Adam Mansbach Quotes

I am terrified at the thought that so much hideous and bad music will be put on records forever.

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

From the first moment on the set I was consumed with curiousity about the technical side of shooting a sound picture.

The wind is a very difficult sound to get. It's always changing.

Micing it from two different angles in front of the speaker sounds huge, and it's so simple.

I wanted to make a classical piece that was actually designed to be a CD, not designed for performance.

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.

Century-old records are the closest thing we have to a time machine. To listen to the voice of Theodore Roosevelt or the piano playing of Claude Debussy is to feel the years falling away like autumn leaves from a maple tree.

So I use a tape recorder a lot to record ideas.

I have a recording that I did of instrumental songs.

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.

You speak into it and everything is recorded, voice, tone, intonation, everything. You turn a little wheel, and forth it comes, and can be repeated ten thousand times. Only fancy what this suggests.

I have a little dictaphone and if a sound takes my fancy or if a lyric comes to me in the middle of the night I'll just record it there and then.

When the picture was finished, they took me into the sound room and then I screamed more for about five minutes just steady screaming, and then they'd cut that in and add it.

Sound preservation is not only the history of our culture and our country but also a document of life in the world. There is something with sound that is so extraordinary that it can be preserved, that we can listen to a recording made in 1925 and be transported back to that time.

The first devices to record and play back music were the phonograph and the gramophone. The gramophone's inventor: Alexander Graham Bell.

It doesn't matter if one is live on-air or sitting through a commercial break. There aren't any on or off switches on a lapel pin microphone; it is always 'hot.'

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

More than any other instrument, the relationship between an acoustic guitar and a microphone is super-important. The kind of mics that you use and your placement of the mics to the guitar can radically alter your sound.

One of my most persistent, long-term fantasy wishes is not that I could fly or become invisible, but that I could make sound recording be invented decades or even centuries earlier than it was, so I could hear what people in the 1830s or 1750s actually sounded like.

After we air the call, it's gone. I always thought, 'What a waste.' That's such a powerful story, and there's no way to revisit it or share it.

To me, finding sounds, or even recording, is a compositional process. The studio is kind of an instrument.

I'm here as a radio journalist but am not even sure which part of a tape recorder takes the pictures.

A place like Sound City, which was just a big, beautiful room where you would hit record and capture the sound of the performer - a place like that isn't necessarily in demand anymore.

When you're listening to a recording, you're supposedly listening to some aspect of the past in the present as you travel slowly into the future, but you also know there's a very strong likelihood that the future of that recording, whether you made it or whether you're listening to a Led Zeppelin record, is going to continue probably far beyond where you are.