Will Oldham Quotes

I like to record records in Los Angeles. It's less distracting than New York, where I was based.

I prefer playing in the studio because you have much more control over things.

To me, there is nothing better than me going into the studio with a live band and hearing those violins and that echo and that sound. I mean I loved it.

And sometimes, I'd be allowed to be hanging out in the studio, which I just loved kind of, like, being in the room with these big recording desks, with all these, like, buttons and knobs and watching the guys use them.

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.

I don't use any real vintage hardware any longer. That's always been the object as far as gaining control of the studio environment, going back to when I built my first studio, Secret Sound, in New York City. The whole point was to not have to pay studio bills anymore and not be looking at the clock.

I was a good sight reader and I could sing two or three of these jingles a day. An orchestra would come in for half an hour, and then the singers would come in and knock 'em out, and go on to the next one. I was the voice of Budweiser and Almond Joy.

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've not really spent much time in proper studios. The room itself where you're recording, and how you live while you're there is what appeals to me.

We spent a lot of time on that record with the sound and recorded it on the Paramount sound stage which is this huge room where the sound is reflected but the reflection is so late and comes from so far away that it doesn't blur the music but gives you a room nonetheless.

I don't have a formal home recording studio, but I can record tracks on my computer upstairs in my office.

I probably had the most fun recording For Richer For Poorer in Nashville.

Then I loved the fact that we were actually recording live.

I write a song to be recorded. And to some extent to be performed, but definitely more to be recorded than performed, because the recording will last longer than a performance.

I've been recording since 1993. It was a hobby for six of those years. In 1999, I decided to do it full time and take it seriously.

If I needed to record, I'd head to the coast or Nashville, one or the other.

They wanted to start recording rock 'n roll, and thought I had the right voice.

My live sound does not work in the studio, which is a completely different animal. Every little thing is detrimental to the sound. And if someone moves a mic, you've lost it. It's pretty much a case of 'lock the door and set up a police line.'

You can tell the difference between songs that were created in a garage and songs that were created in the studio.

I can't stand making records.

My profession is called record production.

A lot of times, that's hard to capture: what you sound like in person versus what you sound like on record. If I had total control, I would do a lot of the old songs - not only my songs but Sam Cooke songs, Luther Vandross, melody songs. That's what I would really do if I had an opportunity to do a record.

The actual making of a record is the most exciting part of this business.

I grew up seeing my sister in the studio. I would go to recording sessions and take notes.

I'm a studio rat.