Quotes About Studio

I generally prefer to come in to the studio with a fully written song and then work on the arrangement with the band. Sometimes even the arrangements are pretty much already worked out in my head, but other times we experiment.

'Southern Accents,' I think that's one of my best, really. That would have been 1984, and I wrote that on the piano in the studio at home. I had a studio, and I just happened to be down there in the middle of the night. It was quite late, probably early morning, and I just started to play, and a song just started to appear.

When it began I wrote this passionate letter to people I knew, studio members, of course, and other people with whom we have worked over the years and I said come and teach our students.

I had something to prove and went in the studio and started writing. I got into fitness and style and learned the whole craft. That was when I wrote everything on the album. I put out 'Don't Ya,' and it took off.

I love Yamaha Clavinovas. I have them at home, in the studio and on tour with me. I find them ideal for all sorts of things: silent practice with headphones at home; writing; arranging and... just playing the blues!

I have my own office, and I'm there during the evenings and weekends. But during the week, I'm sitting in the middle of my studio, talking with everybody, deciding together every detail, every pallette, every yarn, every colour.

When you record an album and it goes platinum... yeah, you're in the studio and you work hard for months, but it's not like your whole body hurts. Maybe you get a little hoarse and tired. But on 'Dancing With the Stars,' everything hurts.

I think I was very lucky to have grown up with an artist's studio in the house. It was a kind of life that was possible. Yeah, it made it kind of harder because the standards were higher, but there was no pressure.

I was quite frustrated by school and found solace in going to the drama studio, doing stupid voices, and being an idiot. I then went to Guildhall School of Music and Drama and signed with a great agent in my third year.

I was in Australia in about 1996 when I played some acoustic guitar for some guys at a studio down there. They were pretty happy with it, and mentioned doing an album, so about a year later I met some people who were interested in recording.

Of course we had the best possible classical education, which gave us a very strong foundation and tradition. But we also learned a lot by collaborating with different pop/rock artists and especially by recording and working in the studio.

By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.

My first day at MGM they decided to bring this lion out, male, and it was not the best time for him to see me. All of a sudden he thought I was in heat and this lion went into the dressing room, which was just a trailer on the sound stage, and went crazy.

The beating heart of your story... that's not what shows up in a trailer. The other stuff is what shows up in a trailer, because that's what gets people in to the seats, and that's how studios make their money.

I basically make my living writing songs, so I've been able to go around in my trailer. If I got tired of a place, I could move on and roam around. It's a nice environment for writing songs, as opposed to sitting at a recording studio console all day.

When it comes to classic Disney, I've got it in my DNA. I mean, the guy who trained me, the man who mentored me when I first came to the Studio was Eric Larson, one of Walt's Nine Old Men.

My dad, Bob Blum, used to dash across Grand Central's main terminal catwalk several times daily as a young CBS correspondent, running copy from newsroom to studio and back - because CBS' first broadcasts were from Grand Central Terminal. The pictures on people's television sets used to shake when the trains came in!

All these movies are observational comedies. I see somebody, maybe a dry cleaner, and notice how they are. Maybe I'll decide to turn a person with those traits into a studio chief.

Technology has made it much easier to make and manipulate music. Studio-driven, machine-driven music does not always transcend into being a good live act. Many current acts are great live, but many cannot cut it live. The music is not organic.

I had to learn how to work in a studio at first because it's a totally different creative environment to the 'bedroom recordings' I'd done before, where I could translate my own ideas without having to explain them to anyone.

Personally, my favorite 'meat' song is 'We Got It Right.' As soon as it comes on, it transports me to a different place. And I'm really proud of our performance in the studio on that one.

I'm involved with Kid One Transport and Studio by the Tracks in Alabama. Kid One literally transports kids to better health by giving them transportation they may need to get medical care. Studio by the Tracks is an art outlet for mentally challenged children.

To me, my studio is my trap house. That's where I trap out of; that's where I hustle. That's where I make my money.

Now, the edges of these memories sharpen. I see the cracks in the studio floor beneath her feet, The lack of turnout in her fifth position.