Glen Campbell Quotes

Tom would bring in songs, Mike would engineer, and we recorded about 30 songs.

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

I write the songs, go in and record them, then I listen to everything and decide how it all fits together.

The big thing that everyone forgets, you're famous and on TV and everything, but I think there's something very rewarding to be able to write a song, record it, and have it turn out as you heard it in your head, or even better.

Producing just one video is a long process. First, you decide your song, then you have to figure out the arrangement of the song; will you play it on the guitar? Will you make it a music video? Once you figure that out, you record it and then edit it, which can take two to five days to finish.

I hear a lot of bad TV commercials that try to sound like Where It's At. That pretty much turned me off from using the electric piano for a lot of years.

I think a lot of musicians play for the playback. I mean, that's the joy of recording - you want to hear what you've done and what you've contributed - but never listening to that playback kind of removes the intellectual part of making music, and it removes the tendency to be revisionist.

Pro Tools was invented to quicken the recording process.

It was way out in the woods in a beautiful, huge log studio. Keith Richards came in and did the vocals with Levon. Again, a big party, but we did get a good cut out of it.

I write a song to be recorded. And to some extent to be performed, but definitely more to be recorded than performed, because the recording will last longer than a performance.

There was no such thing as production at Starday. We'd go in with the band, we'd go over the song, I'd look over and tell the steel player to take a break or kick it off, and I'd get the fiddle to play a turnaround in the middle.

On record dates like that I never felt too nervous because everything was really overdubbed. When we did that album, we were in the studio for probably a week, so you had a lot of opportunity to fix things.

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

Producers like to record all the drums first, then they do the bass, then all the guitars, so you're constantly moving from one song to another.

I'd sometimes do 50, 60 takes of song.

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

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

All day long you write little ideas on the piano and the guitar, but sometimes all you have to do is come in, set up the mic, press record and start the process.

I've written a lot of songs but I haven't had the opportunity to record a lot of them.

T Bone and I grew up together in Fort Worth, Texas. He had his own recording studio by the time he was seventeen years old. When we were both nineteen he made the first archival recording of my voice.

I've got my own studio, so I sit in my studio writing and if I get a great take, that's the take.

It took us three months to finish the arrangement of 'Thunderstruck.'

When I was recording from '70 to '82, I always played piano and laid the tracks down. But I used to talk to the other musicians while the track was playing.

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

I love putting the music together. It's like art.