Channing Tatum Quotes

I don't like the way recording to digital sounds. Most of the time, when I'm recording to two-inch tape, I still have a romantic vision of how songs sounded coming out of the radio when I was younger, and how they sounded coming out of my little four-track cassette player.

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

I love the magic of the studio.

I prefer recording drums in the analog format, but that does not mean I would only do it that way.

My ears won't fool me. Even when I do a session on digital, we still warm it up somewhere in the process, in mastering or mixing, running the signal through some tubes somewhere.

Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!

Some people record onto tape, and then they pay for the tape, and download those onto a hard drive. Initially in a Pro Tools program. Other people go straight into digital, and use no tape at all.

I'm really anti-option, so computers have been my nightmare with recording. I don't want endless tracks; I want less tracks. I want decisions to be made.

The tracks on 'Sleep' were recorded live to 2-track. I did a fadeout or two of them, but that's really it.

People are so into digital recording now they forgot how easy analog recording can be.

The greatest records in the world were made without going to Auto-tune or Pro Tools, or having some click track. If they could do it, why can't we? Something's been lost in music. It's all been over-produced, squashed down, totally compressed.

'Brace the Wave' is an acoustic-electric record recorded with electricity on analog-digital and digitally-analog equipment.

That's what records do: represent a compressed, heightened version of the sound. Because of the compression of the tubes and microphones and the wax, it's magic!

When you're recording to analog tape, it captures performance and you can't necessarily manipulate that in different ways. It is what it is.

I always feel like there's something magic in recording studios. There's a reason good music continues to be made in them. It's just some mojo element.

That's what happens nowadays with people working on computers. They can so easily fix things with their mouse and take out all the, 'Oh, somebody coughed in the background; we need to take that out' - or somebody hit a bad note. Those are all the best moments.

I write the songs, go in and record them, then I listen to everything and decide how it all fits together.

My approach to recording and all that is pretty organic. It just has to do with all the songs I wrote; go in and record them.

I don't believe that recordings should sound radically better than the artist, I think that's dishonest. For example, I'm not a great singer but if I spent enough time tweaking my vocals, I could sound like one. But I don't, what you hear is pretty much what I sing.

I spend just as much time on how people hear my music as I do the actual music, no matter how long it takes. I'm such a visual artist as well that it always goes hand-in-hand.

When we cut 'Strangers In The Night,' we did the whole song in two takes.

The number of times that anything is overdubbed on 'Frampton Comes Alive!'... the rule was, if it didn't make it to the tape, then we can redo it because it needs to be done. If it made it to the tape, and it sounds good, we leave it. So nothing was overdubbed on that album at all that wasn't absolutely necessary.

It doesn't matter if you record with a microphone on a laptop or at a friend's house. Now it's more of a danger of things sounding too high-fi than sounding too low-fi.

I'm not the most technical producer, so the weird mixes and blown-out sound happen naturally.

I think anyone who knows the audio process knows what mixing and mastering is.