Multi-Tracking Quotes

I don't like overdubs, never liked them.

I have a hard time working with other people with my own songs because I have a pretty complete idea of how it should be. It's usually just me multi-tracking which is better than coercing someone into doing my idea.

I'm really anti-option, so computers have been my nightmare with recording. I don't want endless tracks; I want less tracks. I want decisions to be made.

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.

I always layer my vocals a lot. I sing a minimum of three layers of the same line every time, and then it's always one or two or sometimes even more harmonies.

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.

After discovering the Ramones, I discovered really crude ways to multi-track by taking another cassette recorder and plugging that into the eight-track, playing it back, so that as I was recording with the mic in my guitar, I could have another cassette player I had recorded on feeding into the recording.

We've recorded over our voices once and double the harmonies, make them thick. The Four Freshmen do that.

Whenever I record more than two or three layers, it starts to get cluttered up, and you can't hear the cut of the guitars as good. It's hard to get four guitars to hit at exactly the same time and keep the attack tight.

I never really work on just one CD - I'm recording, recording.

'Dog Days' was recorded with pens and the wall, and half a stolen drum kit that was out of tune, in what was basically a cupboard. The only instrument I could really play was my voice, so we just layered everything a hundred times. It was enthusiasm over skill.

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.

There's nothing I love more in the world than layering voices.

I have a little basement studio set up here at my house, and I do probably 80 percent of the recording here on my own. With multi-tracking technology, I can play various parts on top of one another.

I don't try to make 15 musicians sound like two each.

The number of times that anything is overdubbed on 'Frampton Comes Alive!'... the rule was, if it didn't make it to the tape, then we can redo it because it needs to be done. If it made it to the tape, and it sounds good, we leave it. So nothing was overdubbed on that album at all that wasn't absolutely necessary.

I've discovered that sheer quantity doesn't necessarily make for a heavier sound; if anything, overdubs make guitars sound mushier.

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.