If the black box flight recorder is never damaged during a plane crash, why isn’t the whole airplane made out of that stuff?
right' i said. 'but first, we need the car. and after that, the cocaine. and then the tape recorder, for special music, and some acapulco shirts.
In the '60s my friends were interested and we were hearing electronic music coming in on community radio from Europe, so that's where it started. And I had a tape recorder and started making things with it.
I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders.
When you play the oboe, the flute or other wind instruments, there is something between you and the breath; there is the embouchure, the reed, etc. But with the recorder, I receive an immediate response from the instrument. This is something that attracted me to the instrument, that I could immediately feel the response of what I was doing.
It is just like your tape-recorder. It records, it reproduces - all by itself. You only listen. Similarly, I watch all that happens, including my talking to you. It is not me who talks, the words appear in my mind and then I hear them said.
I am constantly torn between the attitude of the conscientious journalist who is a recorder and interpreter of the facts and of the creative artist who often is necessarily at poetic odds with the literal facts.
Looking for inspiration in expression, I have actually always looked to singers and violinists. I have never really looked only at the recorder as a remedy for my expressions.
Our whole dream for our home was for it to be an artist's haven. So there are paint supplies; there's a piano with a microphone and a recorder right there to capture things right in the second. There's editing equipment. There are cameras. I think the only thing in our house that people would be surprised by is the efficiency.
I think it's always hard for children to talk about abuse because it is only memory. I didn't carry around a tape recorder … I didn't chisel anything in stone … Anybody can look and say, 'Well how do you know for sure?' And that's one of the most painful things about it. You don't.
Of course, the recorder will never have the repertoire of the piano or the violin.
It was quite unusual to use the recorder as a concert instrument. But my mother, a pianist, actually helped me a lot by assuming that anything done on the piano can easily be done on the recorder! She helped me with technique and was just as critical about my playing as she was with her own. I think that has been one of my fortunes.
The key to writing for Richard (Pryor) was to just push his buttons and then know when to push the buttons on your cassette recorder. You'd get him started, then surreptitiously start recording when he got inspired and started walking around the room and improvising in character. Then you'd get it all transcribed and take credit for it.
In contemporary music, the challenge for me is to make the recorder sound as naturally expressive as, for example, the violin - without doing it too much and forcing the instrument. It is very easy to be overly expressive on the recorder, and finding the balance is quite difficult.
I used to do little sketches into my cassette tape recorder when I was a little boy. I would just turn it on and just start doing voices and characters. I just loved it.
When I give a speech at a corporate event, I often ask those in attendance, 'Do you know how to tell if you're doing the job?' As heads start whispering back and forth, I provide these clue: 'If you're up at 3 A.M. every night talking into a tape recorder and writing notes on scraps of paper, have a knot in your stomach and a rash on your skin, are losing sleep and losing touch with your wife and kids, have no appetite or sense of humor, and feel that everything might turn out wrong, then you're probably doing the job.'
Today is a time of turbulence and stagnation, of threat and promise from a competitor: the magic, omnivorous videocassette recorder (VCR). In other words, it is business as usual.
I'm called an oral historian, which is something of a joke. Oral history was here long before the pen, long before Gutenberg and the printing press. The difference is I have a tape recorder in my hand.
I never drove a car. I'm hopeless that way. I press the wrong buttons on the tape recorder. But if the person I'm interviewing helps me out, that person feels needed. People need to feel needed.
My first experience with music was my father, he was a stereo buff and he built his own little Hi-Fi center with recorders and everything and I listened to a lot of jazz, which gave me a sensibility for melody.
I used to love to come to the ballpark. Now I hate it. Every day becomes a little tougher because of all this. Writers, tape recorders, microphones, cameras, questions and more questions. Roger Maris lost his hair the season he hit sixty-one. I still have all my hair, but when it's over, I'm going home to Mobile and fish for a long time.
I think there is an enormous diference between speaking and writing. One rereads what one writes. But one might read it slowly or quickly. In other words, you do not know how long you will have to spend deliberating over a sentence. ... But if I listen to a tape recorder, the listening time is determined by the speed at which the tape turns and not by my own needs.
Many of my characters first came through to me as voices. That's why I use a tape recorder.
When I was a little kid I loved the Marx brothers and discovered Monty Python when I was 10 or 11-years-old. I used to take a tape recorder and hold it up in front of the TV to record entire episodes to play over and over again, so that I could memorise it.
The experience of playing music at a young age really opens up one's mind to different melody in life itself, literally - like, when you've even played a recorder, or whatever, it becomes a lot easier to hear the beauty in a bird's song, or the quiet tune in a gentle rustle of the wind.
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