Tape Recording Quotes

I remember rehearsing it, and it was the one that we were really excited about and thought would sound the best, and once it was down on tape, it was like, This doesn't actually sound that good.

DNA, like a tape recording, carries a message in which there are specific instructions for a job to be done.

When you stick a song on a tape, you set it free.

When I want to play music, you've got to get me on tape or else it goes.

I thought that the behavioral and some of the profiling stuff was interesting. The thing that I was most interested in, and the thing that we were really adament about, was let's get these guys who were there on tape, or in some kind of way, telling what happened. No one has really talked to them all.

Significant officials at publicly traded companies are casually and cavalierly engaged in insider trading. Because insider trading has as one of its elements communication, it doesn't take rocket science to realize it's nice to have the communication on tape.

I'm thinking about recording everything to tape like it's 1991 and seeing how that sounds.

From a very early age, I started to get really interested in how songs were put to tape. Not just listening to the songs, but the way the songs were recorded.

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.

'It Still Moves' is really the only record in our catalog that I've always felt I wanted to remix. Part of the fun of that record was that we recorded it all to tape, and it was all super-duper organic.

I do think music sounds better when it's on tape and more simply recorded.

I didn't dictate sections of 'Visions of Cody'. I typed up a segment of taped conversation with Neal Cassady, or Cody, talking about his early adventures in L.A. It's four chapters.

We'd just signed with Arista, the record company. Arista was freaking about the phenomenon of tapers showing up at our shows. They were insisting that we put an end to this. And we just didn't want to do that.

I'm not convinced that Nixon would have survived in office if he'd burned the tapes, but I do believe he would have served out his presidency if he'd never made them in the first place.

I thought it was magic to be able to catch something identically on tape and then be able to play around with it, run it backwards; I thought that was great for years.

To me, recording with live instruments and tape takes things back to an older sound that I like but that's still fresh.

My own view is that taping of conversations for historical purposes was a bad decision on the part of all the presidents. I don't think Kennedy should have done it. I don't think Johnson should have done it, and I don't think we should have done it.

I couldn't afford to go to the record store to buy new tapes, so I'd tape everything off the radio. Just hit record when my song came on. I used to take my mom's tapes and tape over them. I had a nice little collection. Had my own Stephen Jackson mixtapes off the radio!

So whenever I had some in-between producing time down in my studio I popped a tape in and started working on it. Working a little bit at a time, it actually took almost four years.

You just want to go back to those 70s albums. Even a lot of the 90s indie records were still done on tape, and you hear the difference.

When something is coming off of a Neve board and being laid down on tape, it's like a warm blanket for the brain. When you're working in a digital form, it's so harsh; it's almost painful. Your ears get more fatigued if you're mixing all day.

When you're recording live, really good vintage instruments onto two-inch tape, it's the best fidelity you can get.

Back then, Pro Tools only had four or eight tracks, so we couldn't actually hear all the tracks. We could only hear eight at a time, so if a song had 25 or 30 tracks, we wouldn't be able to hear it until we went into the studio an put it all on tape. The process was a little bit backwards.

When I was working with Talking Heads what would happen typically is that they would go out and start playing a track, and I would always run the tape. I always record everything, even a run through where you're trying to get in tune. That's a principle because sometimes when the situation isn't clear interesting things happen, and they are worth listening to again.

I went to Los Angeles, because I have a manager, and - I can't remember when, but we met in London maybe six months or a year beforehand, and he said, "Listen, if you really want to get a job out of L.A., you really need to come." And I was like, "Well, can't I send a tape or something?" And he was like, "No, no, you need to come."