Johnny Cash Quotes

I used to record songs, like, play the beat from one phone and have another phone recording me and just rap. Moving from that to a studio was like, 'Damn, I never knew I could sound like this.' It was just magic.

I sing all the time but I'd never gotten what it felt like to be in the recording studio, so it was definitely a learning process.

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.

There's plenty of people who can sing OK that make terrific records, and I love them from afar. But when I make a record, I need great voices. That's always my mandate.

My very first records, I was very interested in how you get the particular quality you want out of it, and I began to learn about the engineering and aspects of production and things very early on. I got hands-on with the process and taught myself how to engineer, as opposed to just being a producer who asked the engineer to make it sound nice.

When we recorded our first album sixteen track machines were the thing.

I was 17 and just learning what high fidelity was, what good sound was, and learning the mechanics of tape machines. It was a real education, going right from the consumer end to the record factory.

Usually, when you go in to make a record, you have 30 songs, and you record 30 of them, and 12 of them make it to the record.

My profession is called record production.

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 hate re-recording. I like singing, but I don't like recording a song over and over, making it too perfect.

Butch Vig was a true friend and really guided us, and it was such a fulfilling relationship with a person to make records with.

I swear, there is Capitol Studios and then there's every other studio on the planet Earth. It is the ultimate, paramount of sound in the United States of America. It is a magical place.

People said my records were 'funky' and 'muddy,' but the truth is they were just demos.

When I record in a studio I don't use an amp. I go directly into the board, so I can get that very fat, full sound - which is my favorite sound.

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.

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.

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.

The Stones are not the kind of band that want to get in the details. That's why they have a producer and engineer - to pull the magic out of them and make them sound so great.

If all the elements are in place, you should get 80 percent of what a song has to offer no matter how you hear it, whether on headphones or on the radio.

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

Nobody sets out to make a bad record.

I do not like producers.

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.