Bobby Vinton Quotes

I have a rough idea when I walk into a studio though.

I write a song to be recorded. And to some extent to be performed, but definitely more to be recorded than performed, because the recording will last longer than a performance.

You don't really know what you're going to get until you're actually in Abbey Road. That's where I did all the music, in The Beatles' place.

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

I do feel most at home playing live, but the feeling of getting into the studio to see the new songs take shape was really incredible.

Unlike motor sport, I didn't get into music for the live performances. I like writing and studio work and seeing how a song can come to life.

Then I loved the fact that we were actually recording live.

I'm a synthesist. I'm always making music. And I make a lot of different kinds of music all the time. Some of it gets finished and some of it doesn't.

I go in and sing the song and arrange it and mix it and that's it. It's no different than playing in clubs.

All day long you write little ideas on the piano and the guitar, but sometimes all you have to do is come in, set up the mic, press record and start the process.

When I was recording from '70 to '82, I always played piano and laid the tracks down. But I used to talk to the other musicians while the track was playing.

I knew absolutely nothing about recording. I had this four-track recorder, and I'd plug my electric guitar right into it, which sounded real bad. I moved any fader that made a drastic change in sound. I thought that was cool - that it was communicating something. I didn't have the skills to do anything subtle. It was just like screaming.

Analog, electronic, whatever it happens to be, I simply love and adore literally every aspect of making music.

I've built an 8-track studio in my house that's virtually identical to what they used at Abbey Road, and I also own the 16-track set-up that Led Zeppelin used to record 'Houses of the Holy.' I'm interested in producing, but I'm mostly recording my own stuff.

A studio recording is perfection, but emotion and passion come only when you turn on the machine and go for the groove. If you do that with no mistakes, it sounds beautiful.

I was trying to do the same thing that I always do which is make an interesting record.

The thrill of hearing your own voice recorded is still there, I still love it, going into the studio and thinking how can I sing this song and between the producers and the musicians you find a way of doing it.

I'm still amazed by the process of recording.

I like to record records in Los Angeles. It's less distracting than New York, where I was based.

When working with an orchestra, you never spend more than 20 minutes per recording session.

For the most part, I like to record music as I write it.

I've just been recording mostly acoustic stuff, drums, and sax, and electric guitar. I'm just still writing songs and what not.

Tom would bring in songs, Mike would engineer, and we recorded about 30 songs.

We just set it up and recorded it the way we played it. But that was the way we played it then.

They're mostly done before we went into the studio, although I do like writing in the studio.