David Foster Quotes

Creating a record on my own and deciding who plays and how the songs were structured, it was fun to do.

I look at making a record and being in a recording studio as more of a craft; You have to be so much more careful and play simpler.

I waited until the end of the 'Behold Electric Guitar' recording sessions to record 'A Herd of Turtles,' as I knew the unusual arrangement might raise some eyebrows.

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.

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

When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.

It's a massive undertaking putting an album together... It's not light weight at all.

The whole thing with recording is you have to know when to turn off the tape machine and just stop recording because you want to keep fixing, fixing, fixing, you know?

I think it's his perception of knowing how to make a record build, keeping the integrity of the song in the music and really adding a lot of musical elements to compliment my voice and to compliment the song.

I'm interested in creating a little sound world for songs, really crafting it, building it, and making it like a little doll's house with little things inside it, staircases and rooms and everything kind of relates to everything else. I've never seen it as drums, bass, guitar and vocals in very separate spaces.

The actual producing, mixing, and mastering is hard work, harder than what I do.

On record dates like that I never felt too nervous because everything was really overdubbed. When we did that album, we were in the studio for probably a week, so you had a lot of opportunity to fix things.

I sit and write songs alone and then get together with people to help me flesh it out into a recording.

I pay such close attention of the record making process that most people would assume are very little and wouldn't be that big of a deal; the packaging, the title, and the harmonies, I think, are arguably as important as the lead vocals.

I started trying to do my own music at home, and I was like, 'You know what, I can play the guitar, sort of. And I can do these things, sort of. And I can make these crazy noises on my computer, sort of. But I need a ridiculously good drummer. I need someone to help me with string arrangements.'

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.

I want to make an album with just great beats and big vocals and just amazing lyrics.

I usually make records very quickly. I usually go in and record them and mix them, and I'm done within a couple of weeks.

Usually, when you go in to make a record, you have 30 songs, and you record 30 of them, and 12 of them make it to the record.

I like to explore a lot of textural, arrangement aspects in the studio.

We'll set up a demo session and try to knock out eight or ten songs and make them sound as close as we can to a record with the money and time we have.

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

On our first record, man, I didn't know what I was doing. I was just playing. I was over playing. You're as green as you can be with no experience in recording or knowing how sometimes a song can work: when it's too much, when it's not enough, when it's not right.

We always record with the whole band. That's key to capturing the feel, especially trying to get a good basic track.

The records I make, I'm there from the writing of the first note through the click tracks to the miking of the drums to the editing of everything to the production to the vocals to the artwork.