Rob Brown Quotes

I'd say recording and playing on stage are two completely different things. Being up in front of all people is like jumping off a cliff into icy water. The recording process is a totally different energy.

When you are making a record and if you spend too much time over it, you have to record it a tone lower or cut the tones lower because you can't reach some of the notes, I find this. But when you go on stage, you have to put the key up and it really changes the whole thing.

I love using lots of different pedals in the studio because you have the time to experiment with sounds. But when you're singing, fronting a rock band, and playing, you don't really want to have to think about a lot of that stuff.

When you play to an audience, you come away energized. It's the promo that really breaks an artist. Some lad sitting on a box trying to create a drum sound in a dry little studio. Everyone goes, 'Great - okay, now on with my day.' You go back to the bus, and you weep.

I have never used Auto-Tune in a live television performance, and I have never used Auto-Tune in any of my concerts. That is a promise.

The thing about the four-camera shows is that it's kind of a great combo of theater and film. You have an audience, but you have a camera to capture things, so that's a great thing, too.

With rap, you go in the studio, you make music, you put the music out, then all of a sudden, you're a star: you have a big record on the radio, and you're on stage, and you've never done it before. Let's say your first show is 'Summer Jam,' and you're in front of 60,000 people, and you've never played an arena, ever. You're gonna suck.

There are so many challenges and different parts to the job of singing. When you're in the studio, you have to be really, really, precise. You've got to keep everything clean and nice because that's going to be something that's down forever. And then you go onstage, and it's much more in the moment.

I use Auto-Tune but it's not to mask anything. If you come to see me live, I can sing on the spot. Auto-tune is just for the recording. It keeps everything really precise.

Movie making is such a long process, and they only use that one take, although you do it over and over about 30 times. Live theatre is that one time and one time only.

I had a record called 'Touchdown.' It was really bubbling in my city, and I used to go to different clubs and perform.

Singing and playing live can be difficult. Like, in the studio, I would record either the music track first or the vocal first. I don't necessarily do them together.

It's weird being a DJ and you have a playlist of your own songs that you could hold it down for an hour.

We record a lot of our shows, we record our soundchecks.

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.

After Wings I did a lot of recording rather than live work. I even went into a kind of semi-retirement to places like Spain at one point.

When we recorded 'Iowa,' we jammed, we went through the songs, we played as a band and we recorded as a band.

As a session player for so many years, I have found myself in rooms looking around going, 'Is this for real?'

Most artists are going into the studio for a fixed period of time, and they say that's their album. I can't relate, because I've never made music in that way. I come from a culture of editing and remixing.

I know of some guitar-based rock bands that refuse to record anything that they can't play live. But some of the best stuff I come up with are studio-based performances - bringing out whatever accident I had in the studio and building a song around that.

This was the rule that I had when we made 'Frampton Comes Alive!': being known as a live performer, I'm not going to go into the studio and overdub.

I feel like if you sit down and have an assistant engineer and a producer in a top-notch studio and everyone sets up all the mikes perfect, all of a sudden it's really hard to live that melancholy song. It's hard to really live it in the moment.

I love when a song is conceived as a jigsaw puzzle in the studio, and then it's a natural to play live. That's my gauge of success for a song.

Studio work is very methodical, while live concerts must be very spontaneous.

I tend to think about so many different things on a recording. I'll be trying to tune into what the drummer's doing, trying to keep everyone playing the groove and other things like making sure the piano's in a nice pocket.