Britt Daniel Quotes

It's always important for us to record, so if we're not performing live, that's what we're doing.

I'm sure I'll go back again and record in the digital process.

Tom would bring in songs, Mike would engineer, and we recorded about 30 songs.

I am an inventor of music.

Most of our stuff was trial and error. You live with a tape recorder, you turn it on, you play the song and you listen to it.

I play a little bit of everything. I beat on the walls. I whistle. I scream. I go outside and scream because it sounds cool when it's recorded. I play drums on a chair. I snap, clap... just anything to build the track and make it feel like I want it to.

It's the actual recording of the vocal that is the most boring thing you'll ever do in your life.

I write on the acoustic guitar, I write some on the piano, but I've been messing around with these guitar pedals and drum machines, educating myself in that world.

For 'Twisted Fantasy,' I probably spent 180 days in the studio.

Now I'm at a point where I decided I'm going to be in the studio for a while, at least until I finish this record I'm working on now. I should have two, three, four of the sessions that I had that were similar to the sessions for Peace Trail before I have a complete record.

I love music. I've just been putting studios together, here and at my house in New Jersey and so I can always make music and express my ideas and work with people to fine tune them to where they need to be.

I never planned on being a live performer. My whole forte was about being in the studio, producing, playing the piano on recording sessions. I was all about the studio.

The idea of taking a song, envisioning the overall sound in my head and then bringing the arrangement to life in the studio...well, that gives me satisfaction like nothing else.

Blending is just like writing lyrics or finishing up the song, rearranging and arranging.

The modern recording studio, with its well-trained engineers, 24-track machines and shiny new recording consoles, encourages the artist to get involved with sound. And there have always been artists who could make the equipment serve their needs in a highly personal way - I would single out the Beatles, Phil Spector, the Beach Boys and Thom Bell.

I was in George Martin's studio in Amsterdam and he was telling me, 'They come in here and it takes them three days to do a bass line.' Well I'm not from that era.

I really know so little about recording, and I'm learning as I go.

I tend to play better in the studio, no pressures, just sheer volume and alcohol.

I think taking too long to work on a record you sort of lose some of the feeling, so I write as fast as I can; it's just this manic phase where I'm by myself and or on tour and I write and I write. And I send them to the guys, and we start planning our studio ventures.

When I start working on a new album, I kind of stop listening to a lot of outside stuff just so I can kind of focus.

A lot of producers always say "what direction are you going in?" and I don't know. I'm just doing music. Right now it's going well. It's a little slow, but it's expected because I haven't been in the studio for a minute.

Like Ron Lorman's always sayin', "Na-na-na-na-na," you know what I mean? I don't need that in the studio.

That's why you go to a nice studio. You can get a magic take. You don't really have to do anything to it.

I love making music. I never stop. I want to keep it moving forward. I like to go into the studio and make hits. It makes me feel good.

What I did was go into the studio and make music that I love. Make music that when you hear it, it feels good. Whether it was urban inspired, dance inspired, HipHop inspired or it just feels good period.