Lenny Kravitz Quotes

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

I don't think people realize how much work it takes to make an album.

When I started out, even though you had your rhythm section, they were big horn sections, strings, live people laying on every part of the floor in the studio waiting for their chance to get on that one little track.

The actual making of a record is the most exciting part of this business.

I love making records. That's my favorite part of the whole process. And I love playing live, but certainly getting the music on a disc that's going to live forever and be there forever, just every little detail drives me crazy.

In the studio, if things go wrong, you stop things and fix them. I have never been in a recording studio, really, where the people in the booth were not interested in making a very good album. It's often a light-hearted atmosphere but serious at the same time.

It's always been difficult to make a good record.

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

I've finally figured out how to make a Rodney Crowell record, and that's let it be, leave the mistakes.

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.

I often haven't heard the music since I've recorded it. I don't listen to it. When I do hear it, like at someone's house, I'll listen. I'm probably the most pleased with the stuff I did with New Grass Revival.

The real producers back in the day didn't sit there and play every single instrument. They made sure the record had the best performance out of everyone involved possible.

See what I do is I book a studio that's closed down and I go by myself. No one's in there, literally just me and the engineer.

We're more about other things over odd timings: orchestration, composition, horn/vocal arrangements - that's where we get super weird.

It's no secret that my favorite part of the process is making records; if I'm not making them with Flatts, then I'm out producing them on other folks.

I feel like Turbo helped me grow. It's the way we just lock in. His mind is set to where he'll start making beats to my flow and my sound. He's not an engineer, but he knows how to record.

My tools are musicians, effects, things like that.

The bottom line is what we record is what we use. Once we feel we've got a good album, we stop at that. That's usually around 12 tracks.

A lot of getting a song done is booking the studio time.

All my writing takes place during the recording of the master tapes. I never do have songs when I start up an album. I actually write them while I record.

When I'm making my own record, it's real work for me.

Our recordings, you feel that it's been, not labored, but you feel that it's been constructed in a way where sometimes it's hard for us to create the feeling that this was done in a room.

I'm not a mixer. That's not what I do. I'm a songwriter, a singer, and a guitar player. You might have some ideas here and there, but you let the mixer mix the song because, overall, you've gotta trust their instincts.

A lot of times, when you record something, the album becomes less about the music and more technical.

A strong concept is the most important thing in creating a record. When you can listen to it and see a whole movie in your head, that's what separates an instrumental album from a beat tape.