Peter Frampton Quotes

Singing and playing live can be difficult. Like, in the studio, I would record either the music track first or the vocal first. I don't necessarily do them together.

It's hard sometimes to capture magic when it comes to live records.

Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.

There's a certain urgency that comes from the records of the early 60s before overdubbing and multitracking came into play.

To get my sound in the studio, I double guitar tracks, and when it gets to the lead parts, the rhythm drops out, just like it's live. I'm very conscious of that.

Records have never really been my strong suit. I've always been a much better live act. I didn't understand the language of the studio. You sing differently in a studio. The language, the craft - it's just a whole different deal. I avoided the problem on my first record by doing a live album.

I loved the idea of recording. The idea of sound-on-sound-recording captured me as a young kid, and once I realized what it was I had an epiphany. Before I was even playing the guitar, I would create these lists of how I would record things and overdub them, like Led Zeppelin song, 'I could put this guitar on this track...' and so on.

Sometimes when I do an overdub solo, they'll keep four or five of my attempts and then mix the bits that they like to make a solo up out of them. It's not against the rules, really - I can learn my own solos, then. But that's the whole beauty of multi-track recording, isn't it?

I think the greatest records we've ever heard, from Zeppelin to Purple to Sabbath to The Who, were all recorded in the studio live.

I think the fans really wanna hear the songs the way they sound on the record.

I know of some guitar-based rock bands that refuse to record anything that they can't play live. But some of the best stuff I come up with are studio-based performances - bringing out whatever accident I had in the studio and building a song around that.

Studio work is very methodical, while live concerts must be very spontaneous.

I would give anything if it went back to analog age. I mean, music was so real, and you had to sing everything on a record; you had to play everything on a record. There was no cut-and-paste - you couldn't get the chorus right one time and then paste it every other time; you really had to be good at what you did.

There's something about live recordings now that's too hi-fi.

Guy Picciotto had a really sound point: Live albums basically have bands playing songs that are available on studio records, and what example can you think of where the live album is better? What are the great live albums? I have live albums of bands, but I wouldn't listen to them for the most part. So we thought, instead of spending energy trying to puzzle out how to create a live record, let's just write another studio record.

I tend to think about so many different things on a recording. I'll be trying to tune into what the drummer's doing, trying to keep everyone playing the groove and other things like making sure the piano's in a nice pocket.

I feel, in my live shows, I can be as dynamic as I want. It's my comfort zone. When I get in the studio, it's more of a solitary experience, which can be good creatively.

I think of the Tycho sound as something separate from the band. I think the methodology and approach to production I use on the Tycho records can be applied to a lot of things. But from a performance and songwriting perspective, yes, Tycho is a live band.

Sometimes things get too layered and compressed or there's too many effects and they turn into mush on record. I strive to keep it raw and live-sounding, like you are in the room watching the band play.

I was born in the overdub years. I wish there wasn't such a thing as a multitrack tape player, because what you heard would be the record.

How do we make a record that's true to the vibe of the band but still maintain the pace of moving forward and doing something fresh?

I had to learn how to work in a studio at first because it's a totally different creative environment to the 'bedroom recordings' I'd done before, where I could translate my own ideas without having to explain them to anyone.

With 'Slave Ambient', I was writing things on top of loops. Now I really get the structure of the song down, but I leave room for improvisation in the studio.

I think there's an attitude these days that you can go straight from a studio to the stage, and it isn't really like that. But playing live was the most important thing for me at the start because whenever I recorded something, it didn't sound right; I didn't like how my voice sounded. It was just raw.

When I compose an album, I don't think about how to adapt it on stage.