of people every day, which is different than recording because you're usually pretty isolated and alone. They serve as a good balance for each other.
A lot of our tracks have sounded a lot better than I thought they would because of recording, mixing, and because I probably didn't hear it that way. I'm not a songwriter.
On our first record, man, I didn't know what I was doing. I was just playing. I was over playing. You're as green as you can be with no experience in recording or knowing how sometimes a song can work: when it's too much, when it's not enough, when it's not right.
I'm a huge fan of home recording. I think it levels the playing field. You don't need $100,000 to record a studio CD.
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.
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 hate recording all the shows for the week in one day, because I want to be able to mention current events and pop culture. If Madonna punches Britney in the face today, I want to reference that on 'Wine Library TV' tomorrow. Monday's episode is always the best, because it's hot off the press.
Some people are songwriters, and some people are just recording artists. I'm both. I write and record.
I started a recording studio. I started producing people and doing remixes.
If you record the sound of bacon in a frying pan and play it back, it sounds like the pops and cracks on an old 33 1/3 recording. Almost exactly like that. You could substitute it for that sound.
I do disagree with the way videos of my songs have been made. 'Afreen Afreen' is a very powerful song; it did not require such a video. The emphasis should be on the song. Again, I have told my recording company, and in the future, they will screen the video only after my approval.
I used to have a radio show. That's how I started foolin' around with recording.
