Quotes About Studio

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

I met Icona Pop by chance because we were both recording at the same studio. I was a fan so when I heard they were in the next room, I went to say hi. Next thing I knew, they were on two songs.

I got a studio built in my house, so I was recording there in Memphis and Atlanta. Those two environments give me that street feel.

I always have trouble recording drums and double bass.

The 'Aladdin' thing - that's not work; that's just fun. Three days in the recording studio going mad, then the animators do all the work. Not a bad way to cash a large check, my friend.

Everything has changed since I started recording in 1972. But the very things that have opened this industry, like the digital platforms to reach more people, have also killed things that were happening before in the recording studio. Now, most of the time, there are no real musicians in the studio; it's people with sequencers and things.

I'll probably have to open a recording studio at some point because I won't be able to pay the bills.

I never had any formal voice training, but it's something I always wanted to do. 'So I negotiated a deal with a recording studio after I gathered enough material for a record. I put a group together and just went ahead and did it. What the hell.

I've always loved the recording studio.

In the studio, if things go wrong, you stop things and fix them. I have never been in a recording studio, really, where the people in the booth were not interested in making a very good album. It's often a light-hearted atmosphere but serious at the same time.

We honestly felt a bit more at home in the TV studio than we did in the recording studio.

Yes, I would say I had quite a rough time from 1992 to 1996. After the highs of the Eighties, work became slow from around 1987 to around 1997. I was running a small recording studio in Shepherd's Bush but wasn't making a great deal from it.

I finished the recordings I had started with Eleven. Matt Cameron joined for the rest of those sessions.

I like to collaborate with other people for studio recordings because I believe collaboration, in any form, makes music better.

I realized I liked being in the studio and working on translating the ideas into recordings.

I'm a huge fan of voice memos. I put down many ideas there and sometimes I even use some of those audio files in my actual recordings. You get this really raw energy from voice memos that you can't get when you sit down in a studio with a microphone. There's this sense of immediacy, which I'm really drawn to.

There's nothing like Nashville for making records.

I like to make records sound good. I'm more like a reducer than a producer. If an artist cannot produce themselves, what's the point?

We had to recreate the banks of the river Yamuna on a studio floor. It wasn't easy... or cheap.

If you go into a studio without a set effectively, you've got a blue screen. As a DP you have to light it of what you think it should look like. You don't have any reference of what the background looks like. You might have some concepts, but effectively you're lighting it as what you think it should look like.

Amazon may be the only studio that's run by people who come out of making independent movies, real hands-on moviemaking.

In the studio, you can always stop, rewind and do it again, but on stage, you can never do that - it's a different energy. It separates good bands from bad bands, being able to play, perform and really capture an audience. I think that's the hardest part.

Now it really is, believe it or not, 90% of the films are green lit, not by the studio heads, but by the marketing department.

When I write in the studio, I tend to gravitate toward the ability to play really loud, aggressive, post-punk stuff, with big, heavy guitars and a big rock drum sound.