Lee Ranaldo Quotes

The Beatles production is often so 'perfect' that it sounds computerized. 'Sgt. Pepper' really does sound like it took four months to make.

We were never happy with the way cello was recorded, and we wanted to experiment in the studio to make the cello rock as much as possible. On the second album, we had great help from Bob Ezrin, who helped us develop our sound even more.

What producers did was mostly recording in the studio, so it never changed our sound just that much.

I loved the idea of recording. The idea of sound-on-sound-recording captured me as a young kid, and once I realized what it was I had an epiphany. Before I was even playing the guitar, I would create these lists of how I would record things and overdub them, like Led Zeppelin song, 'I could put this guitar on this track...' and so on.

I used to think that all great recordings happened at about 3 A.M.

Being in a recording studio is a very different feel from performing onstage. I mean, obviously, you can't just go in and do what you would do onstage. It reads differently.

By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

I learned so much about recording and about singing on records from Ken Nelson.

I'm always trying to think of something clever and fun to do with the music. There's so many cool things musicians and artists can do with their products.

I realized I liked being in the studio and working on translating the ideas into recordings.

Nowadays, I really like playing in studios.

I have a recording that I did of instrumental songs.

We had a simple 8-track studio set up in the record store where I worked. And just staying after work and experimenting, realizing what was possible with recording - that's why my project was called The Microphones at first. Because it wasn't even songs really. It was just sound.

A lot of times, when you record something, the album becomes less about the music and more technical.

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

I remember discovering that I loved recording - that breakthrough when I was in high school getting to record for the first time.

I think probably the first time I recorded anything was mid-2010.

I had to learn how to work in a studio at first because it's a totally different creative environment to the 'bedroom recordings' I'd done before, where I could translate my own ideas without having to explain them to anyone.

When I first started recording music, we would record in the closet with socks on the mic.

I just recorded in studios, you know, people pressed the buttons for me. So I just started recording the bass lines and guitar parts with my voice, covering classical pieces, or just making up melodies so I could learn how to use it.

I didn't really think about the sound of my songs before I started recording things in the studio.

I like being in a recording studio. I like watching a song go from the simplicity of the original music.

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.

Today a record producer is even more involved and is often the production's sole musician, one person playing all the instruments one-by-one.