Quotes About Studio

To be fair, I did come out of nowhere. 'Ghost' was the first song I ever did in a studio, my first time ever cutting a professional vocal.

When you are in the studio, you don't have anybody to feed off of; meanwhile, when you are playing live, you interact with people and you feel the energy in the room. When the crowd is going crazy, that definitely impacts your vocal performance. I prefer to sing live.

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

I've never had vocal training. No one could ever say that they helped me carve what my voice has become. It's just been more of self-training: me just continuously going into the studio every night and trying out different beats.

I'm not a fan of taking too long in the studio. I always do one vocal take and jump out of the control room, and people push me back in... It's a real turn-off to hear things that are too polished. I feel like I've almost fought for the right to be that kind of musician - we used to be on a major label, and now we're on an indie.

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.

It's very easy in the studio to get overzealous with your vocal takes, thinking, 'Oh yeah, I can do it over and over. I can sing at the top of my range for this whole song.' But when you're doing it every night on the road, it's pretty intense.

I've always been a natural singer on stage and in the studio - never had a vocal lesson in my life.

A lot of the time, in pop music especially, there's reverb. And the reason is that reverb makes vocals sound better 99% of the time. It makes the notes ring out.

For a young band about to make a record, make sure you get the vocals right.

But when I record my next studio album, of course I'll do the lead vocals.

There's a lot of trickery that can go on in the studio, and there's a lot that one can do - none of which I am interested in even slightly. I mean, you can actually tune vocals and stuff like that, but it's so hideous, I can't believe it.

I'll play about with different sounds in the studio with no concept of music at all. I'll just build up a song in layers and when it sounds all right and gives me a vibe, that's enough, and I'll add vocals and move on.

I'm always saying in the studio, 'My vocals are too loud!' or 'My vocals have too much effect on them!' I like some of it, but I'm not a fan of loading effects onto my voice.

I don't even like to sing in front of my own band members so it's easier for me if they send me the music and I record my vocals in my own studio.

In my own studio, I can just lock the door and record myself, do layers of vocals not knowing how they are going to turn out, and just scrap it if it doesn't work. It's my space. I'm running everything.

My days at the Studio sustain all the work that I do today. They gave me a sense of legacy, a sense of belonging, and a community that made me believe in my talent and vocation.

I've been singing for six years. I've been in and out of the studios with top producers, but it wasn't something I was ready to express to the public or to the press. I wasn't ready to come out. I wanted to perfect my voice and be 100 percent positive that I could come out right.

When I was in the recording studio, I needed to concentrate on what my voice was doing, which is rather difficult if you can't actually see what you are supposed to be singing.

Studios have been trying to get rid of the actor for a long time and now they can do it. They got animation. NO more actor, although for now they still have to borrow a voice or two. Anyway, I find it abhorrent.

I have a studio at my house, and there is a sister studio for Disney which is about 45 minutes away, and we haven't dropped a beat. In the art of animation and voiceover work, you can pretty much work from anywhere.

I did voice work for many years before I started having success as an actress. It was mostly radio and television voiceover work, but I know my way around the studio. I know how to use the cappuccino machines and the headphones.

In 'Finding Nemo,' all of the voices were recorded separate - so I would be in a sound booth in a studio by myself reading the lines with just the director. Basically, you can just come in, and it doesn't matter what you are wearing or what you look like; it is all about how your voice sounds.

You simply cannot do a sitcom by committee. It will not work. You've got to have one or two clean, creative voices in charge, and there's got to be some faith by the studio and network in those people to make the right choices.