Quotes About Studio

In one respect, I like the freedom of using all the people that I love instead of being dictated by the studio to use the hot person of the moment.

I love being in the studio, and I am a huge fan of live music. Without writing good stuff in the studio, you have nothing to play live.

Being in New York for 10 days during the World Series and appearing on a bunch of shows, I felt like it was a trial run to have more of a studio presence. The more consistently I started to do it, the more I grew to love it. It allows me to push baseball ideas and content in a bunch of different places.

The thing people forget about Kevin Shirley a lot of the time is that he's not only a great producer, he's also a world-class engineer. He really knows how to get a sound.

My parents were always supportive. They didn't say, 'Get a real job.' They believed in the arts, and they prepared me to be skilled. I'm lucky I can drop into these worlds - into a studio or onto a set or go on stage - and feel comfortable.

It was exactly what was released two months later with the exception of a couple of reaction shots which we went back in to get. I liked the movie very much and asked him what the studio's problem was. I felt that he was at a point where they might have worn him down.

Well, I think on second units it's all about execution. Because you come in there, you don't have to worry so much about the studio and all the other actors and all that.

I did a track with Khao, out of Atlanta, who's worked with T.I. Did a track with Maylay, who did a lot with John Legend's album. I got in the studio with Kanye West; we did a song. The dedication for the career takes a lot of work, but if you love it, it's worth it.

Tom would bring in songs, Mike would engineer, and we recorded about 30 songs.

There isn't a studio in the world that wouldn't burn half its soundstages to get a Tom Cruise movie.

I could not see myself going back into the studio without Tommy Dowd, our beloved producer who passed away in 2002. Then in 2009, Michael Lehman, my manager, really pushed me to meet with T Bone Burnett. I ended up meeting with T Bone in Memphis, and we hit it off right away; I knew he was a guy I could work with.

My first CD started as a studio project and I record everything with one other guy, so I didn't have a band. That's kind of how I like to do it, though. I like to create it with one other person, this guy, Tommy English, who produces everything. And then I go out on the road with a band who interprets it live.

I've seen my fair share of drama over the years of Children In Need. I had a close brush with mortality in 2009 when a chain collapsed from the studio rigging. I was in mid-spout to camera when I heard an enormous crash behind me - a ton of steel had come hurtling down and smashed to the ground a few feet away.

I like rock music because it's always sonically fascinating. There's never a method to what it needs to sound like. It's just however that instrument comes out that day, whatever the humidity level was in the air, what studio you were at. All that makes that tone that you can't re-create, so each song is like a person.

It all begins with the initial tone coming from the cabinet, but EQ at the board is very important.

The one thing that frustrates me more than anything else is that no studio has ever told me to tone down violence. They only ask you to make it more presentable.

In 1977, I had Paul Rivera hotrod six Fender Deluxes for me. At that time, a lot of studio guys in L.A. were using those - not so much live guys but studio guys. They had terrific tone and great technique, and I was like, 'Well, I like having terrific tone even though I don't have any technique.'

I have only a couple of Super 6s now, but I do have quite a few black-face Fenders around the studio. They all have slightly different character and tone, so I keep collecting them.

I have tons of art books. I have them all over the place. They are in my car, in my bag, and in my studio. There are books around me all the time.

I heard of this Texas studio. The owner, Tony Rancich, wanted to fly us out for the day to see the studio. I booked it the next day. He's that rare guy that is in it purely for the love of it.

Every record I've ever done with Tool has been on tape.

Some people record onto tape, and then they pay for the tape, and download those onto a hard drive. Initially in a Pro Tools program. Other people go straight into digital, and use no tape at all.

Pro Tools was invented to quicken the recording process.

I'm from the pre-Pro Tools era where you had to meet up with the artist and go over things if you wanted to record a track.