Megan Hilty Quotes

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.

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

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

We gave up on the idea of trying to make the record a good representation of the live performance.

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 started a recording studio. I started producing people and doing remixes.

Bobby is really the one who did all the editing on that stuff. And he did all the mixing. I particularly like the record we did with Logic because Scott Harding did a great job mixing it. He's really a killing engineer.

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 was about 11 when my mother brought me this karaoke machine and I was really into it back then, but about 4 or 5 years ago is when I started printing up my own music, going to the studio and doing my own thing.

We just set it up and recorded it the way we played it. But that was the way we played it then.

I have a recording that I did of instrumental songs.

I always say that when I was recording with Phil Spector, he would not let me really sing, you know? And even to make me sound younger, he would speed the track up. He still wanted that real nice, little, quiet, sweet little sound.

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

When I was 13 I'd record myself on my karaoke machine and if I didn't like it I'd record it again. I'd do that for hours, making sure each line sounded just right.

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

Everything we did, we did live - and then Bobby took it home and chopped it up and edited it. Which is pretty much what they did with every jazz record you've ever heard.

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

And the general opinion is we are much better on stage than in the studio.

I knew absolutely nothing about recording. I had this four-track recorder, and I'd plug my electric guitar right into it, which sounded real bad. I moved any fader that made a drastic change in sound. I thought that was cool - that it was communicating something. I didn't have the skills to do anything subtle. It was just like screaming.

I've built an 8-track studio in my house that's virtually identical to what they used at Abbey Road, and I also own the 16-track set-up that Led Zeppelin used to record 'Houses of the Holy.' I'm interested in producing, but I'm mostly recording my own stuff.

I am such a gearhead. In my recording studio, I personally engineer and edit everything on computers.

It's always been difficult to make a good record. To be perfectly honest with you, it's really about the person that's pushing the buttons. No matter what type of equipment you have, you still have to have a certain talent to be able to make a good record.

My job of being a musician in a recording studio has nothing to do with being a musician being on tour performing.

The late '70's and early '80s is the zenith of a certain craftsmanship in sound recording.

I needed an opportunity to get back in the studio and get my recording chops back together.