Quotes About Studio

While I was with Procol Harum, the only time I'd see my guitar was either when I walked onstage or in the studio.

My influences change all the time; they have to remain current, because they're the things that capture your imagination and make you want to go into the studio.

A lot of people tend to think that because I need all this time on my own in the studio, that I need time on my own, period. And that's not really true.

I pay two full-time assistants in my studio, plus consultants who are architects, engineers, and landscape architects, as well as lighting designers.

That's usually what happens with AC/DC: you make an album, and then you're on the road flat out. And the only time you ever get near a studio is generally after you've done a year of touring.

I really think of the studio as being like craftsmanship time, and then playing is about releasing energy, and the two are really different.

I'm surprised that I actually pulled off the recording, getting all those people at the same time.

This is New York. If people found out worshipping the devil actually worked, every ambitious type A would be practicing it in their studio apartments.

In fact the original memory of Miss Blaides returned to me one morning when I was sitting in my cream distempered, strip-lighted, bare, sanitary, glaring, forlorn little cell at the Studio. In that place it was possible to know deep despondency.

But I was doing a bit of cleaning when you rang—the studio gets filthy—and the dust must have confused my powers of differentiation.

A studio, like a poem, is an intimacy and a freedom you can look out from, into each part of your life and a little beyond.

If you listened carefully, you could hear the kitchen sink being dragged into the studio. We might have been better off had we realized less is sometimes more, but you don't think like that when you're making your first album.

We'd booked twelve weeks of studio time, a fantastic amount of leeway, given that my first record was cut in a total of twenty-four hours and This Year's Model in a mere eleven days. We

I'd broken up with someone I'd met at my pottery studio. It had been quite a major love affair. He was older and single, and I'd gotten caught up in it to the point that I'd even thought about marrying him. In the end we'd gone our separate ways, but I was still hung up on him.

One day there was a misunderstanding about our appointment and when I called for Modigliani, I found him out - but I decided to wait for him a few minutes. I held an armful of red roses. The window, which was above the locked gates of the studio, was open. To while away the time, I started to throw the flowers into the studio. Modigliani didn't come and I left. --Anna Akhmatova on Amedeo Modigliani

I recall a conversation I was having with Pharrell one time. We were in the studio talking about R&B, and he said 'You're like me, we're like each other, we think the same way.' He's one of the few people I would consider a mentor, not because I look up to him but because he's actually given me sound advice and it came from a place inside of him.

I spend six to seven days a week in the studio making records. I don't have time to go do a lot of things that you have to play the political game to get recognition with the Grammy crew.

You can only be lucky if you have a place to record.

We had a nightmare on our first album, and went through two producers. I decided, on the second album, to take the money that we were supposed to use for pre-production, and we went into a studio and cut the album with no producer. We finished the whole thing without telling the record company.

In the early Nineties, after my first round of financial problems, I started a studio in Kensal Road in London right at the time when no record company wanted to hear anything from Leo Sayer.

We had such a small budget making our first record, and the only way we could make it work was that the record company would find studio time in the middle of the night - literally, that was so cheap that we could afford to do it.

It was all recorded and mixed and there's more continuity in it more direction.

I've always recorded at home. That's been part of what it's about to me. I've never been the kind of guy who rents a studio.

Most of my early records were not cohesive at all, just collections of demos recorded in different years. 'Odelay' was the first time I actually got to go in the studio and record a piece of music in a continuous linear fashion, although that was written over a year.