D. A. Pennebaker Quotes

Well, I'm a tape-recording nut. I like to play my tapes.

I have a pro tools rig that I carry in my backpack.

I bought an audio technician mic and Pro Tools SE, the demo version and was recording in the basement.

I didn't grow up working on 24-track - the first two Taste albums were eight-track and we always had tracks left over - we couldn't believe it, either!

When I took part in European leaders summits, it was sometimes unpleasant for me to hear Romanian, Polish, Portuguese, and Italian friends speak English, although I admit that on an informal basis, first contacts can be made in this language. Nevertheless, I will defend everywhere the use of the French language.

Well, I've been recording myself on a computer since I was about 13 or 14. So it's completely entwined with my creative process. Essentially, it allows you to make music that's better and smarter than you are, by using your ears to lead the way.

With technology now, you can go in and sing a song, and for $100,000, you will sound flawless.

I want to be adopted by the French. I want to go to live in Paris.

I am a guest of the French language. My poems in French are born of my interaction with the French language, which is not the same as that of a French poet.

Pro Tools was invented to quicken the recording process.

I started performing at two or three on a tape recorder, one of those little flat recorders where you just push play and record.

You get the feeling that many of my guests feel that the French language gives them entry into a more cultivated, more intelligent world, more highly civilised too, with rules.

My first restoration was on 'Napoleon,' trying to put the French version in with the English version, and it was most unsatisfactory.

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 have a very limited knowledge of recording, but the miracle of being able to capture sounds on magnetic tape and the miracle of electricity, and these little magnetic particles, is amazing to me.

Once upon a time, sound was new technology.

For live you need a microphone for the snare and the high hat, the kick drum, a nice stereo overhead and one for the toms - you can get away with using four mikes.

Nothing could be recorded in those days except by aiming a movie camera at the television screen. It was at least another 10 years before they had any kind of recording medium.

I've always got on very well with the French, perhaps because I'm very natural.

In France, they call the people who come to the theatre 'les spectateurs'; in Britain and Ireland, they are the audience, the people who listen. This does not mean the French are not interested in language. On the contrary. It actually says more about the undeveloped visual sense over here.

Yes, we record practically everything on Pro Tools.

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.

After years of begging, I got my parents to get me a little Craig tape recorder, a reel to reel. Then I started recording voices, or recording Jonathan Winters off television and stuff like that.

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

Another thing to do with the blues is how they were recorded. They were done on the quick, and some of that stuff was made on wire, not even tape, let alone digital.