Nadine Coyle Quotes

Being in a recording studio is a very different feel from performing onstage. I mean, obviously, you can't just go in and do what you would do onstage. It reads differently.

It's big production. It's huge. It's using studio technology to your benefit. You don't go in and play live and then just take the tapes and get them mastered. You have to create.

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 am such a gearhead. In my recording studio, I personally engineer and edit everything on computers.

What producers did was mostly recording in the studio, so it never changed our sound just that much.

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.

I loved the idea of recording. The idea of sound-on-sound-recording captured me as a young kid, and once I realized what it was I had an epiphany. Before I was even playing the guitar, I would create these lists of how I would record things and overdub them, like Led Zeppelin song, 'I could put this guitar on this track...' and so on.

I was about 11 when my mother brought me this karaoke machine and I was really into it back then, but about 4 or 5 years ago is when I started printing up my own music, going to the studio and doing my own thing.

A vocal producer is very important, and it's a very important component of an overall successful and good-sounding record.

I never, my producer never, we never let myself just sing. We were always trying to get the perfect vocal.

I have a recording that I did of instrumental songs.

I want recording to be fun.

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

I hate re-recording. I like singing, but I don't like recording a song over and over, making it too perfect.

I sing all the time but I'd never gotten what it felt like to be in the recording studio, so it was definitely a learning process.

Everything we did, we did live - and then Bobby took it home and chopped it up and edited it. Which is pretty much what they did with every jazz record you've ever heard.

I like being in a recording studio. I like watching a song go from the simplicity of the original music.

I knew absolutely nothing about recording. I had this four-track recorder, and I'd plug my electric guitar right into it, which sounded real bad. I moved any fader that made a drastic change in sound. I thought that was cool - that it was communicating something. I didn't have the skills to do anything subtle. It was just like screaming.

I've got the recording process down, and I can knock it out very quickly.

When you make a record, you listen to it literally hundreds of times. When it's done and you can't do anything else, I never listen to my records.

I started a recording studio. I started producing people and doing remixes.

You can alter movie singing so much because you go into the recording studio and, just technology for recording has gotten so good, you can hold out a note and they can combine a note from take 2 and a note from take 8.

I needed an opportunity to get back in the studio and get my recording chops back together.

When I record an album I'm trying to get as close as possible to that perfect moment.

For my second record I had gotten ProTools (program) and started to familiar myself with hard disc recording.