Jim Ed Brown Quotes

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.

When we recorded our first album sixteen track machines were the thing.

What do I think of digital recording? Well, it's all right. But those old thorn needles, now, that was a sound.

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.

'Brace the Wave' is an acoustic-electric record recorded with electricity on analog-digital and digitally-analog equipment.

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!

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.

It's also ironic that in the old days of tape and tape hiss and vinyl records and surface noise, we were always trying to get records louder and louder to overcome that.

I had this fascination with four-track recorders when I was in high school.

The late '70's and early '80s is the zenith of a certain craftsmanship in sound recording.

Studios are designed to pull out all of that beautiful ambience you get from singing in a room, and then the engineer puts it back in digitally or through whatever machinery you've got.

Bobby is really the one who did all the editing on that stuff. And he did all the mixing. I particularly like the record we did with Logic because Scott Harding did a great job mixing it. He's really a killing engineer.

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.

The studio that we mix in is still in Chicago.

My idea is to play with the people who you know want to get it right. Then it's fun and easy to record, and you can get down to details, like taking out cymbals so the verse doesn't dwarf the chorus, something like that.

The tracks on 'Sleep' were recorded live to 2-track. I did a fadeout or two of them, but that's really it.

In those days I don't' think they were even demos.

People are so into digital recording now they forgot how easy analog recording can be.

I don't like the way recording to digital sounds. Most of the time, when I'm recording to two-inch tape, I still have a romantic vision of how songs sounded coming out of the radio when I was younger, and how they sounded coming out of my little four-track cassette player.

Every record I've ever done with Tool has been on tape.

I wanted to be a disc jockey.

My dad used to do a lot of music when he was young, so he had an 8-track MiniDisc recorder, and when he realized that I was getting on with it, he brought it upstairs to my room and showed me how to record and how, once you finished eight tracks, you can cut it down to two and have another six tracks to play with.

When I first started recording music, I was actually singing about microphones, equipment, recording.

I'm very aware of what, say, electric guitar recordings in the '60s sounded like.

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.