Quotes About Studio

Take some Butterscotch Crunch Fudge, too. Lisa and I made it while you were at Danielle's dance studio. It's in the cooler and it should be ready to cut by now. It's delicious, and Bonne's bound to like that. I'd give you one of the Cashew Candy Rolls we made for the opening night of the play, but they're not hard enough to cut yet.

It's sometimes tiring to get off a long-haul flight and go straight to the studio for a shoot, but if you really plan everything well, you can get so much out of combining travel with work.

I must tell you that even while working I think continually about the plan of setting up a studio in which you and I will be permanent residents, but which both of us want to turn into a shelter and refuge for friends, against the times when they find that the struggle is getting too much for them.

I shall leave my studio toward May. Its drawback is, as you know, that I am greatly handicapped by the neighbours, and I notice that people are still afraid of the priest, though perhaps he wouldn't meddle any further. But since there has been trouble once, the best thing is a radical change.

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 do a lot of performing, but don't get a chance to go to the studio and write good music.

For my second record I had gotten ProTools and started to familiar myself with hard disc recording.

I am such a gearhead. In my recording studio, I personally engineer and edit everything on computers.

I wrote 'Actor' all on the computer. I didn't touch any instruments until I was in the studio. So while I had all these ornate arrangements, I didn't have any songs.

We make the patterns on the computer, but we also paint them by hand - it's a combination of digital and screen-prints. I'm trying to do as much as I can myself in the studio.

Everybody's able to pour into each other creatively, and pop into the studio and pop out. It feels like a community. As an artistic community I think it's really cool.

My dad and my uncles used to always be in the studio at my house.

My family lives in that building now, along with Grandpa in the fourth-floor "penthouse" apartment, as he calls the converted space that was once an attic studio.

I played on Asia records with Geoff Downes.

I don't have assistants and things in the studio.

The only thing you create music with is your own creativity and your own ears. And it takes a lot of time to develop your own ears. It's really important, before you go to the studio, to realize yourself: What do I want to hear? What do I want to create?

It's just really efficient to work with a person who can do everything in the studio.

I think environment is more important to us than even equipment and the studio.

Ian sat and listened in the studio, headphones around his neck, staring at the floor. That was his heart they'd just heard.

The fable of the Emperor's New Clothes is brought up time and again, a conspiracy to dupe someone, a pretense designed to make the innocent or gullible look stupid. It's a narcissistic paranoia; most artists don't have the time or money to bother playing such a prank and are far more concerned with spending their days pursuing ideas in the studio, however absurd those ideas may appear to others.

I still viewed myself as a reviewer when I was on radio. Was it appropriate for me? I think the answer is it's only inappropriate if I allowed it to affect my film reviewing. I don't think you will find any studio that said, 'Yeah, he went easy on us because he was shopping a script.'

I run into viewers all the time who have no idea I've moved to N.Y.C. I think, for many of them, a studio is a studio is a studio.

My studio is designed for atmosphere. I have a really cozy, comfortable room that has a great, huge glass door that views my backyard.

I don't use any real vintage hardware any longer. That's always been the object as far as gaining control of the studio environment, going back to when I built my first studio, Secret Sound, in New York City. The whole point was to not have to pay studio bills anymore and not be looking at the clock.